Jamie and Edmund are discussed forrader they really appear, and the tension that exists between father and sons is evident. The parents are patently concerned about Edmund's health--he is the younger of the two sons--and Mary treats Jamie as if he were still a child, though he is actually 34 years old. Jamie is described as good face despite "marks of dissipation," with a countenance that has a " diabolical cast." Edmund looks more like his mother and is in poor health. The standard pressure becomes tense with the entrance of the two sons, showing that this is a family with interior(a) problems and old animosities.
Long Day's Journey into Night exemplifies one of O'Neill's attempts to snitch the struggle of the hu humans being against the mysterious forces shaping cosmea and limiting undivided action, forces that in an earlier era were put in the heavens, in the hands of the gods: "O'Neill's ultimate purpose was to acquire an effect in the modern theater like that in the ancient Athenian" (Chabrowe xvi). O'Neill's approach to tragedy was greatly influenced by Freud and Jung, and to a lesser extent Schopenhauer. In his early work, O'Neill had unless an intuition of what tragedy was based on Nietzsche and the Hellenics. In the Greek conception, fatalism was seen in the inevitability of defeat, and it was this that made the st
Man was controlled by an irrational force that was neither silent nor perceived, a universal will without purpose other than to bear on itself, a ceaselessly striving energy that beguiled the individual into doings its work with illusions of personal happiness, then destroyed him by means of frustration and waste (Chabrowe xxi).
ruggle tragic. The human being possessed uninvolved will and so could fight against fate, but it was not affirmable to escape it, for this fate was divinely imposed. O'Neill wanted to find a source for this inevitability for a modern audience that did not believe in the gods or in supernatural retribution. He found that source in Schopenhauer:
Dishonor in mixed forms marks each of the sectors of this book.
Benjy had to change his name because his uncle Maury brought enthral to the family. Quentin kills himself because of the dishonor he thinks Caddy has brought to the family. Jason personifies dishonor without being able to manage it himself. He apparently the result of the disintegration of the Compson family, the modern man who has replaced the sensitive Quentin or the honorable Compsons of the last century. He is only dedicated to the present, to himself, to the making of money, and thus to greed. He sees the young Quentin as bringing dishonor on the family, but it is a ungenerous view rather than one based on a sense of values such as possessed his sidekick Quentin. If there is any hope for the future, it is with Quentin.
Tuck, Dorothy. Crowell's Handbook of Faulkner. New York: doubting Thomas Y. Crowell, 1964.
None of the three Compson brothers sees the real world, free of their prejudices and inner fears. That is left wing to Dilsey in the final section, for her world is the world of reality, with a pee understanding of past, present, and future. She has also descended from the slave era, but she has done so from the other side. Her ancestors were slaves, not slaveowners. Her family has not declined, but the family
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