Im always acutely aware of the Force behind - (Fate,
God, our biologic past creating our present, whatever one
calls it - Mystery certainly) - and the eternal tragedy 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 possible - or can be - to develop a tragic
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. Not everyone shared this appreciation. In a letter, ONeill noted his leftover critical reception, complaining of those who failed to see what he was trying to do. He struggled to create 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 different issues concerning his life and career as a writer, ONeill was decidedly influenced by his own experience and knowledge. Even though his chief(prenominal) writings seem 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 individual in general. Well 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 consequence of that, ONeill managed to transmute human instincts and feelings from ancient history into the present. This is partly the goal he achieved in writing Mourning Becomes Electra.
What he experimented...
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