A Study Guide for Eugene O'Neill's "Mourning Becomes Electra"
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A Study Guide for Eugene O'Neill's "Mourning Becomes Electra" - Gale
1
Mourning Becomes Electra
Eugene O’Neill
1931
Introduction
Mourning Becomes Electra is considered O’Neill’s most ambitious work. In the play, he adapts the Greek tragic myth Oresteia to nineteenth-century New England. Generally, critics praised the play as one of O’Neill’s best. Even though performances ran almost six hours long, audiences seemed to agree; it ran for 150 performances.
Like Oresteia, O’Neill’s play features themes of fate, revenge, hubris, adultery, and honor. Many critics note that the play reflects his recurring concerns about the unsuccessful struggle of an individual to escape a tragic fate and the dark nature of human existence. The play is structured as a trilogy, with three different plays—The Homecoming, The Hunted, The Haunted—comprising the story.
Author Biography
In 1888 Eugene O’Neill was born in New York City to a theatrical family. His father was the noted actor James O’Neill, who became famous for his starring role in Alexander Dumas’s Count of Monte Cristo. During his childhood, Eugene traveled with his family on the theatre circuit.
In 1906 O’Neill attended Princeton University before being expelled for a drunken prank later that year. In 1907, he moved to New York, where he held several jobs. In 1909 he sailed to Central America to prospect for gold. Critics believe that his experiences in Honduras provide the setting and background for one of his most successful plays, The Emperor Jones. Disillusioned with the work, O’Neill returned to New