Saturday, January 25, 2014

Mourning Becomes Electra - Eugene O'Neill

Although ONeill derived Mourning Becomes Electra from the Oresteia, the myth that actu each(prenominal)y structures the plays action is overwhelmingly that of Oedipus. The Oedipal drama, and Freuds shade of it, determines the line of work of the trilogy. Lavinia, for example, yearns to replace Christine as wife to her father, and mother to her brother. Christine clings to Orin, and brant is and a substitute for her precious son. Orin in addition yearns to re-establish his incestuous bond with his mother. The predominant pair of lovers in the play, is the mother/son. The players continually become substitutes for these two figures that organize their family history. This is made most diaphanous in Lavinia and Orins reincarnation as Christine and Ezra. The mixed substitutions among the characters as line up by the Oedipal drama make them each others doubles. The double is alike the rival- the player who believes himself dispossessed is convinced that his double stands in his smooth place. For example, Lavinia considers Christine to be the wife and mother she should be, and the plays male characters vie for the go for of Mother. The Civil War, generally remembered as a war in the midst of brothers, comes to symbolismize this struggle. The mens rivalries are murderously infantile, operating to a jealous logic of either you go, or I go. In the Oedipal myth, what tears the son away from his incestous embrace with his mother is the imposition in the ass of the fathers rectitude. Ezra serves as a figure for this law in a symbolic manner, comprisely after his wipeout when he exercises his law with all the more force, whilst haunting in his various forms. Christine cringes before his portrait (in which hes symbolically wearing judges robes), and Lavinia invokes his voice and name to command Orin to attention. The symbol that dominates the playing space... If you want to get a full essay, piece it on our webs ite: !

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