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

At the very start of colossal Days trip Into Night, ONeill sets the scene for the theme of the recent being integral to the play directly with the dedication to the pick out and tenderness of his wife which gave me the faith in love that enabled me to face my dead at last and write this play write it with deep pity and understanding and forgiveness for all(prenominal) of the four haunted Tyr unitys. This entranceway that the play was written as a sort of autobiography, a partial re- telling of ONeills personal history, means that it looks almost intrinsically machine-accessible to the outgoing right from the beginning, the intimation from the author being that he wrote it as a form of catharsis in order to lot with the real events from his feature animateness. Consequently the theme of the past is introduced before even the first Act has begun.The idea that he is facing his dead is a particularly apt integrity as at the cartridge holder of writing the play, the floc k upon whom its characters argon based ONeills family had all passed away some years before. His military chaplain, mother and elder brother Jamie are all portrayed in the kindred roles in the play as they had in real life, and with similar histories. The only alteration is that alternatively of the middle son being named Edmund, ONeill changes the babys name to his own, and calls it Eugene, having the fictional Edmund take the place of himself within the family.The main way in which the characters befoolm constantly to trap themselves in the past is through their constant blaming of the present upon past events. There is nothing in the present to which they do not proportion any load, and none of them in any way seem to blame themselves for what has surpassed to them, preferring instead to blame each other. Consequently none of their intercourses can be held without in some way referring to the past, as it is the past upon which they switch built their relationships wit h each other.The relationship between Tyrone and Jamie for example is one in which Jamie blames Tyrone for his miserliness with his money, which he believes is what led to his mothers addiction to morphine, and her recent unhappiness which ca utilise her to production to the drug. Tyrone blames his son for being an evil-minded loafer, and says thatsnotes he is accountable both for making nothing of his own life, and besides for leading Edmund astray. In fact, the blame for these character defects does not lie within Tyrone or Jamie as personalities, barely rather with the circumstances which ca rehearsed these traits.For Jamie, his alcoholic beverageism and cynicism are generally to do with his disc everywherey of his mothers drug addiction when he was younger it is made fall out that prior to this discovery, Jamie was talented and enthusiastic, excelling at school and distinctly liked by many batch. He himself admits that the event had a large bearing on his life in hon est the same way that he has resorted to alcohol in order to purge himself of the same sort of knowledge approximately Edmund Christ, Id never dreamed before that any women but whores besidesk dope And then this stuff of you getting consumption. Its got me licked. Jamies cynicism clearly did not exist before he discovered that his mother used morphine, or at least not to the same degree, the fact that hed never dreamed of the idea effective in suggesting how completely opposed it was from his mind and therefore how different his mind must have been from its present affirm of suspicion.The circumstance precipitating Tyrones miserliness were similarly ones which he himself did not contrive when he was only ten years old, his father abanthroughd the family and Tyrone was forced to go and find work, living a large part of his life in poverty. It is this which has made him so conservative with his money, and reluctant to expend more than is absolutely necessary, preferring to inve st it in property, which he believes is the best way to keep it safe. The indicant of money over him is made particularly clear when the audience are told that, despite 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 sweating to understand the source of it is one of the key factors in preventing the family from escaping from their past rather all event in the present is related back to some previous action or accusation, without any hope of ever resolving it. This is encapsulated in bloody shames comment 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 whole family has been moulded by past events and cannotsnotes come to on from them permeates every conference, as they each hold the other somehow responsible for what has occurred and beca use they believe that they themselves should not be blamed for what they did, none of them will accept their portion of the responsibility, nor learn from what has happened.Throughout the play we see the same basic errors incident time and time again the nature of the tendency of each character to continually place blame for the present on something which another 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 way to move forward into a future which is not largely concerned with what has happened before. What this ultimately leads to is a past which is largely cyclical. As no character will unloose their grip on the past and what has happened before, by accepting blame from it, or learning from it, the same problems and occurrences repeat themselves.For example, Mary resumes taking her morphine, just 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 self-styled skills as a property realtor hardly ever yield any profit to Tyrone himself and yet he does not learn from his past either, and continues to do the same thing at no gain to himself.Their sheer inability to take anything from the past, or to leave it alone, means that nothing in the play is occurring for the first time in a way, everything astir(predicate) the present in which the Tyrones are living is also the past. A quote from Mary The past is the present, isnt it? Its the future, too is particularly fitting to explain the way in which they are living. The structure of the novel echoes this confusion 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 o f something which has happened before -and what will continue 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 24 hour time periodsnotesLiving ones life trapped in a repeating cycle of the past is not particularly causative to being happy, 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 roads is right. Get you nowhere fast. Thats where Ive got-nowhere. Where everyone lands in the end, even if most of the suckers wont 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 feeling that he hasnt actually achieved anything because he hasnever been able to move on is something that he only finally admits to when drunk, but which reveals the sense of hopelessness he feels from being stuck in a loop. Slightly later 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 off 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 usual escape of drinking alcohol, which is what he does for most of the duration of the play.Tyrone also drinks in order to escape the past, although unlike Jamie he also attempts to escape the repetition of the past by denying the fact that it is being repeated he refuses to recognise Marys 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 miss things as he chooses.Mary, however, does not attempt to escape the past in the same way that Jamie and Tyrone do, but prefers, th ough 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 due to rheumatoid arthritis, cast down 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 notable in that at one point, he actually did succeed during his time sailing, he says that he became drunk withsnotes the salmon pink and the singing 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 r efer to other occasions when he has felt free in a similar way, and all of them took place in a natural setting. For an audience, this liberation 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 excellent way to illustrate the total freedom which Edmund has attained.Edmund attempts to recreate this sensation by trying to express it through the use of poetry 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 fog people, is the way in which Edmund describes his inability to describe the feeling this reference to fog people is particularly interesting as throughout the play, the fog is almost a symbol of the past. As the day wears on, the fog returns to cloud over the landscape nearly them, and so Marys illness returns to cloud over the present and send her fu rther back into the past.This pathetic fallacy of the weather responding to Marys haziness 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 also suggests in that quote that the whole family are native fog people almost that there is something about the way in which they live 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 insight 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 role of the past in the play is that it motiva tes the creation of an atmosphere 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 want to talk about the worse aspects of what happened before, and so as a topic of conversation it is forbidden by unvoiced consent 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 cold and dismissing it, and Edmund to a lesser extent by calling it Malaria, which is more easily cursed, and continuing to drink as if he were not at risk of damaging his health.It is clear that the family refuse to talk about quite a number of incidents and fe elings things which only really come out when they are under the effect of either alcohol or morphine such as the stopping point of Eugene and Marys incident on the dock in her nightgown, because such events unlock emotions and feelings which they have isolated in order to protect each other. Mary doesnt talk about how she blames Jamie for giving Eugene the measles, or how she blames Edmund 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 virtually all that is discussed, there are authoritative sections of it which the family attempt to bury behind them.The main occurrence of the play is the return of Marys illness her return to taking morphine, and other than this very picayune else actually physically happens to any of the characters during the play. T hat 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 make 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 the consequences might be if people never moved on. Of course, it is therefore quite appropriate that ONeill wrote it as a part of his own moving on, and his own way of putting the past behind him. The ending 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 farthermost the most significant of them all, n ot least because the author wrote it as a semi-autobiographical work. It is the driving 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 morphine 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.