Long Day's Journey into Night

Long Day’s Journey into Night Long Day’s Journey into Night, written by Eugene O’neill, is a play about a tragic, gloomy day in the lives of the Tyrones’. With O’neill’s use of elements such as diction, syntax, selection of details and method of organization, he is able to create such an accurate play, depicting a situation similar to his own, filled with gloominess and alcohol. As for the narrator of the play, there really isn’t one, but it is shown that Edmund Tyrone in the play reflects O’neill

In Anne Fleche’s critical analysis essay, "Long Day's Journey into Night: The Seen and the Unseen," I can find that her views on the motives of the Tyrones’ are parallel to mine. The opening sentence of her essay is, “The characters in Long Day's Journey into Night find themselves creating a new kind of religion, in which they experience, not sin without guilt, but guilt without sin--the habit of belief without its antecedent [preceding event]” (Fleche). In other words, the characters are recognizing

Long Day’s Journey into Night by Eugene O’Neill is a complicated story. It shows a day in the life of a dysfunctional family. This family is made up of four extremely different personalities. Tyrone is the sympathetic father. Mary is the morphine addicted mother. Jamie is the difficult older son and Edmond is the sick younger son. Everyone in this family has their strengths and weaknesses. In Tyrone’s case his strengths and the weight of his family’s weakness makes him the most sympathetic

as thoses who have supported them all their life, through the positive and negative times. In Long Day’s Journey Into Night, Eugene O’Neill, writes about a family that seems well rounded but is unfortunately going through the struggle of an alcohol and drug problem. These characters fail to see they can turn to each other due to the dishonesty between the Tyrone’s family. In Long Day’s Journey Into Night, it is a play that takes place in the living room of the James Tyrone summer home in August,

Time in Eugene O'Neill's Long Day's Journey into Night The pre-Socratic Greek philosopher Heraclitus said in his theory of the Universal Flux that "everything flows and nothing abides; everything gives way and nothing stays fixed. You cannot step twice into the same river, for other waters and yet others go ever flowing on... Time is a child moving counters in a game." (Allen 103) And so it is with the characters in Eugene O'Neill's Long Day's Journey into Night. Time is little more than

	In the play Long Day’s Journey Into Night by Eugene O’Neill, the Tyrone family is haunted not by what is present in flesh facing them, but by memories and constant reminders of what has been the downfall of the family for years. " No it can never be now. But it was once, before you-" (72) [James Tyrone referring to the Morphine addiction of his wife, Mary, which attributed to the undoing of the family]. Their trials and tribulations are well documented by O’Neill through

Long Days Journey: The Significance of Fog (8) A Long Day’s Journey Into Night, by Eugene O’Neill, is a deeply autobiographical play. His life was rampant with confusion and addictions in his family. Each character in this play has a profound resemblance, and draws parallels and connections with a member of his own family. The long journey that the title of the play refers to is a journey into his past. Fog is a recurring metaphor in the play; it is a physical presence even before it becomes a crucial

“rational, strong, protective, and decisive” while woman as “emotional (irrational), weak, nurturing, and submissive” (Tyson 85). Because of such system, women are indoctrinated into the mentality that they are inferior to men. In the play, Long Day’s Journey into Night, Eugene O’Neill portrays Mary Tyrone, the female protagonist, was being oppressed

of our world. Modernism is a style of writing that became popular in the early 1900’s. This style was developed in the period of WWI, a time of many important social changes. A Streetcar Named Desire and A Long Day’s Journey Into Night are two plays that exemplify the style of modernism. Journey is a modernist novel with a tragic storyline about the Tyrone family. The main conflict in Streetcar is modernist because of the traditional, fundamentalist thinking. Each of these plays contains a character

The Ending to Eugene O'Neil's Long Day's Journey Into Night It is understandable that so many people in our class did not find the last act of Eugene O'Neill's Long Day's Journey Into Night a satisfying one; there is no tidy ending, no goodbye kisses or murder confessions; none of the charaters leave the stage with flowers in their hands or with smiles on their faces and none of the characters give explanatory monologues after the curtain falls, as we've become accustomed to by reading so much