long day’s journey into night

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>LONG DAY;S JOURNEY INTO NIGHT<
For many generations now, dysfunction, for whatever reason, has been a more common dynamic in the relations of the modern family.Many writers have captured this dynamic in their work for a plethora of reasons.Some may do it simply to get the reader to identify, while others may do it to give us a bit of insight into the dysfunctional life, regardless of weather we can relate or not.This was the case in Eugene O;Neill;s classic play, ;Long Day;s Journey Into Night.;In his work, he tries to show the reader that dysfunctional dynamics are not resulted from one, maladjusted member of the family, but rather the result of the defects and shortcomings of many if not all members of the family, each adding something to the cycle of defectiveness.He uses the nuclear familiar characters, Tyrone, Mary, and Jamie to illustrate this.
One example would be the father of the household, James Tyrone.Tyrone has influence over the entire household.Hisfirst mistake is the way in which he always tries to protect or to boost the self-esteem of his wife, Mary, so as to avoid upsetting her.This does not help Mary in the long run.
Another of Tyrone;s faults is the way that he always suspects, doubts, or disapproves of his son Jamie.Given, Jamie is a bum with no ambition, but Tyrone fails to see that constant criticism and debasing of Jamie only hurts the situation.One of these incidents can be found in act one, scene one:Tyrone and Mary are eating, and the boys are in the other room talking.They hear the boys laugh, and Tyrone heads straight for Jamie.
;Mary-;Well, no matter what the joke is about, it;s a relief to hear Edmund laugh.He;s been so down in the mouth lately.;
Tyrone-;Some joke of Jamie;s, I;ll wager.He;s forever making sneering fun of somebody, that one.;Rather that motivating or giving i…

Long Days Journey Into Night

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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 Shakespeare.O’Neill, though, isn’t Shakespeare and Long Days Journey Into Night is as different from, say, A Midsummer’s Night Dream or Twelfth Night than a pint of stout ale is from a glass of light chardonney.It is because of the uniqueness of the play that the final act is so fitting a conclusion, and it is because of the essence of the play that there is closure in the final scene and it is because of hte nature of hte play that the final act carries upon its shoulders as powerful an impact as any other ending put upon an American stage.
The reason that many people did not find the end of hte play a real conclusion is because of the fact that Long Day’s Jounrey Into Night is not a play of action, like almost all other plays are.It is set within a single room during the course of a single day, and it consists mainly of long monologue and bitter banter rather than movement or plot development, but there is a reason that O’Neill does this; his play is not one where characters move from place to place and experience various dilemnas and need to work their way out through the course of a beginning, middle and end.LDJIN is a play of introspection, a play of confession, understanding and ultimately, a play of understanding, and it is in the final act of the play that all of these elements are worked out.
The Tyrone family is, as Edmund describes them, a family of “fog people”; through thefirst three acts of hte play we see them hiding their true feelings and emotions from each other from not…