Critical analysis LDJIN
Literary allusions and Gendered Space- JSTOR article
- The allusions used between the male characters emphasises the fact that
Mary doesn’t use any allusions and is not spoken to with any use of allusions.
“The selection of allusions…. Function on a subtextual level to reinforce
the fact of Mary’s isolation”.
- Gendering of pace.
- The spaces dominated by the men are public, communal, centre of stage.
This is the parlour, where they are for most of the play, where the men spend
their leisure and where their books are. Nothing about the space reveals
anything about Mary.
“Mary occupies the centre of the Tyrone family, and the play, but her
husband and sons persistently try to marginalize her”
- They love her but are clearly more desperately worried for her because of the
role she plays in life as a wife, mother and cured addict (Jamie depends on
her being a cured addict because it reflects his own hope and potential at
becoming a cured addict as well)
“Allusions serve a variety of functions… establish the conflicting
worldviews of father and sons”
- Tyrone: His books are all the classics, a traditionalist in character and
literary interests.
- Jamie: mixes allusions of Shakespeare with Swinburne, Rossetti, Wilde etc.
o The allusions to Swinburne, Rossetti etc. are mainly form two different
eras, the pre-Raphaelites and the Aesthetes and Decadents, which had
similar values when it came to art. Enhanced beauty but some type of
realism as well. May reflect Jamie’s addiction to indulgence.
o Jamie o
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Laurin Porter argues that male characters systematically isolate Mary despite being at the
centre of the play. Despite their clear affection for her, she is still ignored, and her needs for
acceptance, forgiveness and agency go unmet.
GENDERED SPACES
The public and communal spaces on the play are visibly occupied by the men, whereas
Mary’s spaces, such as the room upstairs, are isolated and not physically visible.
“MOTHER OF GOD, WHY DO I FEEL SO LONELY?” - Act 2
Critic Simone de Beauvoir, argues Mary to be the ‘second sex’, as her identity is solely defined
by the men around her. Her role as mother and a wife isolate her further, as she does not
believe she had properly fulfilled those roles. This sense of loneliness is only amplified by the
Tyrone men's constant dismissal of her, leading her to remain dependent on the only thing that
grants her an escape from her lonely reality.
Steven Bloom describes Mary as the emotional centre of the play, she can be associated with
Ophelia, always standing at the margins and other female Shakesperean characters.
ALLUSIONS:
It is notable how the male characters are assigned numerous allusions, while Mary is not
assigned any, showing a clear example of gendered language.
One of the purposes of these allusions is to show the generational difference between
Tyrone and his sons. Tyrone is a traditionalist, his shelf full of Shakespeare's works,
Hugo and Dumas, while Edmund and Jamie enjoy authors such as Swinburne,
Baudelaire, Wilde, Kipling and Rosetti.
This presents a conflicting worldview of fathers and sons, creating a clash and enabling
the use of quotes as weapons to attack one another. Tyrone is more condemning, while
Jamie's use of them is more sarcastic.
Tyrone represents classical literature, Jamie is between the middle, as he quotes
Shakespeare several times throughout the play, an indicator of his father’s influence, yet
Edmund represents modern literature, since he focuses on philosophical literature, such
as nietzsche.
Shakespeare’s portrait hangs over the son's bookcase, a reminder of Tyrone’s legacy.
NOTABLE ALLUSIONS:
‘The mad scene, enter Ophelia!’
‘A leave-taking’ -swinburne
3. An Analysis of Eugene O’Neil’s Play “Long Day’s Journey into Night” with
Reference to Sigmund Freud’s Theory of Defense Mechanism
By: Tanzeela Faiz, & 2Prof. Dr. Colonel (R) Akhtar Khalili
Section 1:
- ‘Literature is a reflection of society’
- ‘to unfold the multiple and complex layers of the human conscious and
unconscious mind, along with its strong connection with human behavior.’
- The emotional state of his characters was the representation of their feelings.
The attitudes and dialogues of those characters were depictions of their
psyche.
- Maley (2014) argues that the Tyrones locate their ideals in the past and
experience them as forever beyond their reach.
- Bennett argues that one of the unique features of the play as a whole is that
almost every possible type of defence
- ‘This defensive condition functions as a motive to reconcile the unexpected
situation and the existing mindset.’ - this helps characters to maintain their
‘ego’ a concept coined by Freud
- The play has never-ending anxiety and mental discontentment, which
explains why every form of self defence is present within the play.
- Sigmund Freud's theory of defense mechanisms which he proposed in his
paper "The NeuroPsychoses of Defense" in 1894.
Section 2: literature review
- Peoples feelings and behaviours result from personal experiences but also
experiences of the generations
- Emotional reactions are deeply rooted while thoughts are commonly our
surface reaction
- Long days journey into night is a masterwork looking into human effort when
defending their ego
- The play is an expression of losing ones true self and going through feelings
of anxiety and mental stress
- Mouelhi argues that all four members of the Tyrone family engage in creating
an atmosphere with thick accusations, defences and pleadings.
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Section 4: Analysis
4.1.1 Reaction Formation:
- One of the stranger defense mechanisms is reaction formation, which
involves acting in a way that is completely at odds with how one is feeling.
- Example of this is Mary: g. Mary responded that she is not upset about
Edmund's condition when Tyrone told her not to be. She makes a statement
that is completely at odds with how she feels. Tyrone: ‘But you mustn't let it
upset you, Mary. Remember, you've got to take care of yourself, too. Mary:
I'm not upset. There's nothing to be upset about.’ this is clearly false as the
whole story of Edmund's birth and his mother's sensitivity about his health
makes it quite obvious that she is very much worried about her son but in this
dialogue, she has formed an opposite reaction to overcome her anxiety about
the issue.
- James Tyrone: ‘I told you to turn out that light! We're not giving a ball. There's
no reason to have the house ablaze with electricity at this time of night,
burning up money! Edmund Tyrone: Ablaze with electricity! One bulb! Hell,
everyone keeps a light on in the front hall until they go to bed.’ James' instant
reaction after this argument between the two men, is he suddenly thinks of
his son's frailty and instantly feels sorrowful. To overcome this anxiety, he
gets up and turns all the lights on saying: James: To hell with them! The
poorhouse is the end of the road, and it might as well be sooner than later!
Edmund: You're a wonder, Papa.
- This is reaction formation where James has said and done against his nature
just to overcome the anxiety caused by his previous action.
- Mary's expression of respect and care for James. She tells Jamie about the
struggles James has made to make him realize that he should respect his
father, while in reality she lacks love and cares for James
- Tyrone presents himself as a shrewd businessman and provider for his family,
but he is deeply ashamed of the compromises he has made in his career. He
also harbours resentment toward his family, who he believes have taken
advantage of him and his success. - this compromise has impacted Mary the
most as she feels she is never at ‘home’ and turns to morphine to relieve
herself of physical, mental and emotional pain.
4.1.2 projection
- Mary herself is jealous of her mother because of her Electra complex she hates her
mother and has a special attachment to her father. This is seen through mary
always idealising her father when Tyrone mentions him.
- James often accuses Mary of being selfish and uncaring but in reality James is the
one focused on his own needs and desires
4.1.3 displacement
- When the Tyrone family experience anxiety rage or loneliness they will turn to
whiskey whores ands for Mary morphine as a diversion.
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