own versions of the Electra story. The basic plot is as follows: Agamemnon is killed by Clytemnestra and her lover Aegisthus after he returns from the Trojan war to reclaim his sister-in-law Helen from the Trojans. Electra and her brother Orestes plot to kill their mother and her lover to revenge his death. Both authors wrote about the same plot‚ but the built the story very differently. Sophocles focused on Orestes‚ and Euripides focused more on the life of Electra. In Sophocles’s version
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MOURNING BECOMES ELECTRA American playwright Eugene O’ Neill’s Mourning Becomes Electra is a continuation of the Greek tradition. Joseph Wood Krutch is of the opinion that “Mourning Becomes Electra has all the virtues… which one expects in the best contemporary writing”. It is rare to find two principal complexes “Electra” and “Oedipus” in one work of art. Here one observes both as parallel themes. However‚ it’s set in a modern twentieth century milieu. The characterization‚ the story line‚ the
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From Aeschylus’ Oresteia to Eugene O’Neill’s Mourning Becomes Electra: Text‚ Adaptation and Performance[1] ©Alison Burke‚ The Open University‚ UK Introduction The Royal National Theatre’s production of Eugene O’Neill’s Mourning Becomes Electra at the Royal National Theatre (London 2003–4) downplayed the relationship between O’Neill’s trilogy and Aeschylus’ Oresteia. Rather than following the stage directions of O’Neill‚ which are evocative of classical staging conventions‚ the RNT production
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Eugene Gladstone O’Neill is one of the greatest American playwrights‚ he is known for plays such as “Long Day’s Journey into Night” ‚”Beyond the Horizon” (1920)‚ “Anna Christie” (1922)‚ “Strange Interlude” (1928)‚ “Mourning Becomes Electra”(1931)and The Iceman Cometh (1946). His plays probe the American Dream‚ race relations‚ class conflicts‚ sexuality‚ human aspirations and psychoanalysis. He often became immersed in the modernist movements of his time as he primarily sought to create “modern
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Discuss Mourning Becomes Electra as a tragedy in modern sense. (P.U 2007) In Mourning Becomes Electra‚ O’Neill exemplified what Schopenhauer declared to be the “true sense of tragedy”‚ namely “that it is not his own individual sins the hero atones for‚ but original -sin‚ i.e.‚ the crime of existence itself.” So devoted was he to this .conception‚ that he permitted it to inform the entire trilogy. The pessimism of the Greeks may have been equally black‚ their tragedies just as aware of the crime
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Serrano‚ Wrenz Carlo I. In Aristotle’s Poetics‚ he described what a tragic hero is with several characteristics‚ and in the Greek Tragedy of Sophocles; Electra‚ the main protagonist really has some of these characteristics. In terms of Aristotle’s definition of a tragic hero‚ Electra is considered as a tragic hero. First‚ she is an individual of noble stature; she is a daughter of Agamemnon‚ King of Mycenae‚ and Clytemnestra‚ which makes her a royalty.
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The Oresteia is known as the only play that has a great impacted on Greek plays. The Oresteia had a very socking ending the most reads like myself had to go back and reread just to understand stand the story line. Throughout the whole story the reader learns different metaphors and symbols to represent day and night‚ the different types of weather and happiness and sadness. As the reader I also saw a lot of examples of animals being used symbolism and the people who forgot how to carry self as beasts
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that they do. When any woman did anything out of the norm then they were most likely ridiculed for what they had done. In his play‚ Oresteia‚ Aeschylus highlights the implications of gender roles in Greek society with the foiling of Clytemnestra by Electra to illustrate the Greek ideals and views of woman in contrast to their men‚ the juxtaposition of Orestes and Clytemnestra as equal in their crime yet differing in justification and reaction by the chorus‚ and significance of male progression in justice
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cuts two locks of hair as an offering to a river in Argos‚ and also to the spirit of his father. After making these offerings‚ Orestes sees his sister Electra coming up to their fathers tomb‚ with the chorus. Due to a dream Clytemnestra’s been having‚ she sends Electra to pour out libations on Agamemnon’s tomb . While pouring this libation‚ Electra sees a lock of hair that looks much like her own. She starts to think about who’s it might be‚ since it’s not hers and comes to the conclusion that it
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Violence and death are a persistent and dominant theme in the Aeneid and Oresteia. In both plays‚ violence and death are justified as an act of vengeance and response to injustice. Though Virgil and Aeschylus justify violence‚ they both differ in two aspects. One takes away the power of the protagonists to choose and the other allows the protagonists to make their own decisions. The house curse influences Clytaemnestra to kill Agamemnon and Apollo commands Orestes to kill Clytaemnestra‚ his mother
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