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Orin re-imagines the secret world he once shared with his mother in his fantasy of the South Sea island. Orin's incestuous reverie is the central elaboration of the motif of the Blessed Island. Orin's island, imagined as Christine incarnate, is nothing short of a womb, a life-giving space of peace, warmth, and security away from the father's war. Here can mother and son finally be alone. His constant appeals to this "lost island" act out the play's central labors of mourning, the mourning of the advent of sexual desire and loss of pre-Oedipal plentitude. This mourning is obsessively reiterated in the recurring lyrics from "Shenandoah": "Oh, Shenandoah, I can't get near you/ Way-ay, I'm bound away."

Orin's island can of course also only recall Brant's, echoing the incestuous, mother-son relation that structures his love affair with Christine. Orin's reveries thus bear witness to the workings of "Fate," their echoing of Brant's and Ezra's marking the repetition of a forbidden structure of desire over and against the "individuality" of its players. Note in particular Orin's fondling of Christine's hair, Christine shuddering at the uncanny repetition of this echo among her lovers.

Christine especially has cause for fear at this echo as, like Ezra and Brant, her third suitor considers his doubles with the same murderous rage. As his outbursts indicate, Orin will not accept the disruption of this plentitude, responding with a murderously infantile jealousy. Though forbidden from killing his father, he would most certainly kill Brant.

Finally, we should also note how the motif of the Blessed Island implicates the play's racial fantasies with its sexual ones. The fantasy of the time before Oedipus is intertwined with the fantasy of the innocent native who can love without the institution of law and judgment, sin and shame.