O'Neill's Transcendence of Melodrama in A Touch of the Poet and A Moon for the Misbegotten


In lieu of an abstract, the first paragraph of the essay follows:

I have limited this discussion to a pair of late O'Neill plays which transcend melodrama by means of their comparable plots, themes, and characterizations. They are similar chiefly in that both begin with formulaic melodramatic intrigues which are spoofed or actually displaced as the plays develop. I intend in time to explore this theme in all O'Neill's later drama.

Comparative Drama is carried by JSTOR and Project MUSE.