Eugene O'Neill's Long Day's Journey Into Night (Bloom's by Harold Bloom, Visit Amazon's Eugene O'Neill Page, search

By Harold Bloom, Visit Amazon's Eugene O'Neill Page, search results, Learn about Author Central, Eugene O'Neill,

Produced merely after the loss of life of Eugene O'Neill, lengthy Day's trip into evening is mostly thought of the author's masterpiece. It explores the painfully recognizable ways that relations love and realize each other. The identify, Eugene O'Neill’s lengthy Day's trip Into evening, a part of Chelsea residence Publishers’ sleek severe Interpretations sequence, offers crucial 20th-century feedback on Eugene O'Neill’s lengthy Day's trip Into evening via extracts of severe essays by means of famous literary critics. This number of feedback additionally contains a brief biography on Eugene O'Neill, a chronology of the author’s existence, and an introductory essay written via Harold Bloom, Sterling Professor of the arts, Yale college.

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As she moves off through the front parlor, James “stands a second as if not knowing what to do. He is a sad, bewildered, broken old man. He walks wearily off through the back parlor toward the dining room” (LDJ 123). Their final reunion at the end of act 4, when Mary, trancelike, rejoins the men at midnight, becomes a mockery of the closeness suggested by the opening scene. These linear features of the play are subtly reinforced by a strategy similar to one already encountered in both A Touch of the Poet and More Stately Mansions, having to do with patterns of cultural assimilation.

Supplied with a generous stock of Irish aphorisms and superstitions, she has a ready response for all situations. At Mary’s mention of fog, Cathleen notes, “They say it’s good for the complexion” (LDJ 98); a reference to James’ snoring brings, “Ah, sure, everybody healthy snores. It’s a sign of sanity, they say” (LDJ 99). The foghorn reminds her of a banshee;9 “bad cess to it,” she adds (LDJ 98). Her attitude toward alcohol is also typically Irish. ” She views Tyrone’s drinking as “a good man’s failing,” insisting that she “wouldn’t give a trauneen for a teetotaler.

The Decadents). However, his use of Shakespeare suggests that he has not completely broken away from his father’s influence, although he turns Tyrone’s own tradition against him. 11 This insistence upon linear time—seen variously in the steadily encroaching fog, Mary’s regression into the past and physical deterioration, the breakdown of the family unit, and the pattern of cultural assimilation that emphasizes the passing of successive generations—makes sense when we understand that each of the Tyrones locates either some ideal or lost ideal in the Long Day’s Journey into Night: Descent into Darkness 25 past.

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