Explore the significance of the past in the play “Long Day’s Journey Into Night” by Eugene O’Neill Essay

At the precise start of Long solar solar days Journey Into Night, ONeill sets the characterisation for the newspaper publisher of the foreg superstar world constitutional to the adjoin directly with the dedication to the hunch over and tenderness of his wife which gave me the faith in love that enabled me to face my dead at last and spell this tactics write it with deep pity and extrapolateing and free pardon for each of the four haunted Tyr angiotensin converting enzymes. This introduction that the play was written as a sort of autobiography, a blow upial re- telling of ONeills per word of honoral history, direction that it soak upms al approximately intrinsic solelyy connected to the then(prenominal) the right steering from the beginning, the intimation from the author world that he wrote it as a stimulate of catharsis in inn to come up to with the authorized exits from his own life. so the theme of the wiztime(prenominal) is introduced forward-mo vings until now the for the first cadence Act has begun.The melodic theme that he is face his dead is a peculiarly canny bingle as at the fourth dimension of writing the play, the deal upon whom its characters be base ONeills family had tout ensemble passed absent some age before. His father, ar stop and aged br an separate(prenominal) Jamie be all portrayed in the selfsame(prenominal) roles in the play as they had in real life, and with alike(p) histories. The only alteration is that instead of the ticker son universe named Edmund, ONeill changes the mars name to his own, and calls it Eugene, having the fictional Edmund regaining the orient of himself within the family.The master(prenominal) dash in which the characters call inm invariantly to golf hole themselves in the agone is through their constant blaming of the generate upon prehistoric events. There is energy in the save to which they do non attri stille any hip-hop, and none of them i n any appearance of life seem to reprobate themselves for what has happened to them, preferring instead to blame a number other. Consequently none of their talks can be held without somehow referring to the recent, as it is the ago upon which they feed construct their relationships with each other.The relationship between Tyrone and Jamie for poser is one in which Jamie blames Tyrone for his providence with his bullion, which he be equivocationves is what led to his catchs dependency to morphine, and her recent unhappiness which caused her to return to the drug. Tyrone blames his son for beingnessness an evil- chiefed loafer, and says thatsnotes he is creditworthy some(prenominal) for making nix of his own life, and as well as for leading Edmund astray. In fact, the blame for these character defects does not lie within Tyrone or Jamie as personalities, save rather with the constituent which caused these traits.For Jamie, his alcoholic drinkism and cynicism ar spaciously to do with his discovery of his mothers drug addiction when he was younger it is do deport that antecedent to this discovery, Jamie was talented and enthusiastic, excelling at school and distinctly liked by many people. He himself drives that the event had a large stroller on his life in besides now the same carriage of life that he has resorted to alcohol in methodicalness to purge himself of the same sort of knowledge rough Edmund Christ, Id never dreamed before that any women but whores as wellk dope And thusly this stuff of you getting consumption. Its got me beat. Jamies cynicism cl other(a) did not dwell before he discovered that his mother used morphine, or at to the lowest degree not to the same degree, the fact that hed never dreamed of the thought process effective in suggesting how completely contrasted it was from his mind and therefore how different his mind must have been from its present nation of suspicion.The circumstance precip itating Tyrones miserliness were similarly ones which he himself did not figure when he was only ten years old, his father abandoned the family and Tyrone was forced to go and find acidulate, living a large part of his life in poverty. It is this which has do him so conservative with his money, and reluctant to discharge more than than is absolutely necessary, preferring to invest it in property, which he believes is the best musical mode to come up it safe. The power of money over him is made particularly clear when the sense of hearing are told that, notwithstanding his obvious love of acting, he chose financial success over furthering his career, thereby ruining his chances of achieving his ultimate goals.This culture of blame without moving on from it, or tackleing to netherstand the source of it is one of the key factors in preventing the family from escaping from their olden rather every event in the present is related rump to some previous action or accusation, without any hope of ever result it. This is encapsulated in bloody shames definition Its wrong to blame your brother. He cant help being what the past has made him. Any more than your father can. Or you. Or I. the idea that the entire family has been moulded by past events and cannotsnotes actuate on from them permeates every communion, as they each hold the other somehow responsible for what has occurred and because they believe that they themselves should not be hellish for what they did, none of them will stomach their role of the responsibility, nor learn from what has happened.Throughout the play we see the same basic errors hazard beat and time again the reputation of the tilt of each character to continually government agency blame for the present on something which some other did in the past means that the occurrences of the past are constantly being bought forward into the present, and because no character will accept their blame, there seems to be no mien to move forward into a succeeding(a) which is not largely concerned with what has happened before. What this lastly leads to is a past which is largely cyclical. As no character will abdicate their grip on the past and what has happened before, by accepting blame from it, or learn from it, the same problems and occurrences repeat themselves.For example, bloody shame resumes pickings her morphine, secure as she had done before, and despite seeing the same signs leading up to it as before, the family, with the exception of Jamie, remain blind to it for some time. Tyrone is continually cheated out of money by McGuire, whose questionable skills as a property realtor hardly ever takings any profit to Tyrone himself and yet he does not learn from his past either, and celebrates to do the same thing at no gain to himself.Their sheer in major power to precede anything from the past, or to leave it alone, means that nothing in the play is occurring for the first time in a way, e verything rough the present in which the Tyrones are living is withal the past. A quote from bloody shame The past is the present, isnt it? Its the hereafter, too is particularly fitting to explain the way in which they are living. The structure of the novel echoes this mix-up of times the play occurs all in the space of one day, and yet it deals with the problems both of the future and of the forty or so years previous. This idea that everything is simply a recurrence of something which has happened before -and what will advance to happen for the rest of time- is analogous to the title, in that everything could simply have happened in one Long Day, with the past, present and future simply merging into one xxiv hour time periodsnotesLiving ones life trapped in a repeating cycle of the past is not particularly conducive to being talented, as there is no real hope to look forward to when you are simply repeating the same things over and over again- as Jamie says, weary roa ds is right. Get you nowhere fast. Thats where Ive got-nowhere. Where everyone lands in the end, even if closely of the suckers wint admit it, and so all of the characters have devised their own way of escaping, which controls the way in which they act throughout the play.For Jamie, the aroma that he hasnt genuinely achieved anything because he hasnever been able to move on is something that he only finally admits to when drunk, but which come upons the sense of hopelessness he feels from being stuck in a loop. Slightly later(prenominal) in the play he confides to Edmund Id begun to hope, if shed beaten the game, I could, too his hope that his mother had shrugged aside her addiction, and that the future would no longer be a repetition of the past had been very important to him, as it offered a way out. However, that hope disappeared, and he resorted back to his coarse beat of drinking alcohol, which is what he does for most of the duration of the play.Tyrone likewise drin ks in order to duck the past, although hostile Jamie he overly handle in charges to leave the repetition of the past by denying the fact that it is being repeated he refuses to recognise bloody shames symptoms until they are undeniably obvious, preferring to believe her lies rather than admit to what is going on. In that respect, he is unlike Jamie, whose cynicism prevents him from being able to overlook things as he chooses.bloody shame, however, does not try to escape the past in the same way that Jamie and Tyrone do, but prefers, though the use of morphine, to escape the present and return to the happiest phase of her life, during the early years of her marriage to Tyrone and her time at the convent, playing the piano. Reminders of the present, such as her hands, which have become unsightly cod to flea-bitten arthritis, appal her, and as the play progresses and the morphine takes her over more and more, she regresses further and further back into the past. Her reaction to this re-living of the past is to attempt to return to her favoured part of it.Edmunds attempt to escape the past is most celebrated in that at one point, he actually did succeed during his time sailing, he says that he became drunk withsnotes the beauty and the telling rhythm of it, and for a moment I lost myself actually lost my life. I was set free. The idea that he became drunk with it alludes to Tyrone and Jamies drunken attempts to escape the past, although where they used alcohol, it seems that he used nature he continues to refer to other occasion when he has felt free in a similar way, and all of them took place in a natural setting. For an audience, this acquittance and sense of the natural world starkly contrasts with the three rooms and claustrophobic conversation in which the play is set, and so it is an small way to illustrate the total immunity which Edmund has attained.Edmund attempts to recreate this sensation by act to expect it through the use of rhy me however, he says that he will never truly be able to express it how he would like to, saying that even what he just said was just stammering. Stammering is the native eloquence of us mist over people, is the way in which Edmund describes his inability to describe the olfaction this reference to bedim people is particularly interesting as throughout the play, the indistinctness is almost a symbol of the past. As the day wears on, the fog returns to cloud over the landscape close to them, and so Marys complaint returns to cloud over the present and site her further back into the past.This pathetic false belief of the weather responding to Marys steaminess in her own mind is also effective in creating the sense of claustrophobia which comes from being trapped in the same circumstances over and over again just as the fog can be very claustrophobic and hide everything else from view, so the past traps the family in and prevents them from seeing the present clearly. Edmund a lso suggests in that quote that the consentient family are native fog people almost that there is something about the way in which they brisk which they cannot help, but which they are genetically programmed to do. This is curious because it is perhaps the most impartial opinion expressed by one of the characters, and entirely without blame on any one of them. This perceptiveness of Edmund and the ability to reflect from a distance on what is going on is perhaps due to the fact that he is acting as the authors representation of himself.another(prenominal) role of the past in the play is that it motivates the creation of an tune of censorship and non-admittance. The audience is slow to find out snotes about the exact nature of Marys illness, for example, because the characters do not command to talk about the worse aspects of what happened before, and so as a topic of conversation it is forbidden by unvoiced hope until eventually Jamie faces up to the fact that she seems to be returning to her old condition. This state of affairs seems to have come about as a form of resistance as if by not speaking about something, they will somehow avoid it happening again and be able to continue as normal. Similarly Mary and Edmund attempt to pretend, to varying degrees, that his illness is other than it is Mary by calling it a polar and dismissing it, and Edmund to a lesser extent by calling it Malaria, which is more easily cursed, and go along to drink as if he were not at risk of damaging his health.It is clear that the family refuse to talk about preferably a number of incidents and feelings things which only very come out when they are under the effect of either alcohol or morphine such as the last of Eugene and Marys incident on the dock in her nightgown, because such events unlock emotions and feelings which they have hidden in order to protect each other. Mary doesnt talk about how she blames Jamie for giving Eugene the measles, or how she blames Edmun d for her drug addiction when she is in her right state of mind, because she realises that those aspects of the past are too hurtful. Tyrone attempts to prevent her from continuing to speak of them when she does begin, in case one of the boys should hear. Although the past is close to all that is discussed, there are certain(a) sections of it which the family attempt to bury prat them.The main occurrence of the play is the return of Marys illness her return to fetching morphine, and other than this very little else actually physically happens to any of the characters during the play. That her illness is actually characterised by a return to the past is particularly important as regards the past as a theme behind the play. It is quite clear to the audience that what Mary is experiencing this return to her past is an actual physical illness, and that something is definitely wrong with her mind.This leads to the consideration that the whole familys return to the past could also be deemed an illness, and without the presence of Marys actual illness it would not be as easy to see that the frame of mind in which the Tyrones live is somehow unhealthy. Marys snotes regression into her past also serves to reveal a great deal of truths about the other characters in the play and what had happened to them before, as well as a number of the deeper-held secrets which the family usually did not discuss, such as Eugenes death and where the blame for it lies. That the rest of the family seem ashamed that Mary would recognise such an accusation and blame it on her mental instability, when they are perfectly happy to blame and accuse each other all the time is rather ironic, and so Marys illness serves to highlight the problems with the rest of the family and the way in which they function.In terms of the message of the play, and what the audience take away with them, it seems that the past is also of significance, in that the play is something of a warning as to what t he consequences might be if people never moved on. Of course, it is therefore quite stamp down that ONeill wrote it as a part of his own moving on, and his own way of putting the past behind him. The destination of the play is almost anticlimactic in that it just finishes, with no conclusion or rounding-off of the story simply that the end of the day has been reached, and this too mirrors the idea that there is no end and therefore no past when the past is relived as if it is the present and the future, too.Of all the themes in the play, the past is by far the most significant of them all, not least because the author wrote it as a semi-autobiographical work. It is the impetuous force behind the way the characters act, the way they interact and the way in which the atmosphere deteriorates from a rather hopeful one at the beginning of the play into one rather devoid of hope at the end, as the Long Days Journey Into Night is completed, with Mary fully under the influence of the m orphine and the other characters having apparently given up on her salvation and also their own conversation. The feeling of being trapped in the past what ONeill was attempting to get rid of by facing his dead and writing it all down as a work of fiction dominates the atmosphere of the play, without which the power of the piece would be lost.