Euripides and Sophocles wrote their 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
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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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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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Euripides’ Electra Tragedy‚ as defined by Aristotle‚ has a multi-faceted meaning. The Aristotelian definition of a perfect tragedy‚ artistically states that tragedy must comprise of several elements; the perfect character‚ hamartia‚ a complex plot structure‚ suffering within close relationships‚ and a terrible/pitiful event. Euripides’ Electra generally follows the Aristotelian structure of tragedy‚ but due to the inclusion of two non-heroic characters and other unforeseen elements‚ Electra stands out
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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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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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what will become of us. The choices we make are in our complete control. Whether we make choices during the heat of the moment or with an open mind there are going to be consequences that follow whether good or bad are can only be blamed on us. Sophocles’s Antigone portrays human emotions and consequences that follow two distinct choices. We can broaden the spectrum by saying that Creon represents public policy and Antigone represents individual conscience. According to E.S. Shuckburgh we must
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Spenser Pulleyking 1436071 University of Tulsa HON-1003-02 The Many Faces of Electra: Aeschylus and Sophocles 1385 Words Dr. Avi Mintz While Helen of Troy might have had a face that launched a thousand ships‚ Electra of Argos had a face that launched a thousand stories. Aeschylus‚ Sophocles‚ and Euripides‚ three famous ancient Greek playwrights from the 4th and 5th Century BCE‚ all produced their own versions of Electra’s story that survive to this day. While
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comparative study of Electra and Orestes Abstract Much has been written about the themes‚ plot‚ characters and language of Greek tragedies; Electra and Orestes by Sophocles and Euripides respectively. But there is not much research so far on the core of the plays‚ “Vengeance” and also its connection with dramatic conflict and how it leads towards tragedy so it needs to be explored further. Through a comparative study of Electra and Orestes this
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