Existential Literature Oneil
Existential Literature Oneil
Existential Literature Oneil
INTRODUCTION
CHAPTER-ONE
INTRODUCTION
Eugene O'Neill, through his innumerable artifacts, voices the existential anxiety,
permeating the American scenario of his times. In fact as America's leading playwright
O'Neill through his power - exuding dramas, is both the spokesman of the predicament
and also its antidote seeker and pathfinder. This dissertation Myth, Psychology and
the repeated patterns and motifs that constitute the huge corpus of O'Neill works. Myth-
Psychology Syndrome becomes the modus operandi for the writer to comprehend the
outputs. They form the substance, and also constitute=e the yardstick, by which the
interlocking and at times the overlapping provinces are judged. Myth includes
Psychology that culminates in Reality. Psychology narrows down the apparent hiatus
between Myth and Reality. Reality, on its part, establishes the link between Psychology
and Myth. But the Epiphany arrived at is built upon the premise, the three different
disciplines are not contradictory but complementary. In fact, they mutually prune as well
as explain each other. The differences issue from the behavioural patterns of the major
characters. The environment they belong to, in turn, conditions their attitudes. O'Neill,
taking recourse to well-known myths and employing the apparatus of psychology, has
undertaken the challenging task of both analyzing the mindset of his major protagonists
and in turn decipher important truths that will go a long way towards explaining the
persistency by the writer. Oscar Cargill points out this salient feature of the dramatist
The plays are a testament of his faith, an act which has been aptly summed up by
Bhaghwat Goyal as 'his commitment of life' {The Strategy of Survival 3). It is the artist's
act of faith against nihilism, transforming doubt into acceptance and despair into
quest, to decode life's unsolved puzzles and haunting mystic perplexities. As Joseph
Wood Krutch has pointed out: "O'Neill's life has been largely the story of his
innumerable plays, all written with passionate and absorbing faith in the importance of
the task the author has set for himself {Nine Plays of Eugene O 'Neill XIII).
Like his haunted and hounded heroes, Orin in Mourning Becomes Electra, Brutus
Jones in 77?^ Emperor Jones and Larry Slade in The Iceman Cometh, the playwright
considered his mission, lay in discovering man's primary role in the pattern of existence.
Joseph Wood Krutch has outlined O'Neill's desperate need thus: "...one may sense
behind the mask of his brooding face and dark smouldering eyes the volcano of his
Perpetually on a hunting mission, the dramatist and his characters refram from
being mere onlookers. They participate fervently in the sphere of religion, metaphysics.
psychology and fantasy, towards getting a cue, regarding the functioning of what keeps
alive the human habitat and its related environs. Virtually petrified by the awful spectre
of human suffering on one hand, and human damnation on the other, O'Neill took refuge
in myths and also adopted a mythical framework to render his message acceptable to a
polymorphic audience.
incursions into Reality, it is absolutely vital to delve into the nature of Myth. Myth,
though considered in the past to be a fabrication, has always been assigned a privileged
place in literature in terms of its contexts, statements, beliefs and writing. Eric Gould
substantiates the value of myth with his view: "Myth is now so encyclopedic a term that
The term myth meaning 'plot' is Greek in origin, and needs to be differentiated
from logos implying tale or story. Myth is hence a technical term meaning plot, which
according to Aristotle is the most important feature of a tragedy. Myth also has the
Chase points out: "myth is also a kind of literature and has within it the aesthetic creation
approach; for simply from being an interesting narrative, it has locked within it the
deepest convictions of people and their beliefs. Hence it is right to view myth of the
earlier times as an inheritance, ensuring its worth and survival, resting on the unflinching
its worth and its survival, resting on the unflinching thrust laid on its inexhaustible
possibilities. So to get a clearer perspective of myth and to gauge its role in social groups,
groups. Emily Darkeim's belief in this theory is echoed by Day. S. Martin: "Myth gives
identity to social groups and binds together the members of a community ...within the
myth are the fundamental structures and organizations of a society" {The Many Meanings
of Myth 249).
Anthropologists, who have been taken in by its functional aspects, look upon
faith and promote moral wisdom, providing unlimited satisfaction to all individuals.
Similarly, Philip Wheelwright accords credit to myth's ability to yoke people together in
their innumerable social and spiritual undertakings and thereby inculcate a wholeness of
living, convinced by the moral rightness of what is right and what is wrong.
The ritual basis for Myth has been reiterated by both anthropologists and classical
scholars which include Sir James Frazer with his inexhaustible master piece. The Golden
Bough (1890-1915) and Jane Harrison's Themis (1912). Other literary stalwarts include
F.M. Conford, Gilbert Murray and Andrew Lang who have focused on the ritual conflicts
Jane Harrison firmly believes that: "first was the action, then came the word" (The
Many Meanings of Myth 11). Some Sociologists are, however, indifferent to which
preceded the other, for they are convinced of the ideology that myth and ritual replicate
each other; for, while the first exists on the conceptual front, the other functions on the
level of action. Northrop Frye, another leading pathfinder and solution seeker, drives
home the proximity between the two: "The verbal imitation of ritual is myth" {New
campaigning in favour of structuralism and its key role in myth study. The structuralism
trio -Vladimir Propp, Dmitry Segal and B Malinowski believe myth is the reservoir of
man's philosophic and speculative life, for it provides the clue to the understanding of
mythic plots at the global context. Again Levi Strauss points out:
Myth is language to be known; myth substance does not lie in its style, its
at taking off from the linguistic ground on which it keeps on rolling. [The
underlines its similarities and differences. Psychology, a behavioural science confirms its
R.W. Zaslow's explication of the mythical terrain and its impact on human
Sigmund Freud, founder of Depth psychology has postulated the theory that
myths serve as wish fulfillment of humanity. "It is extremely probable that myths are
distorted fantasies of whole nation, the secular dreams of youthful humanity" {Creative
Just as dreams reflect the unconscious desires and anxieties of the individual, so
are myths projections of people's hopes, values, fears and aspirations. Joseph Campbell
proper denotations and thus rescue it for a rich and eloquent document of
Faces 256)
problems, but beyond questioning their writings are indispensable to myth critics, as the
heroes and deeds of myths continue to survive in modem times. Thomas Mann in his
speech has pointed out how Myth and Psychology illuminate each other: "Its penetration
into the childhood of the individual's soul is at the same time a penetration into the
childhood of mankind, into the primitive and mythical" {Freud and the Future 69).
Leon Edel points out, how writers for decades have used psychology in criticism
as well as in biography. The ideas of psychology come handy towards understanding the
motivations of a writer and the speculation that comes to bear upon symbols in a work.
Willa Gather stresses the inevitable bearing Psychology and Myth have on each other:
How can we deal adequately with Finnegan 's Wake without looking into
Jung and the collective unconscious? What meaning can Eugene O'Neill's
The dramatist Eugene O'Neill conceded that he was also influenced by Nietzsche
Zaruthushtra had influenced me more than any other book, I've read. I ran
into it when I was 18 and I've also possessed a copy and since then and
every year I re-read it and am never disappointed which is more than I can
Nietzsche's views on myth, dream and art anticipate the findings of Freud.
Nietzsche argues that in dreams, man repeats the experience of earlier humanity and that
there is a close connection between dreams and mystery plays, both being therapeutic in
nature. He is a firm believer in the notion, that tragedy and for that matter all art is
8
grounded in myth. He was courageous enough to uphold the view tragedy is Dionysian
and grounded it in the natural and instinctual impulses which reach their culmination in
intoxication, revelry and exuberance. He accords a role to Apollo in tragedy and its
genesis - but allots a higher status to Dionysus the God of wine and music which is
in the songs of all primitive men and people or with the potent coming of
spring penetrating all nature with joy that these Dionysian elements
awake, which intensify, cause the subjective to vanish into complete self
forgetfulness. Under the charm of the Dionysian not only is the union
between man and man affirmed, but nature which has become estranged
tragic son, man. The work of art was thus capable of being both dream-
like and ecstatic, finally paving way for the oneness with the primordial
universe.
Nietzsche did not merely idealize myth but also spoke expansively on the function
of the artist whose role is to be a fearless critic of the times. Stephen Dedalus in A
Portrait of the Artist as a Young Man is the archetypal artist ready to hurt his mother's
feelings, desert the church and homeland to be a fearless diagnostian, cherishing virtues
like honesty and courage. The playwright must have been deeply stimulated by Carl
satisfying physical needs, or towards fulfilling emotional necessities, but in a longing for
a life of meaning and purpose. Like Jung, O'Neill was a mystic and assumed man's
problems stem from the collective unconscious to emerge as psychological truth. This
Megalomaniacs, and egoists puffed up by their hubris are guilty of this transgression
Favouring the opposite course and being meek and subservient is equally
reached its explosive climax at Gaylord Sanitorium. Dr. Weissman points out how
O'Neill's enforced inactivity as a result of tuberculosis prevented and protected him from
reaching aharchically to the opposite drives. His emotion channelised in the right
The plays are thus a consistent chronological record of O'Neill's anguish and
torment to establish one's true identity amidst opposite self images, with the real conflict
taking place in the mind of his protagonists. O'Neill's dialectical sensibility hovering
between irony and faith, instinct and spirit caused him to spin a tragic web that spurred
him to experiment in a daring manner new strategies, adventuring with new identities and
concepts, never repeating any previous expedient. His endeavours, to express the
Homey and Eric Fromm. While Freud viewed man to be at the behest of animal drives.
10
Neo-Freudians looked upon him as a respectable human being, capable of formulating his
own theory invested with the capacity to formulate his own destiny.
O'Neill demonstrated in his dramas. In fact it was seven years later that Homey came
out with her Neurosis and Human Growth - the struggle towards self- realization. There
is astonishing correspondence between these two in the description of neurotic types and
Dr. Homey views the intra-psychic struggle with self as the central conflict of all
neurosis, issuing from unconscious self-hatred. To counter this aversion, the character
Dr.Homey interprets this strategy to: "parallel the striving for the infinite
Neurosis and Human growth" (54). Paralleling this move is the neurotic's need to direct
his energies against his abhorred self. Remedy is to be found in tracing the source of this
Dr.Homey outlines three aspects of self: the actual or empirical self - all
inclusive, the idealized, the innermost self which man prizes, caused by the self-hatred to
disown what he is and become what he wants to be Doris Falk explains the motive. "His
concem with this relationship and to this self image is a kind of pride .... His pride
inflated or wounded is neurotic for it is concerned not with real qualities or capabilities
but with phantoms projected by his own mind" {Tempering of Eugene O'Neill 55).
The neurotic pride may lead him to success, but he may collapse or topple when
he comprehends the truth. The most vital is the real self which is not conceptualized but
11
felt as an unseen presence. According to Homey it is that alive, unique personal centre of
Human beings "the only part that can and wants to grow"
It is the self from which the neurotic has become estranged, alienated by his self
hatred and has descended in pursuit of false self images or masks. The Herculean
Struggle to assert itself against the whole pride system is what Homey terms to be the
central neurotic conflict. This is a tangible proof of searching for the real identity among
the assumed and cultivated roles which in reality contributes to the conflict or struggle.
which in tum, functions as the yardstick or role model towards testing and identifying the
character under scrutiny. Archetype is derived from the Greek word "archi - implying
'beginning' and 'types' a stamp denoting the primordial form - the origin of a series of
variations.
The literary theory of the archetype can be traced, to the comparative theory of
Anthropology, issuing from J.G. Frazer's The Golden Bough and the depth psychology of
Carl Jung. Frazer recognized the elemental part of myths and ritual that recur in legends
and ceremonies of various cultures. Some motifs or themes recur in myths of diverse
cultures, belonging, to different time or place. But these recurrent images have very
often a common meaning and elicit almost similar if not identical responses and serve the
same functions.
Frazer's spotlight is on: "the archetype of crucifixion and resurrection such as the
killing of a divine king" {The Golden Bough 255). Corollary to the rite of sacrifice is the
"scapegoat" archetype. The rites of sacrifice and purification may strike one as
12
inherently primitive. But their vestiges exist in the modern civilization as well. The
vicarious satisfaction people experience while hounding blacks and the persecution of
Jews, the sense of bonhomie one feels on the onset of New Year, Easter celebration the
mythology and spring cleaning repeated yearly often get transformed to mean archetypal
experiences.
have fared better as a literary device for literary analysis" {Myth and Literature 17).
Jung's contribution to the literary work of art is in his theory of racial memory and
archetypes. Unlike his mentor Freud, Jung recognizes two layers of the unconscious.
One is the personal unconscious. To Jung: "this is more or less superficial layer of
unconscious. In contrast to the personal psyche it has contents and modes of behaviour
that are more or less the same everywhere and in all individuals. It is in other words
more or less identical in all men and this constitutes the common psychic substrata of a
super personal nature which is present in every one of us {Archetypes of the Unconscious
205-206).
Archetype is a Jungian term for the inherited pattern of events and characters in
the collective unconscious. It is a permanent imprint that all share. But filtered through
the personal unconscious, this archetype in dreams and myths take the form of persons
and actions experienced by the individual in dreams and myths. This is what, links
13
psychology and myth. Archetype is hence unconscious, when perceived taking a form
that is personal and individualistic. Archetypal images in recognizable shapes that figure
in myths, dreams, art and literature are all pervasive images that have existed from time
immemorial.
Myths are the medium through which archetypes manifest themselves and
articulate themselves to the human mind. There is an inter relation between myth and
psychology, between the general and the personal Archetype - an image, a model, and
event, A story comes out alive to bear testimony to the working mind conditioned by
stress and necessity. The psychic behaviour gives life and vitality and validity to the
personalized myths and myths are personalized dreams" {Archetypes of the Unconscious
206).
an Epiphany. This maturity warrants the necessity of both the fancied and hated self with
their merger paving way for the well balanced individual. Neuroses, on the other hand, is
an abysmal failure since it fails to accept the shadow - persona - anima trio.
The Shadow is the darker phase of one's personality, the inferior and less
admired facet of the personality one wishes to suppress. Jung substantiates his argument
in his Psychological Reflections by likening Shadow to the invisible that man cannot
disguise. Shakespeare's lago, Goethe's Mephistopheles, and Milton's Satan are examples
Anima is the soul image, the spirit of human force or vital energy. According to
Jung: "It is the loving thing in man that lives of itself and causes life. Weren't it for the
linking and leaping of soul man would not sway in his greatest passions, idleness"
(Archetypes and the Collective unconscious 26- 27). Jung confers anima a feminine
designation. Helen of Troy, Dante's Beatrice and Milton's Eve are some of the
personifications. The persona is the obverse side of the anima that mediates between the
ego and external world. The persona is the actor's mask, his idealized self, a special
personality that one nurtures and yearns for as antimony to the real self.
images such as water, sun, colours, circle, serpent, numbers, garden, tree and desert.
Water stands for mystery of creation, rebirth and purification. The sun is symptomatic of
creative energy, law in nature, consciousness, and the passage of time. Blue represents
Earth mother and so is linked to the life principle, protection, fertility and growth. The
Soul Mater or the Sophia figure signifies the Holy mother and stands for spiritual
fulfillment. The terrible mother connotes negative aspects of the earth mother and has in
her terrifying life-denying qualities. The wise old man with his messianic temperament is
illustrative of knowledge, insight and intuition. The Garden connotes paradise and
immortality. Creative motif is fundamental to all myths and every day reality is governed
by her cosmos.
The motif of Return to Paradise which was not possible during the post-Iapserian
phase after the eviction of Adam and Eve is a key archetypal motif in both literature and
15
myth. Death - Regeneration is witnessed in stories where man moves from Life-in Death
The Hero Archetype gets manifested in quest initiation or scapegoat motif. The
be achieved to attain his objective. Initiation motif exhibits the hero surviving
In the scapegoat motif the hero dies atoning for the sins of the people to restore
the land to fertility. Maud Bodkin in her Introduction to Archetypal Patterns in Poetry
looks upon Archetypes as: "Themes having a particular form or pattern which points
amidst variation from age to age and which corresponds to patterns or configuration of
emotional tendencies in the minds of those who are stirred by the theme" (14).
Maud Baudkin identifies Myth with Literature, looking upon myth as a structural
organizing principle of literary form and defines archetype as a symbol. Since Archetypes
veer around the important problem of human race, a work of literature, deals with the
universal aspects of human existence. The readers perceive the universality created by
locate the archetype behind the archetype of archetypes Joseph Campbell in his Hero
with a Thousand Faces calls the term Monomyth. To Campbell the rite de passage is
the formula behind the term - a ritual involving separation - initiation - return (10).
The Quest Myth is the most sought after monomyth with Northorp Frye
according it the status of it being 'the archetypes of all archetypes, citing it as the source
of all literature of all ages which includes the death and rebirth theme, and the motifs of
16
creation and immortality. The employment of any of these motifs singularly or in unison
in work of arts elucidating general traits may bring out archetypal patterns or archetypal
term "figure" and since then the term has been secularized and adapted to suit many
When used in the secular sense, the idea of pre-figuration loses its
what Jung's theory of archetypal images has done. It is efficacious in studying works
ingrained with mythological motifs, and can give a forewarning of the plot and can offer
the modem times. John White continues: "The ideal reader can still be expected to be
familiar with most pre-figurations beforehand just as the novelist himself was when he
wrote... reinterpret them over and over and adapt them to contemporary experiences and
problems" (Past and Present 400). Literary pre-figurations are essential pre-requisites
towards comparing the present with the past with mythic personalities serving as
archetypes and role-models of human behaviour. The protean malleability of the classic
myths has afforded innumerable opportunities for fresh interpretations. Eugene O'Neill's
17
Mourning Becomes Electro has striking parallels and astonishing differences with
Sophocles\Oedipus Rex.
Reality in everyday usage means simply everything that exists. In its broadest
science, philosophy or any system of analysis. In western philosophy, there are levels of
truth, fact and axiom. Eastern religions like Hinduism and Buddhism have different
perception. At times it is a belief that is cultivated at the cost of truth. It might be based
Myth, on the other hand, is the ideal state of things rooted in tradition and culture
Psychology is behavioural pattern that tries to conform to the mythical pattern, but tends
to deviate. The straying away from the ideal is either due to the cultural attitudes of the
times or the psychological make-up of the characters themselves. Myth and Psychology
in the process do not turn out to be antithetical. The lacuna between the two is filled by
Reality.
Reality for O'Neill was sparked off by his own storm tossed life, his sensitive
temperament and the pressures around him to voice them as artistic performances through
his dramas. American literature devoid of living antiquity was also in dire need to
recommended hard work but forbade theatrical performances. But when the Americans
finally became conscious of their identity, an American theatre began to evolve, with the
18
initial purpose being to entertain. The advent of Eugene O'Neill on the American
scenario, can be best described as both timely and fortunate. An aesthetic rebel, O'Neill's
decision lay in re-orienting and re-invigorating the American theatre. It was providential
he could team up with venturesome associates Olivia Coolidge points out O'Neill's
which he otherwise might not have received. It gave him the atmosphere
in which he could work saving him from the abyss which awaited him".
{Eugene O'Neill210-211)
Again in his art, he was wary of repeating devices and used designs and forms to
suit the needs of his theme. The need to discover an objective - correlative in art drove
Books, written by O'Neill's biographers, confirm the poet's life to be the source
of his personal anguish. Critics, have in turn, highlighted the tragic themes, which have a
"Eugene O'Neill, lived the tragedy he wrote" {Eugene O'Neill: A Study 1). Doris Falk in
her sheds further light with her remark: "He attempts at once to express and assuage the
life long torment of a mind in conflict" {Eugene O'Neill and the Tragic Tension 3).
His dramas are oracular in their intention and systematically voice his view, to
design a tragic myth that he came to gradually comprehend. The myths include such
strains as fatal necessity, mistaken choice, self-willed catastrophe and anguished self
knowledge. His works are a chronological record of this torment spelling out in turn, the
19
direction of his growth as a man and artist. Louis Sheaffer in her book Son and Artist
calls him "a theatre child" bom to an Irish immigrant James O'Neill
His mother, Ellen Quinlan, whom O'Neill adored, was poles apart from her land
hungry outgoing husband. Eugene's birth and the loss of her earlier son Edmund,
transformed her into a drug addict, shattering the dramatist's belief totally. The Glebes
father's frustration. His parent's disillusionment with life and each other
created the supercharged atmosphere that coloured his earliest days and
formed the tragic attitudes that influenced his personality and later
O'Neill's love as well as hate for his father is of psychological value and has a
bearing on his use of the Myth Psychology Reality syndrome, as a linking factor
throughout his plays. His early formative years of insecurity and a sense of non
belonging, stemming from his disappointment in his parents, had much to do with his
cosmic anxiety.
O'Neill to a world of prostitutes. Jamie, with his Mephistophelian cast of mind, had
virtually stripped him of his innocence, and made him regard sex as a revolt against love.
His life as a seaman, gave him knowledge of the dispossessed world and provided
materials for his plays. He found and discovered hearts in whores who figure as
The stage became the looking glass, for him to passionately scrutinize the family
members and others he intimately knew during his voyages. He considered them to be the
converted into a battlefield, where forces of good and evil, reality and illusion and the
unconscious and conscious wrestle. Joseph Wood Krutch commends the writer: "for his
dramatic effectiveness which has never deserted him" {Nine Plays of Eugene O 'Neill
XX).
This reality in his plays is constituted by his personal life, in the form of his
family members, his experiences and the stamp they left on his thinking.
O'Neill's classically oriented plays. Mourning Becomes Electrajmd Desire under the
Elms. Highly controversial and thought provoking versions, of the Greek and French
originals, The House of Atreus and The Phaedra Legend, the two American plays
substitute the Greek cultural milieu by a contemporary setting. The plays cease to be a
Puritan strains and Freudian complexes, which in turn colour and determine the
characters' outlook. The dramatist's motive is to explore the impact caused by human
passions, brought into collision with the cultural attitudes of the nineteenth century
Americans.
In Desire under the Elms, O'Neill has made tremendous efforts to retell the
renowned Phaedra legend. The post figurations, Eben Cabot, Abbie Putnam and Ephraim
Cabot are modelled on their classical counterparts. Abbie Putnam Phaedra's, post-
21
figuration, with her fierce ambition, strength of mind and decision making capacity,
O'Neill taking refuge in the Greek Myth, has tried to launch experiments towards
articulating the sentiments of his age. He has also performed the superb act, of dispensing
with the supematuralism of Greek tragedy by replacing it with determinism to render the
behavioural pattern acceptable. The resultant effect is to render the play Desire under the
Elms, cohere with the rationalistic, and scientific temper of the age. The aim is to
In his other play Mourning Becomes Electro, O'Neill has deviated from the
classical original, by shifting the focus to Lavinia Mannon, the post figuration of Electra.
O'Neill's purpose in writing the drama lay in revamping the classical myth to highlight
Lavinia's role in perpetrating the tragedies of the family. As a responsible Mannon she
has to compulsorily embrace the Mannon fate and accept the legacy. She atones for the
crimes of her ancestors by entombing herself in the house. As the last Mannon and its
only living member, it is justice that has come full circle and it befits her to mourn.
complex, and Carl Jungian's use of the unconscious. As per Jung's findings, myths are
manifested through Archetypes and primordial images. Again, O'Neill renders fate
governed by either of the two parents, with the situations becoming catastrophic. The
behavioural pattern is also expressed through the anima and the animus, which in turn
gets projected through dreams and fantasies. The dramatist has also invested the
22
peculiarities. The myth of an ideal husband, wife, sister and brother gets exploded for
reality to surface. The Greek concept of religion and morality is rendered personal, with
The Third Chapter Interplay of Christian Faith and Dionysian Affirmation shows
O'Neill's attempts to suggest remedies for the rudderless humanity. In The Great God
Brown, the solution lies in the integration of split personalities. The other panacea
offered, in Lazarus Laughed is to look for role models and emulate them.
power through God and spirits. It is both dynamic and dangerous, manifesting itself
through crusades and heresy hunts. It can also end in creativity, such as the building of
the Taj Mahal. Besides, religion has lead to the creation of myths. The Greek, Hindu,
Islamic, Chinese, and Christian religions are woven around myths. It is also a product of
faith. It has embodied archetypal concepts resulting in religious Archetypes like Christ
As Jung has pointed out, there is a difference, between these exalted leaders and
ordinary men. This, in turn, has lead to psychic peculiarities. O'Neill interested in
analyzing human behaviour, has used the device of the mask to help him explore the
inner conflicts in sensitive individuals like Dion Antony. The net result is the conflict of
souls. In The Great God Brown, O'Neill outlines the war of souls between Dionyseus and
23
Saint Antony. What is interesting is Dion Anthony is a blend of Dionyseus and Saint
Antony.
portray the inner conflicts and tensions and to project the changes wrought within the
contending characters. It is also a war between the forces of Christianity and Naturalism.
The allusion to Dionyseus and Saint Antony, the introduction of the themes of Death and
Rebirth, and the cyclic repetition of life renders the play philosophically significant.
Brown. It is an O'Neillian effort to find in Lazarus, the Resurrected, - a palliative for the
O'Neill, the philosopher dramatist, to put across his views takes refuge in
in Greek tragedies and the others are masks of Dionyseus. The Apollonian consciousness
is a thin layer hiding, the Dionysian. O'Neill re-incarnating the Biblical consciousness in
Lazarus, confers upon him the status of a Nietzchean Superman. This is O'Neill's
substitute for the modem man, who has lost his faith in both God and religion. Lazarus,
on the other hand, affirms faith in life, with his tremendous power and in his fearlessness
for death. He is both a preacher and the practitioner of the Dionysian affirmation. He also
asserts the need to enjoy life, without any inhibition. He is the religious surrogate for the
O'Neill's The Emperor Jones, The Hairy Ape, Strange Interlude and Dynamo. The
dramatist has taken recourse to psychology, to study the behaviour of the major
24
characters. The myth surrounding the characters is ripped through, for interesting and
startling peculiarities to surface. The facade is ripped open for the myth of the
personalities to explode.
falsehood at the core of life. The enigma may be caused by the illusions human beings
are victims to. The dramatist employs psychological machinery to focus on the
deceptions human nature is fallible to. The results are unnerving, as the cultivated
characters, stage devices and symbols-the psychological trauma experience in life. Infact
he is the chief insurgent against worn out dramatic conventions. In O'Neill's psychology
to unmask Brutus Jones. It turns out to be the real expose, of the false idealized self of the
hero, whose success ethic is pivoted around big lies. It is a virtual ethnic transference,
with a Negro aping the white man's code of Imperialism and Capitalism. The
The Hairy Ape, is another O'Neillian venture, handled with artistic mastery about
power. He presents a negative view of the highly evolved mechanized America through
his protagonist.
25
with masks to go in for asides, to depict the thought processes of the characters. The
thoughts, in turn, are related to the central consciousness of Nina Leeds, a father
dominated woman. The entire play depicts her struggle to escape, the gigantic shadow of
this powerful influence. The yearning to be loved is the legacy bequeathed. It is this
passionate hunger for love, from the men related to her, which determines her action and
decides her fate. Her exclusiveness and embattled ego, though undergoing a momentary
self realization of human selfhood, ends up becoming self destructive and life denuding.
The search for God is the pivotal motif in Dynamo and Days without End.
Dynamo written and staged after Strange Interlude has its focus of interest in God the
Mother. But she is not Nina, the furious mother on warpath, for acceptance and justice.
The play is also a total reversal of the familial pattern of Strange Interlude. The
battle between the two parental halves converge on the son, Reuben Light. The play is
also a bone of contention between the rites of Fundamentalism and Atheism coloured by
materialism.
American milieu, permeated by materialism. It also pronounces the death of the old God
and the failure of science to provide the necessary comfort. Dynamo is the Delphian
oracle spelling out through anguish, of what was happening to the American soul. It also
turn out to be a strange interlude an electrical display of God, over which Father and
looking dramas, The Iceman Cometh and Long Day's Journey Into Night. His
investigation into the domains of Psychology and Myth had yielded him interesting
protagonist King Lear. He had looked up to Myths to provide him Archetypes and pre-
figurations. Psychology of Freud and Carl Jung had in turn helped him to probe into the
heart of darkness of his characters. In his final plays he has become Eliot's wrinkled
Tiresias, a Delphian oracle, an Oedipus who was en route to taste his peace at Colonus.
The Iceman Cometh and Long Day's Journey Into Night project a dramatist who
is drained of all dreams and stripped of all illusions. Myth and psychology fathomed in
tradition of the past and conditioned by conduct had checkmated truth. He had also
become mature to bid farewell to the Art Theatre rejecting revolutionary ardour and lofty
ideas. The transformation was not sudden. The decision to tap the authentic and personal
details can be gleaned and is evident in Mourning Becomes Electra, Desire under the
Elms and Strange Interlude and Beyond the Horizon. Thus Myth and Symbolism have
However, The Iceman Cometh and Long Day's Journey^ project a dramatist, who
mellowed in wisdom, was prepared to go in for character dramas. In fact, O'Neill was
familiar with the characters, portrayed in his last phase of drama writing. The characters
are no longer fictitious. Sheaffer's well documented book O'Neill: The Son and Artist, is
27
believed to contain photographic prints of some of the models from real life who figure
But he could not, as a zealous writer, keep away from the artist's preoccupation
O'Neill, Hemingway and Faulkner have asserted in their works, in myriad ways
the value of the penultimate, world of action in a world of liability. In a world permeated
by nihilism, O'Neill's answer was to dig into his own life for real materials and transform
Both Long Day's Journey into Night and The Iceman Cometh are symbolic
projections of lyric memories springing from the writer's past. The characters instead of
hiding behind a smoke screen, cast off their masks and confess their weaknesses and look
His The Iceman Cometh has teen acclaimed to be one of the best plays and a
favourite with the writer. O'Neill is said to have affirmed the fact to D.H.Lawrence at an
interview that he knew for years, the inmates of Harry Hope's Salon who suffer from
inertia and lead a vegetative life experiencing excessive paralysis of the will Hickey, the
long expected, a reminder of Samuel Beckett's Waiting for Godot is believed to be their
saviour. In fact he is the iceman who with his winning smile, brings death into the saloon
There is no action in the play, for it is fuelled around the premise of action and
inertia. O'Neill handles his familiar concept of appearance and reality not as two separate
entities but as two valid realms of truth. As long as their relationships are not disturbed
28
by controversy, peace prevails. But once their pipe dreams turn out the illusions, their
will to live is put out, Suicides, being packed to the electric chair and murderous passions
Long Day's Journey Into Night is O'Neill's moving account of his family
members under the pseudonym "Tyrones". Sheila Prasad has rightly accorded it the
status of being: "a mercilessly autobiographical play" {Tradition and Experiment in the
Plays of Eugene O'Neill 142). D.H. Lawrence's comment on his book Sons and Lovers
sheds light on what plays like Long Day's Journey into Night can do to the writers "But
one sheds one's sicknesses in books repeats and presents again one emotion, to be a
O'Neill was never reluctant to use in his plays materials from his own life. This
aspect is seen in his early play Welded where he brought out aspects of his life with his
second wife Agnes Boulton; In Days without End it is his life with his third wife Carlotta.
In The Iceman Cometh it is his days of youth at the waterfront saloon. Long Day's
Journey Into Night represents, in short, the culminating process of O'Neill dipping into
The Tyrones stand for O'Neill's father, mother, and brother with the playwright
himself masquerading as his dead brother. Edmund O'Neill does not take recourse to any
plot for his emotionally charged artifact. Frankly and realistically, he presents the
emotional pressures under which he and his near ones lived and which was ultimately
Thus the four characters whose lives are inextricably bound by family ties are at
the same time decidedly individuals. It is not heredity and environment but love that
binds them together. But at the same time love is also the crucial factor in their tragedy.
But for love the four members could have split up. But as in Sartre's No Exit hell
for Tyrones, are the outsiders to the family and not themselves. The inter relationships of
the Tyrones are complex. They are locked to one another through love and hate. They
This play which scrupulously maintains the time honoured unities, months and
years of the tragedy, are compressed into a single day. The sad history of the family is
O'Neill: The Man and His Works, the play is said to be a impressive cultural document
that as autobiographical play. He points out how the play has attributes which one
Long Day's Journey Into Night is neither a drama of action nor violence. It is a
towards confronting the truth and transmutes the memories towards lifting the play to the
universal plane. The purpose of the author is to arrive at reality through psychology to
America's major playwright. O'Neill arrived at the theatre scenario when revolutionary
techniques were being attempted and adapted to bring modernity into the domain.
these strong and creative strivings to give them an identity of their own. O'Neill
30
conscious of the need of the hour and his contribution towards the dignity of playwriting,
intention of becoming "a mediocre journeyman playwright". As Sheela Prasad has re-
iterated "he wanted to be an artist or nothing" {Tradition and Experiment in the Plays of
O'Neill was again fortunate to have found his supporters in the Province town
players and later on at the Theatre Guild. So O'Neill never lacked theatre enthusiasts to
espouse his experiments, to understand him and if need be to treat him with sympathy.
His psychological and symbolic use of stage settings reveal and expose the inner
with the tradition of Chekov, shifting the stress from the outer realism to the inner regions
of characters. The Jungle background, in The Emperor Jones, the farm setting in Beyond
The Horizon, are symbolic and symptomatic of inner reality, reflecting in turn the
working of the human mind under duress. Isolation is suggested with Jones and Yank, in
The Emperor Jones and The Hairy Ape occupying centre stage but strangely at odds with
the universe around them. Alienation is a modem factor and O'Neill, it is believed, was
the first playwright to highlight it as a theme in order to bring out the consequences of it.
Pradip Kumar Dey is right in complimenting the dramatist for his theatrical
expertise and for applauding him thus "There was no playwright on the American scene
to match the tragic reality artistically dileanated by O'Neill (A Study of His Tragic Vision
-1).
O'Neill's use of the sounds, the effect of music in Moon of the Caribees and The
Emperor Jones is Shakespearean and sometimes beyond the English playwright. The
31
chant in Thirst, and the use of the torn torn in The Emperor Jones, suggest the deep racial
roots of the negroid mind and the need to come to terms with ancestral roots Fog as a
symbol stands for impaired vision and ignorance, the twilight regions in which his major
characters exist and operate. Sometimes characters are not individualized. They
represent schematized modes of experience. Robert Mayo is the poet dreamer in Beyond
The Horizon. Dion is the extension of this character in The Great God Brown Brown in
The Great God Brown is the man of business expressing the American success ethic of
the business tycoons. Yank is a dehumanized being of the highly mechanized age who
O'Neill's ideal theatre was in antimony to his father. James O'Neill's star-studded
commercial pot boiler Monte Christo. O'Neill deliberately opted for a non realistic
imaginative theatre by going in for experiments that were both aesthetic and thematic. In
The Emperor Jones, Jones' flight from the jungle and plunging into the heart of darkness
is a journey into the darkest recesses of the mind. The drum beats correspond with Jones'
heart beats with the protagonist going to pieces. The Witch doctor and Mildred, the
Goddess of steel perform the rites of a exorcism. In the Hairy_Ape, the stokers are
encaged animals, dehumanized stokers that include Yank the protagonist as well.
O'Neill also succeeded in using the Mask Theory to show the division between
individuals, the artist and businessman and also to highlight the schism within each
individual as in The Great God Brown. The musical laughter in ThejLazarus Laughed
both contains and sustains the play's larger affirmative vision. The groups of characters
In Strange Interlude O'Neill dispenses with the mask theory to go in for asides to
reveal the different thought processes in the mind of the central character Nina Leeds. In
turn they perform the job of relating them to other characters. Dynamo both as a play and
In his final plays O'Neill rejects the use of expressionistic devices to go in for
reality. In fact O'Neill conveys an important message through his plays that is a part and
parcel of his tragic vision of life. Truth and Illusion are the two sides of the same coin
and the solution lies in reconciliation with opposite sides of self, and acceptance and
resignation to the comic as well as tragic aspects of life. Hamlet comprehends this
The Hamletian enlightenment is what the characters of Eugene O'Neill in his final
group of plays experience and accept. The plays of the dramatist systematically charter
recalling at this juncture: "In his drama we have life coming full circle as it traces the
double pattern of experience passing into art and art flowing back into life again"
about the American theatre. Through his restless experimentation, his zealous cultivation
33
of new and novel concepts, his assertive individualism his aversion and his refusal to go
for the mundane prove his plays are intensely provocative. John Gassner emphasizes this
streak in O'Neill : "His success is that of a restless spirit honest enough to refuse to feel
by rote, and his work is often as provocative as a leading question and as exciting as a
O'Neill definitely dignified the art of play wrighting in America. Winner of the
international standing. Sometimes the power and restless temperament outmatched the
skill. But at the same time, his craftsmanship helped him to carry out all major ambitious
projects handled by the western theatre since Aeschylus. The Provincetown players and
the American Theatre guild were composed of the progressive playwrights voicing
complacency and commonplace realism that was a regular feature of the American stage
till his arrival. He also expressed his anathema by rejecting victorian gentility,
demand for depth psychology, outlined by Carl Jung, led him to modernize both content
streak in O'Neill to strive, to seek and not to yield in his Eugene O'Neill: A Study:
"Humanity failed to appreciate the secret of happiness . . . it was time to dump the
human race down the nearest drain and let the arts have a chance" (167).
O'Neill was both worried and perplexed at the dividedness within man and his
war with society, While digging at the sickness within he does not deal with man's
temporal relations, unless they are valid enough to be related to God and Life. It is his
34
mystic and symbolic approach tliat renders his diagnosis of life a valid commentary on
American culture. He focuses on ambivalence rather than on harmony that lies at the
heart of life.
Consequently O'Neill as well as his creations oscillate between faith and irony,
between cultural commitment and detachment and the spiritual impasse that is the result.
O'Neill tries to tide over the problem by going in for Greek myths, but refashioning and
rendering his Desire under the Elms and Mourning Becomes Electra, contemporary and
modem. His Lavinia Mannons, Dion Browns, Abbie Putnams, Ephraim Cabots may fail
but embrace their fate, heroically though defeated in their struggle for happiness. As
Bogard has perceived, "O'Neill provides an essential purgative action. They discover,
they grow and change. What happens to them is psycho analytic and therapeutic"
{Contour in Time 48). However, the O'Neillian curtain is rung over characters like
Edmund and Larry who withdraw, confess and surrender to the inevitable flow of life.
O'Neill Towards establishing that myth is timeless and universal. As T.S. Eliot has
pointed out: "The use of Myth is simply a way of controlling of ordering, of giving a
shape and significance ... a step towards making the modem world possible for art".
Ulysses order and Myth O'Nill achieves this feet by refashioning the two Greek myths to