An interesting collection has emerged, all of which are intricately linked by Freudian themes. This unique connection gives the collection a certain allure and depth. By far, the first play in this collection stands out as the best. It展现出高超的艺术水准和深刻的内涵，吸引着观众的注意力。

The second play, on the other hand, is unfortunately the worst. It lacks the charm and finesse of the first one, and fails to engage the audience on the same level. However, it should be noted that there is still potential for improvement.

The third play is special in its own way. It has some interesting ideas and concepts, but it is in need of polishing. With some careful refinement, it could potentially become a great play.

If given the choice, I would rather choose other plays along with the first one than these two. The first play is truly a gem, and I believe it has the potential to make a lasting impact. I look forward to seeing more works like it in the future.

These are truly crazy plays, having the underpinnings of Greek tragedy - Oedipus Rex, for instance. It's quite interesting, yet a little bit too excessive for my taste.

Strange Interlude was, indeed, strange. I continuously found myself thinking, "How would this actually function on a stage?" More than half of the dialogue consisted of the character's thoughts.

Mourning Becomes Electra was perhaps the best among the three, but there was still a great deal of weirdness associated with it.

These plays offer a unique exploration of human nature and emotions, but their unconventional styles and complex themes can be overwhelming at times.

Nevertheless, they have their own charm and allure,吸引着 those who are interested in delving deeper into the world of theater and drama.

Whether one loves or hates them, there's no denying that these plays have made a significant impact on the history of theater and continue to be studied and performed today.

This rating is truly for Desire. I haven't had the opportunity to read the other two works.

Desire seems to have caught my attention right from the start. Its premise appears to be quite engaging, and I'm eager to explore the story further.

I can sense that there's a lot of potential within this piece, and I'm looking forward to seeing how the author develops the characters and the plot.

Based on what I've seen so far, I have high hopes for Desire. It has the makings of a great read, and I'm excited to continue delving into its pages.

I'll reserve my final judgment until I've finished reading it, but for now, I'm definitely intrigued by this story.

I can't wait to see where it takes me and what kind of emotions it will evoke.

Overall, I'm glad I decided to give Desire a chance, and I'm looking forward to experiencing the rest of this literary journey.

Mourning Becomes Electra is a remarkable work. However, it might have been even more effective as a novel rather than a play.

As a play, it has its own charm and power, with its intense emotions and complex characters being brought to life on the stage. But a novel would have allowed for a deeper exploration of the characters' inner thoughts and motives.

The detailed descriptions and the ability to delve into the psychological aspects of the story could have added another layer of depth and nuance.

Nevertheless, it must be said that Mourning Becomes Electra is still a very good work, regardless of its form.

It has captivated audiences and readers alike with its powerful themes of love, hate, revenge, and family.

The story is a timeless classic that continues to resonate with people today.

Whether as a play or a novel, it has left a lasting impact on the world of literature and drama.

“Desire Under the Elms” has truly elevated my self-awareness to a new plane. One aspect of it, I must admit, I'm not overly proud of, yet it's something I'm unlikely to overcome anytime soon. Regardless of how serious or profound the subject matter or theme might be, if it's presented in a work of literature using a "Wall, yee-haw, Hi dunno ‘bout tha’ Leeroy" dialect, I simply can't take it seriously. For most of my early life, that kind of voice was most commonly associated with a certain type of 'redneck,' ignorant, and likely prejudiced (he said, ironically) stupidity, and with characters that were relentlessly laughable, especially in comedies and cartoons. O’Neill might be reimagining the legends of Ancient Greek Tragedy within a 19th-century U.S. context, but I just can't bring myself to take him seriously.

“Mourning Becomes Electra” seemed less 'yokelly' to me but was more humorous than tragic. I took great pleasure in identifying the bits that were pastiched or parodied by William Gaddis in A Frolic of His Own. Once again, O’Neill's intention is rather lofty: to recreate the ancient Greek tale in a New England setting, the story of a family doomed by both jealousy and obsession (assuming the two can truly be separated).

I embarked on this whole endeavor in order to re-read “Strange Interlude” which I recall loving when I first read it in the 1970s. However, later on, from a distance, I had doubts due to another comic parody - this one by Groucho Marx in the contemporaneous Animal Crackers. I have to remind myself that, in part, the dialogue and conflicts are soap-opera clichés because so many people have imitated O’Neill over the past 90 years. Just like the teenager who complained that Hamlet was nothing special - just a collection of famous quotes strung together (as seen in a New Yorker cartoon) - O’Neill has become a cliché through the unrelenting imitation by less talented individuals. Still, I think there is great significance in the fact that I was deeply impressed by this play in my teens, but much less so in my 60s. Essentially, it is a kind of romanticized experiment that appeals to an inexperienced mind (or at least it was for me).

This is intense and highly melodramatic material. What is truly remarkable about Eugene O'Neill's dramas is the awareness and vivid portrayal of the protagonists' inner thoughts, which are juxtaposed with what they actually say.

I envision that these plays can only be produced for the radio. A significant portion of the action occurs at two simultaneous levels: the spoken and the unspoken. This emphasizes the unity of the human persona and is thus intensely psychological in the modern, post-Freudian sense.

The characters are driven by bitterness, the desire for revenge, a long-reaching but somehow joyless love, and ambition. They seem incapable of acting independently and are instead compelled by psychological-genetic forces that drive them to behave as they do.

I found the plays extremely dark yet captivating to read. There is an all-pervasive gloom in the plays I read. I can easily imagine that these plays would thrive in "totalitarian" societies, whether it be Nazi Germany or Soviet Russia, as the characters are not so much unpredictable individuals acting on quirks or sudden impulses, good or bad. Instead, they are expressions of the consequences of genetic inheritance or past experiences.

The characters seem to live more in the future and the past rather than the present. There are similarities with Ibsen. They are not really "enjoyable" but are certainly well worth reading.

I have never had the opportunity to hear, let alone see, a play by Eugene O'Neill. Therefore, I write with the reservations that anyone should have when writing critically about a text that is intended to be performed and which they have never seen performed themselves.

I absolutely adore Mourning Becomes Electra! This play is a true masterpiece that has captivated audiences for decades. The story is a complex and emotional exploration of love, loss, and revenge. The characters are richly developed and the dialogue is powerful and engaging.

The play is set in the aftermath of the Civil War and follows the lives of the Mannon family. The matriarch, Christine, is a beautiful and manipulative woman who has an affair with a young soldier, Adam Brant. When her husband, Ezra, returns home from the war, he discovers the affair and is poisoned by Christine. The play then follows the attempts of the Mannon children, Lavinia and Orin, to seek revenge for their father's death.

Mourning Becomes Electra is a play that deals with themes that are still relevant today. It explores the dark side of human nature and the consequences of our actions. The play is a must-see for anyone who loves great theater.

Life is but a strange and dark interlude.

It is a brief moment of mystery and uncertainty that precedes the glorious fireworks of God the Father's flowering presence.

During this interlude, we often find ourselves lost in the shadows, grappling with the unknown and seeking meaning in the chaos.

But just as the night gives way to dawn, so too will this interlude pass, and we will be greeted by the brilliant light of God's presence.

The flowering of God's presence is like a magnificent display of fireworks,照亮 the sky and filling our hearts with joy and wonder.

It is a moment of pure beauty and transcendence, a reminder that there is something greater than ourselves, something that gives purpose and meaning to our lives.

So let us embrace this strange and dark interlude, knowing that it is but a prelude to the glorious fireworks of God's presence.

Let us trust in His plan and look forward to the day when we will be沐浴 in His love and light.

Fintan O'Toole's review of a recent biography of Eugene O'Neill is titled "Our Worst Greatest Playwright." The critic lists the flaws in O'Neill's art and life. He was a dramatist who fled from his father's success as a melodrama star, abused his family, and marred his serious theater attempts with ludicrous artistic excesses.

O'Neill's place in literary history is not entirely secure. Although he is America's first great playwright and a Nobel laureate, his works are not always mentioned in the same breath as his contemporaries in fiction and poetry. This is perhaps due to the mixed status of his works, which are both "worst" and "greatest."

His early works, such as "The Emperor Jones" and "The Hairy Ape," were successful in changing the themes and techniques of the American stage. They focused on the lower classes and used Expressionistic stylings and symbolism. However, these plays are ideologically unreadable by today's standards, especially due to their patronizing "dialect" dialogue.

The later plays that earned him the Nobel Prize are less experimental and harder to appreciate today. They show his turn from Expressionism to the mythic method, as seen in "Desire Under the Elms." While these plays have powerful themes, their overblown and obvious nature can be ludicrous.

O'Neill's other major works, such as "Strange Interlude" and "Mourning Becomes Electra," also have their strengths and weaknesses. "Strange Interlude" uses stream-of-consciousness asides to represent the characters' thoughts, while "Mourning Becomes Electra" adapts the "Oresteia" into a modern tragedy.

In conclusion, O'Neill's plays have to be seen to truly appreciate their greatness. His dramatic structure and stage style are inventive, but his dialogue and characterization sometimes fall short. He is a complex and flawed figure in American literature, but his works continue to be relevant and influential.

Really good plays,

but a rather astonishing amount of incest!

I had fully expected there to be no incest at all!

What on earth is going on there, Eugene?

It's truly baffling.

The plays seem to have this strange and unexpected element that really throws one off.

One would think that in a well-written play, such a taboo and uncomfortable topic as incest would be avoided.

But here it is, popping up with surprising regularity.

It makes one wonder about the intentions of the playwright.

Is it for shock value?

Or is there some deeper meaning or message that is being conveyed through this rather unorthodox plot device?

Whatever the reason, it's definitely something that catches the audience's attention and makes them think twice about what they're watching.

Strange Interlude is truly remarkable. However, Desire Under the Elms and Mourning Becomes Electra are both outstanding masterpieces.

Eugene O'Neill is an absolute genius when it comes to revealing the innermost souls of his characters. In these two plays, whether the actions and traits of the characters seem revolting or noble, there is an underlying current of sympathy for each and every one of them that he creates.

O'Neill has an uncanny ability to delve deep into the human psyche, presenting us with complex and multi-faceted characters. He makes us understand their motives, their desires, and their flaws, even when they may be difficult to stomach.

Through his masterful writing, we are able to empathize with the characters, to see them not just as one-dimensional figures but as real people with real struggles and emotions.

This is what makes O'Neill's plays so enduring and so powerful. They continue to resonate with audiences today, long after they were first written.

Desire Under The Elms is a truly captivating and sexy play. It delves deep into the complex and passionate desires of its characters, drawing the audience in and keeping them engrossed from start to finish. The story unfolds with a raw intensity that is both thrilling and thought-provoking.

Strange Interlude, on the other hand, is a groundbreaking work. It explores themes in a way that was revolutionary for its time. The play is thematically compelling, touching on issues such as love, loss, and the human psyche. It challenges the audience to think about these themes in new and profound ways.

Mourning Becomes Electra is an interesting play, but it does have some drawbacks. While it has engaging elements, it sometimes feels like it slacks in its dramatic purpose. The story could have been more tightly focused and the pacing could have been improved to enhance its overall impact.