tragoed Metamorphosis of the Tragedy in Oedipus Rex,...

Metamorphosis of the Tragedy in Oedipus Rex, Hamlet, and Desire Under the Elms Tragedy is considered by many to be the greatest of the genres. Often something goes wrong and exposes something great. Characters generally have more depth as evidenced by Hamlet. Tragedy shows up in the great periods of history: Classical Greece, Renaissance, and the early 20th century. It is a far more complex genre than comedy or romance. It teaches people to think since the storylines never have a simple answer or resolution. We see this in Desire Under the Elms. Family relationships and inheritances are complicated and even when Abbie kills the baby, Eben decides to join her in her guilty plea when he is clearly not a participant in the†¦show more content†¦The Oedipal complex occurs, Freud believed, with most young boys. The father is seen as a rival for the mothers affections. Young boys soon realize that this idea has a vale of silence surrounding it and, as a result, they suppress these instincts. Playwrights use their plots sometimes for a psychological revealing of these taboo issues. The Oedipal Complex is at the center of the play Oedipus Rex and was, obviously, named for the title character. The oracle said that Oedipus would kill his father and marry his mother. In Hamlet, a closeness can be felt (and seen in the movie) between Hamlet and Gertrude. Shakespeare seems to have been pointing to the issue when he wrote the bedroom confrontation scene between Hamlet and his mother and even had King Hamlets ghost appear in a nightshirt. In Desire Under the Elms, Eben and his brothers voice their wish that their father were dead. They all had their first sexual experience with the same prostitute, but the complex really becomes clear in the parlor scene between Abbie and Eben and Ebens mothers ghost. Abbie offers to replace his mother and they make love for the first time in her room. The hero in tragedy has evolved through the years. In Classical Greek plays the hero was nobility and often a king, as with Oedipus. In Renaissance literature, or at least the sample we read, the hero is still noble but is now the prince rather than the