horrifying sounds and sights; gruesome acts and frightening ghosts like Macbeth? Or would you write about a seemingly normal family from the outside, where the unknown hides from behind common decisions and objects. First and foremost, Long Day Journey into night by Eugene O'neill and Macbeth by Shakespeare share a common theme with each other. The characters in both of these dramas lack communication with one another. Let’s examine Macbeth first. The playwright Macbeth begins with Macbeth, who
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 who
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
As seen in Long Days Journey into Night by Eugene O’Neill, drug abuse affects women and men differently. Mary Tyrone seems to be affected mentally by her morphine addiction, whereas the men, Tyrone, Jamie, Edmund, in the household appear to be affected physically by their alcohol addiction. Cynthia Robbins’s “Sex Differences in Psychosocial Consequences of Alcohol and Drug Abuse” supports the different effects of drug abuse among men and women. She examines three different hypotheses concerning gender
be regarded rather as her father's daughter than as her husband's wife." (ds.dial.pipex.com). This heredity is emphasised throughout the play. O'Neill uses the idea of heredity to good effect in both Long Day's Journey into Night and Desire Under the Elms, in Long Day's Journey into Night, Edmund becomes the focal
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
The nature of the pattern of a travelogue is determined by the personality of the writer. V.S. Naipaul is a zealous traveller, like Hakluyt, Marco Polo, Darwin, Defoe and so many other sailors and sojourners; he has travelled far and wide. His travel writing exhibits various aspects in the light of history, ethnography, sociology, aggression, concern for weak, sympathy for sufferers and his grand evaluation of men, manners, objects and development of a country. He has been one of the greatest Caribbean
“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
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