This article aims to show the relationship between the plays of O’Neill and his European counterpart, Aeschylus as a result of globalisation. O’Neill subscribes to Greek mythology but modifies or transforms it in the American scenario. Our study of Mourning Becomes Electra and The Oresteia have considered the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. Besides, the thematic and linguistic similarities and differences between the works of the European and that of the American author selected have enabled the researcher to have an insight into literary influences and affinities. This article has demonstrated that there is no end in the making of texts, as O’Neill has revisited classical literature to write his play, Mourning Becomes Electra. This shows aspects of multiculturalism as central issues experienced in Greek are equally experienced in the USA. This paper argues that there is a global undertone in the works of O’Neill and Aeschylus as they show aspects of intertextuality as a result of classical Greek influence. O’Neill alludes to Aeschylus’s Greek mythological form of play writing but transforms it into the American scenario, through American Realism. To analyse these plays, we are going to use postmodernism and structuralism. The paper concludes that, although O’Neill subscribes to Greek mythology, he deviates from European playwrights of this dramatic convention. His work has aspects of American Realism, and he is equally a social critic who writes about the ills that plague his society, in order to create awareness in his countrymen. The paper also shows that there is no end in the making of texts, irrespective of where we find ourselves.