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Mourning may become Lavinia/Electra in the sense that she looks attractive in mourning attire or mourning suits her. The character of Lavinia/Electra, in fact, becomes more and more attractive as the play wears on, contrary to what would usually happen to someone who has experienced multiple tragedies. A second meaning also applies, which is to ...
Expressionistic elements in Mourning Becomes Electra include the pairing of characters (Lavinia resembles Christine and Orin resembles Ezra) and the symbolism of the Mannon house, which resembles ...
Abstract: The fundamental debt of E. O’Neill’s Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author’s hypothesis, O’Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu ...
As Travis Bogard notes, O'Neill wrote Mourning Becomes Electra to convince modern audiences of the persistence of Fate. Accordingly, throughout the trilogy, the players will remark upon a strange agency driving them into their illicit love affairs, murders, and betrayals. What O'Neill terms fate is the repetition of a mythic structure of desire ...
Eugene O’Neill’s updated version of the Orestaia. In New England, after the American Civil War, a war-weary Agamemer, Ezra Mannon, comes home to his unhappy wife (Christine) and loving daughter (Lavinia).
Ezra Mannon regresa a casa tras la Guerra Civil Americana, pero su hogar se ha convertido en un auténtico campo de batalla entre su mujer Christine y su hija Lavinia que compiten por el amor del mismo hombre, el apuesto capitán Adam Brant.
