“The Curse of the Misbegotten: The Wanton Son in the Plays of Eugene
O’Neill and Sam Shepard.” Eugene O’Neill Review 18.1-2 (1994): 193-98.
articulating several points of similarity between O’Neill and Shepard,
Abbott focuses on “their depiction of the wanton son, their most
complex and directly autobiographical character,” which renders
Shepard “O’Neill’s most direct descendant.”
“Beyond the ‘New Woman’ in O’Neill’s Strange
Interlude.” Triveni: A Journal of the Indian Renaissance 49.4 (1980): 57-65.
is the “new woman” who revolts against restrictions, forging her own
“Beyond the ‘New Woman’ in O’Neill’s Strange
Interlude.” Abstracts of
English Studies (June 1986); and Eugene
O’Neill Newsletter 10.2 (1986): 47.
the article published in Triveni:
A Journal of the Indian Renaissance 49.4 (1980): 57-65.
“Lowry and O’Neill: Cows and Pigs and Chickens.” Malcolm
Lowry Review 19-20 (1986-87): 129-30.
dream of a farm in Cardiff is echoed by Yvonne in Under
“‘Through a Glass Darkly’: O’Neill’s Aesthetic Theory as Seen
through His Writer Characters.” Arizona Quarterly 32 (1976): 171-83.
nine O’Neill writer-characters, Adler shows that from the poet in Fog
to Edmund in Journey,
O’Neill demonstrated that writers can lift man from confusion to
“Two Plays for Puritans.” Tennessee
Williams Newsletter 1.1
(1978): 5- 7.
that “the numerous correspondences in plot, stage setting, characters,
language, imagery, use of biblical allusions and the Oedipal motif, and
even similar quasi-religious, religious or philosophical attitudes all
suggest that Tennessee Williams had O’Neill’s
Desire at least unconsciously in mind when he wrote Kingdom
of Earth (The Seven Descents
of Myrtle).” Concludes, though, that
Kingdom fails as a play while Desire
“The Mirror as Stage Prop in Modern Drama.” Comparative
Drama 14 (1980): 355-73.
Discusses four dramas—Pirandello’s It Is So! (If You Think So), Camus’ Caligula, Genet’s The Balcony, and Touch—and three musicals—Man of La Mancha, Cabaret, and A Chorus Line—in terms of the mirror as prop. When Con Melody ﬁrst stands in front of the mirror, he tries to erase the “son of a thievin’ shebeen keeper” but in his last appearance, he parodies his earlier performance as major.
Mansions “O’Neill achieves
closure through multiple images of enclosure.” Act II, for example, ends
as Simon is encircled by his mother and his wife. The play ends as Sara
locks herself in the cabin and Deborah entombs herself in the summerhouse.
Suggests that Electra and Journey
also achieve closure through enclosure.
“‘Daddy Spoke to Me!’: Gods Lost and Found in Long Day’s Journey into
Night and Through a Glass Darkly.”
Comparative Drama 20 (1986): 341-48.
similarities between O’Neill’s play and the Bergman ﬁlm: both
are plays of four ﬁgures; in both plays the crisis in faith is
bound up with a failure in vocation; both plays move from darkness into
light (however momentarily); women characters in these plays see the image
of a male God as threatening, etc.
“Beyond Synge: O’Neill’s Anna
Christie.” Eugene O’Neill
Newsletter 12.1 (1988): 34-39.
his opening paragraph Adler outlines what he will do in this article: 1)
look at Riders to the Sea for
“visual and verbal texture” that appealed to O’Neill; 2) examine Anna
to see how Synge’s work was “personalized” by O’Neill; 3) consider
the theme of personal freedom in this play as one that appealed to
O’Neill throughout his canon.
“The Legacy of Eugene O’Neill According to Stark Young.” Eugene O’Neill Review 20.1-2 (1996): 64-70.
the critic, searching for the basis of Young’s admiration for O’Neill.
Adler determines that the myth-making and soul-baring qualities of the
drama are what endear it to Young. Ultimately, Young’s assessment of
O’Neill can be found in the “Critic’s Diary”: “whatever
(O’Neill’s) faults and limitations, he breaks your heart.”
“O’Neill and Tragedy—A Longing to Die.” Estudos
Anglo-Americanos (Sao Paulo, Brazil) 12-13 (1988-89): 24-29.
and Electra the characters are in love with death and that death gives
meaning to their lives—their only solution for dissatisfaction with
themselves and their plights.
“‘Hybris and the Mannons’: A Study of Eugene O’Neill’s Trilogy Mourning
Becomes Electra.” Estudos
Anglo-Americanos (Sao Paulo, Brazil) 17-18 (1993-94): 23-41.
intent is “to prove that O’Neill’s trilogy, Mourning
Becomes Electra, deals with the tragedy of self, or we might say
referring back to Greek tragedy, that it is a tragedy of hybris—not the
wanton insolence in the Greek sense of the word—but a tragedy of pride,
the Mannons’ tragic ﬂaw.” The work is about the search for
self, one which leads to “frustration and self destruction.”
“On the American Line: O’Neill’s Mourning
Becomes Electra and the Principles of the Founding.” Southern Review 22.1
that “twentieth-century American drama reflects the reduction of
equality and liberty accomplished by the determinist historians and by the
followers of Freud”—plays tend to be either economic parables or
Freudian analyses. But a few plays move beyond these limits to achieve
“artistic honesty.” Looks at
Electra as a play in which “O’Neill goes some distance toward
reestablishing a moral meaning for equality and liberty.”
“Eugene O’Neill: Modern and Postmodern.” Eugene
O’Neill Review 13.1 (1989): 14-26.
the playwright’s attack on the superficial realism of the stage we find
O’Neill’s contribution to modernism and his anticipation of
postmodernism as well since “the more radical postmodernism questions
the codes, myths, techniques of modernism.” Anna furnishes the evidence.
“The Iceman of Kevin
Spacey.” New York Times 4 Apr.
1999, sec. 2: 1+
says of Iceman, “You know, it’s crazy. The play has everything going
against it. It’s too long, it’s clunky, it’s got all its
difficulties. But one reason I’ve fallen in love with it is because
O’Neill not only knew these people, he loved them, and he wrote about
them with clarity and with an outrageous sense of humor that allows them
to rib each other and be in on the joke.” (The interview also reveals
that Spacey supports an egalitarian approach to acting: he receives the
same minimal-scale wage as the other actors.)
“Eugene O’Neill: An Early Letter.” Resources
for American Literary Study 1 (1981): 109-11.
Primary Works section, G10.
“Irish Myth and Legend in Long Day’s Journey into Night and A Moon for the Misbegotten.” Eugene O’Neill Review 22.1-2
anecdote about the Shaughnessy-Harker conflict in Journey,
that becomes the centerpiece of Misbegotten,
is presented as a microcosm of struggles and triumphs of Irish history
and myth. Sean O’Faolain’s The
Great O’Neill (no, not about Eugene) enters the plot.
“Shakespeherian Rags.” Modern Drama 31 (1988): 73-80.
an intriguing if sometimes strained discussion of Journey,
Astington details what he sees as Shakespearean influences on the play.
Contends that the particularly biographical themes of Journey
prompted O’Neill “unconsciously or not” to hint at the imagery of Antony
and Cleopatra as well as Romeo
Scarton. “The Self
Destructiveness of an Idealist: A Study of Mary Tyrone in Eugene
O’Neill’s Long Day’s Journey
into Night.” Estudos Anglo-Americanos (Sao Paulo, Brazil) 5-6
Mary Tyrone’s symbolic regression at the end of the play as a search
“for lost innocence.” Memories and illusions provide no comfort,
however, and “she finishes as a loser when attempting to regain … (her
innocence) by retreating to her past.”
“On Blake and O’Neill.” Eugene O’Neill Review 14.1-2 (1990): 25-38.
“The aim of this essay is quite limited: to describe as clearly as possible the probable grounds of imaginative contact and similarity between O’Neill and Blake”; Blake’s legendary Irish/O’Neil heritage, the poet’s romanticism (his idealism, his social conscience) and other “confluences” are discussed herein.
© Copyright 1999-2007 eOneill.com