Orestes in Modern Drama: "Mourning Becomes Electra"

Im always acutely aware of the blackjack behind - (Fate, God, our biologic past creating our present, whatever ace calls it - Mystery certainly) - and the eternal catastrophe of Man in his glorious, dangerous struggle to make the Force express him instead of being, as an animal is, an incident in its expression. . . . This is the further subject worth writing about and . . . it is accomplishable - or can be - to develop a tragical expression in terms of transfigured modern value and symbols in the theater. (Eugene ONeill) When Eugene ONeill received the Nobel Prize in 1936, critics proclaimed him a tragic dramatist with a great knack for old-fashioned melodrama. non everyone shared this appreciation. In a letter, ONeill noted his leftover captious reception, complaining of those who failed to see what he was trying to do. He struggled to wee a new dramatic form for the American stage, one which transcended melodrama and achieved tragedy. Although he has been a subject of controversy and some critics argued upon diverse issues concerning his life and career as a writer, ONeill was decidedly influenced by his take experience and knowledge. Even though his chief(prenominal) writings reckon elevated and objective, one can until now sense the echoes of ONeills own life.

The authors main purpose was the knowledge of homoity race psyche, the way in which social and historical environments influence the knowledgeable structure of the somebody in general. Well known psychologists (such as Freud or Jung) and philosophers (such as Nietzsche) contributed to ONeills continuous research on the human soul an d intellect. As a consequence of that, ONeil! l managed to transmute human instincts and feelings from ancient recital into the present. This is partly the goal he achieved in writing grief Becomes Electra. What he experimented... If you want to get a full essay, pronounce it on our website: BestEssayCheap.com

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