Themes and Meanings (Masterplots II: Drama, Revised Edition)
To talk in terms of a single theme in Hurlyburly would be to ignore the density of the play’s content. David Rabe himself, in an essay written for the Grove Press book club edition of 1985, explained that he thinks in terms of at least two levels of meaning, the psychological and the philosophical. In the early stages of rehearsal, without understanding completely what he was saying, Rabe told the actors, “Eddie, through the death of Phil, was saved from being Mickey.” In time, Rabe says that he came to understand that the play deals with the psychological union of opposites.
The house represents a whole self, an individual. In this house, Mickey and Eddie are, in Rabe’s terms, “king,” two sides to the same individual personality. Phil is the shadow side of the same personality, the powerful forces of vitality and disorder of the unconscious. Mickey’s way of dealing with the “Phil” part of the self is to mask it behind cynicism, rejection, and resentment—the socially accepted way of dealing with this side of the human personality. Eddie, drawn to the “Phil” force within himself, seeks to channel these powers before they can overwhelm large and essential quantities of himself. Rabe says that while Mickey might oppose the threat of Phil by means of rational condemnation and thus keep himself removed from any possible influence, Eddie is unable to maintain such a purely cerebral stance and is “drawn toward the dangers of...
(The entire section is 455 words.)
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