How quickly politicians dole out promises
Hiding behind false smiles; webs of deceit
Our nation has no choice but to repeat
A cycle of fooling the simple novices
Out of capital shadow our hope must emerge
A new face of common sense and purity;
Amidst our dire times a sincere rarity
To lead on a nation's redeeming surge
Monday, September 22, 2008
Long Day's Journey into Night Mini-Research
Long Day's Journey into Night
Sean Quinn
A-6
9-22-08
Tyrone and Jamie constantly wage war against one another throughout O'Neill's work "Long Day's Journey into Night." Arguments rage on, but no closure can ever be found, mirroring the inconclusive relationships prevalent throughout the entire Tyrone family. O'Neill's theme of communication breakdown is especially apparent when considering the connection between James, the failed father, and Jamie, the son who knows nothing other than how to fail.
In the play's opening, Mary enters the room, asking what the two are fighting about, to which Jamie replies, "same old stuff." The duo's rants do seem cyclical as they only dance around Mary's morphine addiction and only speak of how good it is to have her, "back to her old self." Because no one's minds can ever be changed about who is at fault for a family member's shortcomings, the two simply butt heads about the same issues throughout the work with the same results. Jamie doesn't leave home and can never become a true self-supporting man while James finds himself unable to be a parent, as his two boys are at least physically matured. Jamie can never become a man, and James can never become a parent, leaving the two unable to finish a fight. Meanwhile the two are unable to finish a fight precisely because Jamie can never become a man, and James a parent.
No progress is ever made through their arguments because the very essence of their conflict has been thrown off of its axis. The inherent conservative father - progressive son was never allowed to take place because Tyrone was never any type of father. Tyrone is a sell-out actor as Jamie is a very poor, lazy one. James promises Jamie that he has potential, which the latter does not pursue with any real conviction. Jamie can not take the theatre seriously because his father-figure has taken the one art form which he holds sacred, and auctioned its reputation away to the highest-paying role. James' actions led to Mary's addiction as he shipped her off to a cheaper sanitarium, leaving Jamie without a rock to reach to for shelter. Because James had no real values of his own to try to instill into his son, Jamie had to stable ground to rebel against. He cannot leave his parents because he has yet to find a reason to rebel, only to complain. Jamie cannot stick to any guns of his own because Tyrone has yet to fire a shot. James is at a loss for paternal advice, and thus his child cannot reach for independence because nothing is being placed before him with any sincerity. Now that Jamie is a young man, Tyrone either cannot or refuses to attempt any fatherly actions.
It is precisely because Jamie is a young man that he should be leaving. Jamie knows enough of the outside world to realize how to avoid his father's failures. Although Tyrone never gave Jamie an example to follow, he certainly showed him how not to live. Due to of these gems of ineptitude, Jamie should be able to put together his own understanding of the world and go out on his own. It is because Jamie's father was a failure that he should not be. Therefore, Jamie can also be accused of simply using his father's poor example as an excuse to be dependent on his parent, even as he reaches adulthood. The lack of progress between the two serves to illustrate O'Neill's opinion on how a failed father and an emotionally weak son can lead to a failed relationship.
Ranald, Margaret "Character Analysis." Oneill Study Companion copyright 1999-2008 by eOneill. author can also be found on
O'Neill, "Long Day's Journey into Night" Yale Nota Bene, 2002.
Identify a conflict within the play that reveals a thematic idea within Long Days Journey Into Night? Person - vs - Person, Son - vs - Parent, Person - vs - society, Person - vs - Self, and Person - vs - Fate.
Sean Quinn
A-6
9-22-08
Tyrone and Jamie constantly wage war against one another throughout O'Neill's work "Long Day's Journey into Night." Arguments rage on, but no closure can ever be found, mirroring the inconclusive relationships prevalent throughout the entire Tyrone family. O'Neill's theme of communication breakdown is especially apparent when considering the connection between James, the failed father, and Jamie, the son who knows nothing other than how to fail.
In the play's opening, Mary enters the room, asking what the two are fighting about, to which Jamie replies, "same old stuff." The duo's rants do seem cyclical as they only dance around Mary's morphine addiction and only speak of how good it is to have her, "back to her old self." Because no one's minds can ever be changed about who is at fault for a family member's shortcomings, the two simply butt heads about the same issues throughout the work with the same results. Jamie doesn't leave home and can never become a true self-supporting man while James finds himself unable to be a parent, as his two boys are at least physically matured. Jamie can never become a man, and James can never become a parent, leaving the two unable to finish a fight. Meanwhile the two are unable to finish a fight precisely because Jamie can never become a man, and James a parent.
No progress is ever made through their arguments because the very essence of their conflict has been thrown off of its axis. The inherent conservative father - progressive son was never allowed to take place because Tyrone was never any type of father. Tyrone is a sell-out actor as Jamie is a very poor, lazy one. James promises Jamie that he has potential, which the latter does not pursue with any real conviction. Jamie can not take the theatre seriously because his father-figure has taken the one art form which he holds sacred, and auctioned its reputation away to the highest-paying role. James' actions led to Mary's addiction as he shipped her off to a cheaper sanitarium, leaving Jamie without a rock to reach to for shelter. Because James had no real values of his own to try to instill into his son, Jamie had to stable ground to rebel against. He cannot leave his parents because he has yet to find a reason to rebel, only to complain. Jamie cannot stick to any guns of his own because Tyrone has yet to fire a shot. James is at a loss for paternal advice, and thus his child cannot reach for independence because nothing is being placed before him with any sincerity. Now that Jamie is a young man, Tyrone either cannot or refuses to attempt any fatherly actions.
It is precisely because Jamie is a young man that he should be leaving. Jamie knows enough of the outside world to realize how to avoid his father's failures. Although Tyrone never gave Jamie an example to follow, he certainly showed him how not to live. Due to of these gems of ineptitude, Jamie should be able to put together his own understanding of the world and go out on his own. It is because Jamie's father was a failure that he should not be. Therefore, Jamie can also be accused of simply using his father's poor example as an excuse to be dependent on his parent, even as he reaches adulthood. The lack of progress between the two serves to illustrate O'Neill's opinion on how a failed father and an emotionally weak son can lead to a failed relationship.
Ranald, Margaret "Character Analysis." Oneill Study Companion copyright 1999-2008 by eOneill. author can also be found on
O'Neill, "Long Day's Journey into Night" Yale Nota Bene, 2002.
Identify a conflict within the play that reveals a thematic idea within Long Days Journey Into Night? Person - vs - Person, Son - vs - Parent, Person - vs - society, Person - vs - Self, and Person - vs - Fate.
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