In the play Mourning Becomes Electra by Eugene O’Neal, certain elements in the play give parallels to Greek Mythology. The story that best proves this idea is the story of Agamemnon and his wife Clytemestra and their doomed marriage that ends in an affair and murder. It was dramatic irony in which everyone but the husband returning from war knew about his quickly approaching fate. The play consists of the same idea of hidden resentment and bitter revenge that ties the two tales together.
The mythological Greek story of the tragic tale of Agamemnon and Clytemnestra starts after Agamemnon returns home with Cassandra in tow after a grueling fight in the Trojan War. Little does he know that his “beloved” wife has found another lover and is plotting to murder him upon his arrival. Cassandra with her gift of foresight immediately foretells their certain demise but alas it was too late. Once they step foot into their “tomb” the door closed and Agamemnon an
The connection between the two stories not only has to do with the main plot, but with more subtle connections. It is obvious that both writings are about a wife who has cheated on husband and decides to kill him. In turn she and the lover are killed themselves by the vengeful son and daughter. What about the names? Orestes and Orin, Christine and Clytemnestra, Aegisthus and Adam, Electra and Lavinia. They are all similar. Aegisthus and Adam were both enemies of the household. The name of the play relates directly to the Greek myth. Mourning Becomes Electra and Electra the daughter. If you look at Electra, you see that in the years following her father’s death her mourning turned into disgust for her mother Clytemnestra and Aedisthus. Her vengeance and hatred nourished her until her brother’s return. In the play Lavinia and Orin’s mourning became hatred and full of vengeance. Therefore, mourning becomes as Electra.
d Cassandra’s lives ceased to exist. Orestes, afte