Four shrinks on the season finale of The Sopranos.

Dear Peggy, Phil, and Joel,

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Long before Oedipus was a complex, of course, it was the prototype of Aristotelian tragedy written by Sophocles. Pivotal to Aristotle's notion of tragedy was the tragic flaw. In last night's compelling episode, Tony's tragic flaw becomes more apparent, largely with the help of Jennifer's imperfect but "good enough" therapy. Carmela says to her priest that he is basically a good man who is drawn to other women. The audience wants desperately to believe what she says despite our nagging doubts. His flaw is his repetition compulsion, his need to re-involve himself with women like his mother, not because of sex, as Jennifer points out, but because of his intense need to finally gain the approbation and love that he never received from his mother. This episode puts to rest our ongoing concerns that perhaps he is getting very little from his therapy. In a blinding flash of insight worthy of Sophocles, Tony realizes with full gut-wrenching emotion while fighting with Gloria that he has re-found his mother in a Mercedes dealership. While Jennifer suggests that Gloria is a moth drawn to a flame, the audience sees that the same can be said of Tony. He can't seem to help himself, and therein lies our sympathy and the elevation of The Sopranos from melodrama to tragedy.

Glen

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