Uzbekistan state world languages university enlish philology faculty

CONCLUSION
With many striking similarities to author Eugene O′Neill′s life, Long Day′s Journey Into Night is a play that follows a single day in the life of the Tyrone family. Each family member has their own emotional and psychological stress to endure, influenced by factors of morphine addiction and alcoholism. As they spiral downward into addiction and disease, we are given a haunted look in on four individuals unable to cope with reality.
The play ends with the three men, Tyrone, Jamie, and Edmund, dozing off after a night of drunken arguing. Mary wakes them by walking downstairs with her wedding gown, in the midst of a hallucination about her childhood and days in the convent.
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 middle of paper puts it, absolved of their sins. For the first three acts they do little more than bicker, trading insult at every opportunity that arises. In the final act, as the characters stop their stammering and speak, for the first time, from their hearts, we come to understand what it is that has made them so bitter and resentful towards one another, and it is here and through this understanding that we can forgive each of them for what they've miserable, suffering people that they've become.


Eugene O'Neill wrote the play in the later part of his life in many ways for this reason: to forgive his family and absolve them from the harsh opinions which permeate his earlier works. Forgiving is not an easy thing to do, though (O'Neill eludes to the pain it caused to write LDJIN in his dedication), and, as a result, LDJIN is not an easy play to understand.
REFERENCES
1. "O'Neill, Lumet, Kurosawa, and the great Goldwyn". Esquire. 1962-12-01. Retrieved 2020-10-30. The theme is one of high tragedy: the unsuccessful struggle to escape the consequences of past actions. In Elizabethan drama, the actions are those of the protagonists, if only in the sense that their own characters, formed by the past, are responsible for the tragedy. Here the father and the elder brother are thus entrapped, like Macbeth or Othello or, better, the heroine of Middleton's The Changeling. But the mother is a different case. The reviewer's cliché about "the inevitability of Greek tragedy" is for once justified. The mother's drug addiction is not the result of her own actions but of her husband's miserliness in calling in a cheap doctor who gave her morphine to ease the pains of a difficult childbirth. The husband is thus punished for his own character, as in Elizabethan tragedy.