An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra

No matter how personal Eugene O'Neill's writing usually is, his plays also tend to express a general tragic feeling. Mourning Becomes Electra and A Touch of the Poet encapsulate this tension between the private and the public spheres. As he borrows from Greek tragedy and abides by some wid...

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Main Author: Aurélie Sanchez
Format: Article
Language:English
Published: Université Toulouse - Jean Jaurès 2010-07-01
Series:Miranda: Revue Pluridisciplinaire du Monde Anglophone
Subjects:
Online Access:http://journals.openedition.org/miranda/1381
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author Aurélie Sanchez
author_facet Aurélie Sanchez
author_sort Aurélie Sanchez
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description No matter how personal Eugene O'Neill's writing usually is, his plays also tend to express a general tragic feeling. Mourning Becomes Electra and A Touch of the Poet encapsulate this tension between the private and the public spheres. As he borrows from Greek tragedy and abides by some widespread generic rules, the playwright also tries to create a distinctively American form of tragedy. The tragic mode no longer relies on a heroic fall, hubris and godly revenge, but rather on a cathartic celebration of loss. By blending personal and national history, O'Neill stages the failure of the American Dream and presents America as a stillborn nation of lost ideals. However, this feeling of loss becomes the material for the expression of genuine poetic despair on stage.
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spelling doaj.art-afaf0921e0c444749ac227dcd08b42f32022-12-21T22:39:01ZengUniversité Toulouse - Jean JaurèsMiranda: Revue Pluridisciplinaire du Monde Anglophone2108-65592010-07-01210.4000/miranda.1381An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes ElectraAurélie SanchezNo matter how personal Eugene O'Neill's writing usually is, his plays also tend to express a general tragic feeling. Mourning Becomes Electra and A Touch of the Poet encapsulate this tension between the private and the public spheres. As he borrows from Greek tragedy and abides by some widespread generic rules, the playwright also tries to create a distinctively American form of tragedy. The tragic mode no longer relies on a heroic fall, hubris and godly revenge, but rather on a cathartic celebration of loss. By blending personal and national history, O'Neill stages the failure of the American Dream and presents America as a stillborn nation of lost ideals. However, this feeling of loss becomes the material for the expression of genuine poetic despair on stage.http://journals.openedition.org/miranda/1381tragedyAmerican historyfamilyAmerican dream
spellingShingle Aurélie Sanchez
An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra
Miranda: Revue Pluridisciplinaire du Monde Anglophone
tragedy
American history
family
American dream
title An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra
title_full An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra
title_fullStr An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra
title_full_unstemmed An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra
title_short An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra
title_sort american tragedy memory and history in eugene o neill s a touch of the poet and mourning becomes electra
topic tragedy
American history
family
American dream
url http://journals.openedition.org/miranda/1381
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