Orestes in Modern Drama: "Mourning Becomes Electra"

Im al delegacys acutely mindful of the Force behind - (Fate, God, our biological past creating our present, whatever wholeness calls it - arcanum certainly) - and the eternal tragedy of Man in his glorious, unplayful struggle to make the Force express him alternatively of being, as an animal is, an incident in its expression. . . . This is the unless subject worth theme about and . . . it is practicable - or can be - to develop a tragic expression in terms of transfigured modern place and symbols in the theater. (Eugene ONeill) When Eugene ONeill received the Nobel lucre in 1936, critics proclaimed him a tragic dramatist with a great knack for old fashioned melodrama. Not everyone shared this appreciation. In a letter, ONeill noted his remnant critical reception, complaining of those who failed to intoxicate what he was trying to do. He struggled to create a unsanded dramatic form for the American stage, one which transcended melodrama and achieved tragedy. Although he has been a subject of controversy and slightly critics argued upon different issues concerning his life and calling as a writer, ONeill was definitely influenced by his own dumbfound and knowledge. Even though his chief(prenominal) writings seem elevated and objective, one can until now somebody the echoes of ONeills own life.

The authors main part was the knowledge of homoity race psyche, the way in which social and historical environments influence the knowledgeable construction of the individual in general. swell up known psychologists (such as Freud or Jung) and philosophers (such as Nietzsche) contributed to ONeills continuous research on the human soul and intellect. As a second of that, ONeill managed to transmute human instincts and feelings from past history into the present. This is partly the remainder he achieved in writing Mourning Becomes Electra. What he experimented... If you command to get a profuse essay, order it on our website: Ordercustompaper.com

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