Assignment - 8

Assignment - 8 Haunted by addiction, memory, and illusion: Family tragedy in O’Neill’s Long Day’s Journey into Night.

Assignment Details:

Paper : 108 - The American Literature (22401)

Topic : Haunted by addiction, memory, and illusion: Family tragedy in O’Neill’s Long Day’s Journey into Night.

Submitted to - Smt. S.B.Gardi Department of English M.K.B.U.

Date of Submission: 17/04/2025

Personal Information:

Name: Khushi Raviya

Batch: M.A. Sem - 2 (2024-2026)

Enrollment Number: 5108240029

Roll No: 10

Table of contents

• Assignment Details

• Personal Information

• Abstract

• Key Words

• Introduction

• The Role of Addiction and Self-Destruction:

• Family Dynamics and Dysfunction:

• Memory, Guilt, and the Burden of the Past

• The American Dream and Disillusionment

• Illusion vs. Reality

• The Role of Illness: Tuberculosis and Mental Health

• Symbolism and Imagery in the Play

• Autobiographical Elements in Long Day's Journey into Night

• Masculinity, Fatherhood, and Male Identity

• The Play as Modern Tragedy

• Conclusion

• References

Abstract:

Eugene O’Neill’s Long Day’s Journey into Night stands as a profound exploration of family tragedy, haunted by addiction, memory, and illusion. This paper examines how O’Neill weaves these themes to portray the disintegration of the Tyrone family, drawing on autobiographical elements that deepen the emotional resonance of the play. Central to this analysis is the role of addiction as both a personal and collective downfall, the dysfunctional family dynamics rooted in cycles of love, resentment, and blame, and the oppressive weight of memory and guilt. The paper also explores O’Neill’s critique of the American Dream, the tension between illusion and reality as a coping mechanism, and the symbolic use of illness and imagery such as fog, light, and the sea to reflect the characters' internal states. Finally, it positions the play within the framework of modern tragedy, highlighting its existential dimensions and redefinition of classical tragic elements. Through scholarly analysis and reference to critical interpretations, this paper argues that Long Day’s Journey into Night is not only a deeply personal work but also a universal representation of human fragility, loss, and the desperate search for meaning in a fractured world.

Keywords:

Family tragedy, addiction, morphine, alcoholism, memory, guilt, illusion, reality, disillusionment, symbolism, fog, tuberculosis, mental health,  existentialism, psychological drama.

Introduction:

Eugene O’Neill’s Long Day’s Journey into Night (1956) stands as one of the most significant works in American dramatic literature, not only for its literary merit but for its harrowing and intimate portrayal of family tragedy. Set over a single day, the play delves deep into the psychological and emotional turmoil of the Tyrone family, exposing the destructive forces of addiction, memory, and illusion that govern their lives. Drawing heavily from O’Neill’s own autobiographical experiences, Long Day’s Journey into Night reflects the playwright’s personal confrontation with his family’s struggles his mother’s morphine addiction, his father’s miserliness, and his own battle with illness. These elements are not merely biographical details but serve to universalize the play’s themes, offering insight into human suffering, denial, and emotional disintegration. Through complex character interactions and recurring symbols like fog and darkness, O’Neill explores the ways in which love, resentment, and guilt coexist within the family unit, making it impossible for the characters to break free from their shared pain. By blending deeply personal material with broader existential and social questions, O’Neill creates a modern tragedy that examines not only familial collapse but also the failure of the American Dream and the illusions people create to survive their harsh realities. This paper will examine how addiction, family dysfunction, memory, disillusionment, illness, masculinity, and symbolism intersect to create a rich and devastating portrait of the Tyrone family’s tragic downfall.

The Role of Addiction and Self-Destruction:

Addiction in Long Day's Journey into Night functions as both a personal curse and a symbol of familial collapse. Mary Tyrone's morphine addiction and the men’s alcoholism represent their means of coping with unresolved grief and frustration. As scholars such as Travis Bogard (1972) argue, addiction symbolizes the characters' inner voids and the family's inability to communicate honestly.

Mary's morphine-induced detachment signifies her retreat from reality, exacerbating her isolation from her family. James Tyrone and his sons, Edmund and Jamie, use alcohol to numb themselves, creating a destructive cycle. Their substance abuse reflects a broader pattern of self-destruction and emotional alienation, demonstrating how addiction mirrors the family's inner disintegration.

Family Dynamics and Dysfunction:

The Tyrone family's interactions are marked by love overshadowed by resentment, blame, and disappointment. Each member oscillates between seeking affection and hurling accusations. James Tyrone's miserliness and obsession with money clash with his family's emotional needs. As Michael Manheim (1982) highlights, Tyrone's fixation on financial security stems from his impoverished childhood but contributes to familial breakdown.

Jamie resents Edmund for being the "good son" and blames his mother for the family's misfortunes, while Mary accuses Tyrone of stinginess that led to her addiction. These cycles of blame reflect deeper emotional wounds and a failure to nurture supportive relationships.

Memory, Guilt, and the Burden of the Past:

Memory haunts each character, shaping their present suffering. Mary longs for her innocent youth before her marriage, Tyrone reminisces about missed opportunities, and Jamie and Edmund dwell on childhood neglect. As Steven Bloom (1985) observes, O'Neill uses memory as a dramatic device that traps the characters in an endless loop of guilt and regret.

Mary's unreliable memories, where she conflates past and present, illustrate the danger of living in illusions. These memories prevent the Tyrone family from moving forward, keeping them bound to their trauma.

The American Dream and Disillusionment:

Long Day's Journey into Night critiques the American Dream, particularly through James Tyrone’s pursuit of wealth at the expense of family welfare. Tyrone's obsession with money, rooted in fear of poverty, leads him to choose cheap doctors for Mary, arguably catalyzing her addiction. As Brenda Murphy (1990) discusses, O'Neill exposes how the American Dream's promise of success becomes a source of familial ruin when pursued blindly.

The Tyrone family's erosion exemplifies the disillusionment with ideals of prosperity and happiness, showing how materialism fails to secure emotional fulfillment.

Illusion vs. Reality:

Illusion is a survival mechanism for the Tyrones, but it also deepens their misery. Mary escapes into morphine-fueled fantasies of the past, while Tyrone clings to stories of his theatrical success. Edmund seeks solace in dreams of the sea, symbolizing freedom from his family's suffocating atmosphere.

Yet these illusions are double-edged: they protect the characters from pain but also prevent healing. As Harold Bloom (2008) suggests, the play's power lies in its depiction of illusion as both a shield and a prison.

The Role of Illness: Tuberculosis and Mental Health:

Illness is both literal and symbolic in the play. Edmund's tuberculosis mirrors the family's emotional decay, while Mary's addiction represents her mental and emotional fragility. Tyrone's refusal to accept Edmund's illness reflects denial and fear of loss, a pattern repeated in his reaction to Mary's condition.

The stigma of addiction and the romanticization of tuberculosis in the period also frame these illnesses within broader social contexts, as discussed by Julia Swindells (1995) in her study of illness and literature.

Symbolism and Imagery in the Play:

O'Neill employs rich symbolism to reinforce the play's themes. Fog, an ever-present symbol, represents confusion, isolation, and the characters' inability to see each other clearly. The foghorn's mournful sound punctuates their isolation.

The sea, referenced by Edmund, symbolizes escape and existential longing. Light and darkness contrast moments of clarity and obfuscation. As Raymond Williams (1961) notes, these symbols enhance the psychological landscape of the play.

Autobiographical Elements in Long Day's Journey into Night:

O'Neill drew heavily from his own life, with the Tyrones paralleling his family. Mary Tyrone reflects O'Neill's mother, who struggled with morphine addiction. Edmund is a self-portrait, grappling with tuberculosis. Understanding these autobiographical connections deepens our comprehension of the play's emotional intensity.

As Travis Bogard asserts, O'Neill's confrontation with personal demons through art creates a cathartic yet painful narrative.

Masculinity, Fatherhood, and Male Identity:

The play interrogates male identity through James, Jamie, and Edmund. Tyrone's patriarchal authority is undermined by his failures as a father. Jamie, embittered and self-destructive, struggles with his own identity and resentment toward Edmund. Edmund, the sensitive intellectual, represents a break from traditional masculinity, but also suffers from his father's disapproval.

These portrayals reflect shifting notions of masculinity in early 20th-century America.

The Play as Modern Tragedy:

Long Day's Journey into Night stands as a quintessential modern tragedy, where the downfall arises from internal flaws rather than external fate. Addiction, guilt, and illusion form the tragic flaws of the Tyrones, making their suffering inevitable yet deeply human. Unlike classical tragedy, there is no catharsis, only the harrowing exposure of vulnerability.

As Robert Brustein (1964) contends, O'Neill reshaped tragedy to fit modern existential concerns.

Conclusion:

Long Day’s Journey into Night is a profound and deeply moving exploration of the human condition, exposing the vulnerabilities and failures that can destroy a family from within. Eugene O’Neill's masterful use of autobiographical elements adds a layer of authenticity and emotional intensity, turning the private struggles of the Tyrone family into a universal reflection on addiction, guilt, and the fragile nature of human relationships. Throughout the play, addiction serves not only as a personal affliction but as a symbol of the family’s collective inability to confront reality, while memory and illusion act as dual forces that both sustain and imprison the characters. The play critiques the American Dream by showing how the pursuit of material success cannot heal emotional wounds or foster genuine connection, and it also addresses themes of masculinity and identity, especially in the strained relationships between father and sons. Symbolism through recurring images of fog, light, darkness, and the sea deepens the play’s exploration of emotional isolation and longing for escape. Ultimately, Long Day’s Journey into Night transcends its autobiographical roots to become a modern tragedy that speaks to universal human fears: the fear of facing painful truths, the struggle to find meaning in suffering, and the desperate need for love and understanding in a world that often withholds them. O'Neill leaves us with a portrait of a family unable to heal, underscoring the enduring relevance of his work as a mirror to the complexities of family life and human fragility.

References:

Downer, Alan S. “Tragedy and ‘The Pursuit of Happiness’: ‘Long Day’s Journey Into Night.’” Jahrbuch Für Amerikastudien, vol. 6, 1961, pp. 115–21. JSTOR, http://www.jstor.org/stable/41154777. Accessed 15 Mar. 2025.

Lopez, Michael Brandon. “Issues of Community in O’Neill’s ‘Long Day’s Journey into Night’ and Kierkegaard’s ‘Works of Love.’” The Eugene O’Neill Review, vol. 31, 2009, pp. 67–78. JSTOR, http: na//www.jstor.org/stable/29784872. Accessed 15 Mar. 2025.

Porter, Laurin R. “Modern and Postmodern Wastelands: ‘Long Day’s Journey Into Night’ and              Shepard’s ‘Buried Child.’” The Eugene O’Neill Review, vol. 17, no. 1/2, 1993, pp. 106–19. JSTOR, http://www.jstor.org/stable/29784491. Accessed 15 Mar. 2025.

Porter, Laurin. “‘Why Do I Feel so Lonely?’: Literary Allusions and Gendered Space in ‘Long Day’s Journey into Night.’” The Eugene O’Neill Review, vol. 30, 2008, pp. 37–47. JSTOR, http://www.jstor.org/stable/29784853. Accessed 15 Mar. 2025.

Wallerstein, Nicholas. “Accusation and Argument in Eugene O’Neill’s ‘Long Day’s Journey Into Night.’” The Eugene O’Neill Review, vol. 23, no. 1/2, 1999, pp. 127–33. JSTOR, http://www.jstor.org/stable/29784658. Accessed 15 Mar. 2025.

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