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The Cambridge Companion to Eugene O'Neill

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The Cambridge Companion to Eugene O'Neill provides a comprehensive analysis of the life and works of one of America's most significant playwrights. It explores the cultural influences shaping O'Neill's plays, including his treatment of racial and religious minorities, as well as the evolution of his reputation over time. The collection includes essays from various authors, each examining different facets of O'Neill's work, with a unique focus on his unfinished Cycle and the philosophical underpinnings of his plays.

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References (254)

  1. Four revised editions were published as Eugene O'Neill: The Man and his Plays: in 1929, 1933, 1936 by McBride; and in 1947 by Dover.) Other book-length biographies include The Curse of the Misbegotten by Croswell Bowen, with assistance from Shane O'Neill (New York: McGraw Hill, 1959); The Tempering of Eugene O'Neill (on O'Neill's life to 1920) by Doris Alexander (New York: Harcourt, Brace and World, 1962);
  2. O'Neill by Arthur and Barbara Gelb (New York: Harper, 1962; 1973);
  3. O'Neill: Son and Playwright (Boston: Little, Brown, 1968), and O'Neill: Son and Artist (Boston: Little, Brown, 1973) by Louis Sheaffer. Of these works, those by the Gelbs and Sheaffer are considered standard. In addition, several works emphasize autobiographical qualities in O'Neill's plays, including: Doris Falk, Eugene O'Neill and the Tragic Tension (New Brunswick: Rutgers University Press, 1958);
  4. Travis Bogard, Contours in Time: The Plays of Eugene O'Neill (New York: Oxford University Press, 1972);
  5. Michael Manheim, Eugene O'Neill's New Language of Kinship (Syracuse University Press, 1982);
  6. Judith E. Barlow, Final Acts: The Creation of Three Late O'Neill Plays (Athens: University of Georgia Press, 1985);
  7. and Doris Alexander, Eugene O'Neill's Creative Struggle: The Decisive Decade, 1924-1933 (University Park: Pennsylvania State University Press, 1992).
  8. Chothia, Forging a Language, p. 44.
  9. For an extended discussion, see Egil Tornqvist, "Nietzsche and O'Neill: A Study in Affinity," Orbis Litterarum, 23 (1968): 97-126.
  10. 8 Letter to Benjamin De Casseres ( 2 2 June 1927), quoted from Louis Sheaffer, O'Neill: Son and Playwright (Boston: Little Brown, 1968), p. 123.
  11. Clark, Eugene O'Neill, p. 5. Arthur Nethercot, "The Psychoanalyzing of Eugene O'Neill," Modern Drama, 3 (December 1960): 248.
  12. The New York Tribune, 13 February 1921. Mary B. Mullett, "The Extraordinary Story of Eugene O'Neill," American Magazine (November 1922), quoted from Ulrich Halfmann, ed., Eugene O'Neill: Comments on the Drama and the Theater (Tiibingen: Gunter Narr Verlag, 1987), p. 26.
  13. The Birth of Tragedy, tr. William A. Haussmann (Edinburgh and London: T. N. Foulis, ~g o g ) , Section 10.
  14. Arthur Hobson Quinn, A History of the American Drama from the Civil War to the Present Day, vol. 11 (New York: Harper, 1937), p. 199. Thus Spake Zarathustra, tr. A. Tille (New York: Macmillan, 1896), part III, chapter 13.
  15. Zarathustra, part IV, chapter 10. The Birth of Tragedy, section 14. I The Birth of Tragedy, section 6. Letter to George Jean Nathan published in American Mercury (January 1929): 119. zo Arthur and Barbara Gelb, O'Neill (New York: Harper, 1962), p. 520. Zarathustra, part I, chapter 12. See Chothia, Eugene O'Neill, pp. 96-98.
  16. Gelbs, O'Neill, p. 121. For an extended discussion of O'Neill's relationship to psychoanalysis, see Nethercot's article, mentioned in note 10, and its sequel in Modern Drama, 4 (February 1961): 3 57-72. Letter to Martha Carolyn Sparrow (13 October ~q z g ) , quoted from Nethercot (1960): 248.
  17. Horst Frenz, ed., American Playwrights on Drama (New York: Hill and Wang, 1965), PP. 5, 8-9.
  18. Oscar Cargill et al., eds., O'Neill and His Plays: Four Decades of Criticism (New York: New York University Press, 1961), p. 120.
  19. Doris Falk, Eugene O'Neill and the Tragic Tension (New Brunswick, NJ: Rutgers University Press, 1965), p. 150.
  20. O'Neill, "Memoranda on Masks" ( ~g j z ) , quoted from Cargill et al., p. 116.
  21. Mullett, "The Extraordinary Story," in Halfmann, Eugene O'Neill, p. 22.
  22. I Frenz, American Playwrights, p. 3.
  23. Virginia Floyd, ed., Eugene O'Neill at Work: Newly Released Ideas for Plays (New York: Frederick Ungar, 198 I ) , p. 52.
  24. O'Neill's statement to Clark, in his Eugene O'Neill, p. 136.
  25. For an extended discussion of their impact on O'Neill, see Egil Tornqvist, "Ibsen and O'Neill: A Study in Influence," Scandinavian Studies, 37 (Aug. 1965): 211-35, and Egil Tornqvist, "Strindberg and O'Neill," in Marilyn Johns Blackwell, ed., Structures of Influence: A Comparative Approach to August Strindberg (Chapel Hill: University of North Carolina Press, 198 I), pp. 277-9 I. Lawrence Langner, The Magic Curtain (New York: Dutton, 1951), p. 288. Doris Alexander, The Tempering of Eugene O'Neill (New York: Harcourt, Brace, and World, 1961), p. 128. Nordisk Tidende [Brooklyn, NY], 2 June 1938, quoted from Halfmann, Eugene O'Neill p. I 3 5.
  26. The observation is Chothia's in Forging a Language, p. 50. Gelbs, O'Neill, p. 277.
  27. Agnes Boulton, Part of a Long Story (Garden City, NY: Doubleday, 1958), p. 76. Halfmann, Eugene O'Neill, p. 13 5.
  28. George Bernard Shaw, The Quintessence of lbsenism (1891), quoted from his Major Critical Essays (London: Constable, 19 5 S), p. I 3 5 . Edwin Engel, The Haunted Heroes of Eugene O'Neill (Cambridge, Mass.: Harvard University Press, 1953), p. 49. Ibid., p. 23. Cf. Sverre Arestad, "The Iceman Cometh and The Wild Duck," Scandinavian Studies, 20 (February 1948): 1-12.
  29. New York Times (11 December 1936), quoted from Frenz, American Play- wrights, pp. 41-42.
  30. "Strindberg and Our Theatre," Provincetown Playbill (Season 1923-q), quoted from Cargill et al., O'Neill and his Plays, pp. 108-9. Gelbs, O'Neill, p. 585. Boulton, Part of a Long Story, p. 76.
  31. Karl Ragnar Gierow, "Ett teaterprogram," Svenska Dagbladet, 15 September 1958-
  32. I Clara Blackburn, "Continental Influences on Eugene O'Neill's Expressionistic Drama," American Literature, 13 (May 1941): 119-21.
  33. Frenz, American Playwrights, p. 3.
  34. Blackburn, "Continental Influences," pp. I I 5-1 6.
  35. Falk, Eugene O'Neill, p. 153.
  36. Gelbs, O'Neill, p. 234.
  37. Sheaffer, O'Neill: Son and Playwright, p. 254. 57 Ibid., p. 317.
  38. Gelbs, O'Neill, p. 233.
  39. Clark, Eugene O'Neill, p. 163.
  40. Chothia, Forging a Language, p. 45.
  41. Gelb, Arthur and Barbara, O'Neill (Second, enlarged edition, New York: Harper and Row, 1973).
  42. Leiter, Samuel L., The Encyclopedia of the New York Stage, 1920-1930 (New York: Greenwood Press, 198 5 ) .
  43. The Encyclopedia of the New York Stage, 1930-1940 (New York: Greenwood Press, 1989).
  44. Londrk, Felicia and Daniel J. Watermeier, The History of North American Theater: The United States, Canada, and Mexico, From Pre-Columbian Times to the Present (New York: Continuum Publishing Group, forthcoming).
  45. Mantle, Burns and Garrison, P. Sherwood, The Best Plays of 1909-1919 (New York: Dodd, Mead and Company, 1934).
  46. The Best Plays of 1919-1920 (Boston: Small, Maynard and Company, 1920).
  47. O'Neill, Eugene, Complete Plays, 1932-1943. Edited by Travis Bogard (The Library of America, 1988).
  48. Poggi, Jack, Theatre in America: The lmpact of Economic Forces, 1870-1967 (Ithaca, NY: Cornell University Press, 1968).
  49. Robinson, Alice M., Vera Mowry Roberts, and Milly S. Barranger, Notable Women in the American Theatre: A Biographical Dictionary (New York: Greenwood Press, 1989).
  50. Sheaffer, Louis, O'Neill: Son and Playwright (Boston: Little, Brown and Company, 1968).
  51. O'Neill: Son and Artist (Boston: Little, Brown and Company, 1973).
  52. Watermeier, Daniel J., "The Iceman Cometh Twice: A Comparison of the 1946 and 1956 New York Productions" in Eugene O'Neill in China: An International Centenary Celebration. Haiping Liu and Lowell Swortzell, eds. (New York: Greenwood Press, 1992, 211-22).
  53. Wilmeth, Don B. and Tice L. Miller, eds. Cambridge Guide to American Theatre (New York: Cambridge University Press, 1993).
  54. Winter, William, Other Days: Being Chronicles and Memories of the Stage (New York: Moffat, Yard and Company, 1908).
  55. Modern Drama and the Rhetoric of Theatre (Berkeley: University of California Press, 1992), pp. 64-67.
  56. 9 The play was staged in April 1928 at the Pasadena Playhouse by an amateur company directed by Gilmore Brown. For a scholarly analysis of the produc- tions of this and other O'Neill plays from this period, see Ronald H. Wainscott, Staging O'Neill: The Experimental Years, 1920-1934 (New Haven: Yale University Press, 1988).
  57. "A Dramatist's Notebook," The American Spectator, I, 3 (1933): 2. The last segment of a piece O'Neill wrote for George Jean Nathan's new journal also presents his final opinion on the theatrical potential of masks in general and for his work in particular. Rpt. in Halfmann, Eugene O'Neill, pp. 107-12.
  58. I I The Inner Strength of Opposites: O'NeillS Novelistic Drama and the Melodra- matic Imagination (Athens: University of Georgia Press, 1994), pp. 28, 106ff.
  59. June 1928 letter to Theresa Helburn, Letters, pp. 300-01.
  60. Bogard, ed., Eugene O'Neill: Complete Plays (New York: Random House, 1988), 111, p. 113. Hereafter documented in the text.
  61. I S See Bogard, Contour in Time: The Plays of Eugene O'Neill, rev. edn. (New York: Oxford University Press, 1988), p. 327.
  62. Eugene O'Neill's Creative Struggle: The Decisive Decade, 1924-1973 (Univer- sity Park: Pennsylvania State University Press, 1992), p. 149. Though it persistently overinterprets the play as evidence of psychobiography, this is a valuable source study.
  63. 8 See Pfister, pp. 2-30, on the cultural construction of family as determinant.
  64. Work Diary, 27 March 1930; rpt. in Halfmann, Eugene O'Neill, p. 90. zo Bogard, Contour, 3 3 6-39. Other sources relevant to this chapter include:
  65. Floyd, Virginia, ed., Eugene O'Neill at Work: Newly Released Ideas for Plays (New York: Frederick Ungar, 1981).
  66. Robinson, James A., Eugene O'Neill and Oriental Thought: A Divided Vision (Carbondale: Southern Illinois University Press, 1982).
  67. Manheim, Michael, Eugene O'Neill's New Language of Kinship (Syracuse, New York: Syracuse University Press, 1982).
  68. Michael Manheim offers insightful discussion of the autobiographical dimen- sion of More Stately Mansions in Eugene O'Neill's New Language of Kinship (Syracuse, New York: Syracuse University Press, 1982), pp. 18-19.
  69. More Stately Mansions, vol. HI, page 528. All quotations from O'Neill's last plays will come from volume 111 of O'Neill: Complete Plays, edited by Travis Bogard, published by the Library of America, New York, 1988. Hereafter all citations will appear in the essay, specifying volume number and page number. Nichols, quoted in Arthur and Barbara Gelb, O'Neill (New York: Harper and Row, 1962), p. 83 I. Harold Bloom, Eugene O'Neill's 'The Iceman Cometh' (New York: Chelsea House, 1987), p. 4. Juxtaposing Bloom's view of Iceman, as presented in his Introduction to this collection of essays, and my view, as found in the last chapter of by Eugene O'Neill (New York: St. Martin's Press, 1982), excerpted in Bloom, helps to illuminate the problematic nature of O'NeillYs great play. O'Neill, quoted in Sheaffer, Artist, p. 577.
  70. Carlotta O'Neill, quoted in Sheaffer, Artist, p. 505.
  71. O'Neill, quoted in Virginia Floyd, The Plays of Eugene O'Neill (New York: Frederick Ungar, 1985), p. 580.
  72. O'Neill, phrase found in "Memoranda on Masks," in Oscar Cargill, N. Bryllion Fagin, and William Fisher (eds.), O'Neill and his Plays (New York: New York University Press, 1961), p. 116. "Film and Theater," in Gerald Mast and Marshall Cohen, eds., Film Theory and Criticism, 2nd edn. (New York: Oxford University Press, 1979), p. 364. "Film and Theater," p. 366.
  73. See Williams's comparison of television drama and the naturalist stage in Television: Technology and Cultural Form (New York: Schocken, 1974), PP. 56-57.
  74. Selected Letters, p. 546. "Eugene O'Neill Returns After Twelve Years," in Mark W. Estrin, ed., Conversations with Eugene O'Neill (Jackson: University Press of Mississippi, 1990), P. 170.
  75. Louis Sheaffer, O'Neill: Son and Artist (Boston: Little, Brown, 1973)~ p. 68.
  76. Richard Watts, Jr., "O'Neill Picks America as His Future Workshop," in Conversations with Eugene O'Neill, p. I I 5. "From Eugene G. O'Neill. [Letter] To the Dramatic Editor." New York Times 18 December 1921 sec. 6, p. I. Reprinted in Eugene O'Neill: Comments on the Drama and the Theater, ed. Ulrich Halfmann (Tiibingen: Narr, 1987), p. 12. O'Neill on Film (Rutherford: Fairleigh Dickinson University Press, 1982), PP. 32, 35. Other discussions of O'Neill on film and television include Linda Ben-Zvi, "Eugene O'Neill and Film," Eugene O'Neill Newsletter 7 (Spring 1983): 3-10;
  77. Donald P. Costello, "Sidney Lumet's Long Day's Journey Into Night." Litera- ture-Film Quarterly 22 (1994): 78-92;
  78. Edward T. Jones, "The Tyrones as a TV Family: Long Day's Journey Into Night Primetime," Literature-Film Quarterly 22 (1994): 93-97; Marcelline Krafchick, "Film and Fiction in O'Neill's Hughie," Arizona Quarterly 39 (1983): 47-61; Edward Murray, "Eugene O'Neill, Expressionism, and Film," The Cinematic Imagination (New York: Ungar, 1972), pp. 16-35; William L. Sipple, "From Stage to Screen: The Long Voyage Home and Long Day's Journey into Night," Eugene O'Neill Newsletter 7 (Spring 1983): 1-14.
  79. I 5 Selected Letters, p. 521; Sheaffer, O'Neill: Son and Artist, p. 3 83. "Hollywood's 'Arty Cinema': John Ford's The Long Voyage Home," Wide Angle 10 (1988): 30-45.
  80. Bernstein, "Hollywood's Arty Cinema," p. 32.
  81. I Bernstein, "Hollywood's Arty Cinema," p. 3 8. Eugene O'Neill, Complete Plays: 1920-1931, Travis Bogard, ed. (New York: Library of America, 1988), p. 128. Subsequent references to this edition will appear parenthetically with these abbreviations: Complete Plays: 1913-1920 as CP I; Complete Plays: 1920-1931 as CP 11; and Complete Plays: 1932-1943 as CP 111. Electronic Hearth: Creating an American Television Culture (New York: Oxford University Press, 1991); see especially pp. 42-83. Reading Television (London: Methuen, 1978), p. I I I. Quoted in Sandy Flitterman-Lewis, "Psychoanalysis, Film, and Television," Channels of Discourse: Television and Contemporary Criticism, ed. Robert C. Allen (Chapel Hill: University of North Carolina Press, 1987), p. 188. "Soap Operas: Search for Yesterday," in Watching Television, ed. Todd Gitlin (New York: Pantheon, 1986), p. 49.
  82. Ibid. Quoted in Jane Feuer, "Genre Study and Television," Channels of Discourse, ed. Robert C. Allen, p. 122.
  83. Charles Champlin, John Frankenheimer: A Conversation with Charles Cham- plin (Burbank: Riverwood, 1995), p. 133. O'Neill on Film, p. I 59. Champlin, John Frankenheimer, p. I 3 3.
  84. Frank Cunningham, Sidney Lumet: Film and Literary Vision (Lexington: University of Kentucky Press, 1991), p. 125. Cunningham, Sidney Lumet, p. 122.
  85. I Cunningham, Sidney Lumet, p. 125. "The Writer and the Film," in Film: A Montage of Theories, ed. Richard Dyer MacCann (New York: Dutton, 1966), p. 78. Quoted in Feuer, "Genre Study," p. 122. Rosen, "Soap Operas," p. 47. "Passionate 'Journey'," Newsweek 20 April 1981: 104.
  86. Lesley Valdes, "Long Day's Journey Onto Broadway," Wall Street Journal, I I April 1986: 25. See for example Brendan Gill, "Unhappy Tyrones," New Yorker 1 2 May 1986: 93-94;
  87. Frank Rich, "A New 'Long Day's Journey'," New York Times 29 April 1986: sec. 3: IZ.
  88. N O T E S
  89. I The dates given for plays are the dates of the first production, except in cases where there was a long delay between the completion of a script and its production, in which case the date of completion precedes the date of produc- tion.
  90. Quoted in Hamilton Basso, "Profiles: The Tragic Sense," New Yorker (13 March 1948); rpt. Conversations with Eugene O'Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, ~g g o ) , p. 230.
  91. "Diff'rent," Vogue 57 (IS March 1921): 82.
  92. Ernest Hemingway, A Farewell to Arms (New York: Scribner's, 1929), p. 196.
  93. Zelda Fitzgerald: The Collected Writings. ed. Matthew J. Bruccoli (New York: Collier, 1991), p. 398.
  94. W O R K S CITED O R CLOSELY RELATED T O T H I S ESSAY Egri, Peter, "High Culture and Popular Culture in Eugene O'Neill: Strange Interlude" in High and Low in American Culture, ed. Charlotte Kretzoi (Budapest: Lorand Eotvos University, 1986): 55-76.
  95. Estrin, Mark W., Conversations with Eugene O'Neill (Jackson: University Press of Mississippi, 1990).
  96. Hinden, Michael, "Paradise Lost: O'Neill and American History," Eugene O'Neill Newsletter 12 (1988): 39-48.
  97. Kimbel, Ellen, "Eugene O'Neill as Social Historian: Manners and Morals in Ah, Wilderness!" in Critical Essays on Eugene O'Neill, ed. James J. Martine (Boston: G.K. Hall, 1984).
  98. Miller, Ronald R., "From Scenario to Script: O'Neill's Use of History in the Creation of A Touch of the Poet and More Stately Mansions" in Text and Presentation, ed. Karelisa Hartigan (Lanham, Maryland: University Press of America, 1990).
  99. Murphy, Brenda, "Fetishizing the Dynamo: Henry Adams and Eugene O'Neill," Eugene O'Neill Review 16 (Spring 1992): 85-90.
  100. O'Neill, Eugene, Complete Plays, 3 volumes (New York: Library of America, 1988).
  101. Raleigh, John Henry, "Strindberg in Andrew Jackson's America: O'Neill's More Stately Mansions," Clio 13 (1983): 1-13.
  102. Schmitt, Patrick, "Marco Millions and O'Neill's Vision of America," Canadian Review of American Studies 20 (1989): 3 1-39.
  103. falls victim to his fear and his essential, primitive nature." (296-97)
  104. O'Neill once advised James T. Farrell to read Sean O'Faolain's biography, The Great O'Neill. "I learned from it a lot of the Irish past I had mislearned before. You know what most Irish histories are like -benign Catholic benediction-and- blather tracts, or blind jingo glorifications of peerless fighting heroes, in the old bardic fashion. Hugh O'Neill, as O'Faolain portrays him in the light of historical fact, is no pure and pious archangel of Erin but a fascinatingly complicated character.. . In short, Shakespeare [his contemporary] might have written a play about him" (Selected Letters, 545).
  105. It is interesting that in his journal (18 December 1941) O'Neill mentions his "notes on main themes of Cycle": there he observes, "5th Play -Nora as exemplar on simple religious plane -nunnery ideal . . ." (Work Diary, 425).
  106. There are many other O'Neill characters without Irish surnames who might well express the same sentiments: Dion Anthony in The Great God Brown, Nina Leeds in Strange Interlude, Lavinia Mannon in Mourning Become Electra, John Loving of Days Without End, the entire cast of The Iceman Cometh, Erie Smith in "Hughie," et al. As noted earlier, Eugene O'Neill should never be looked upon as parochial.
  107. For a history of O'Neill productions (in both the Republic and the North) from 1922 to 1987, see Edward L. Shaughnessy's Eugene O'Neill in Ireland: The Critical Reception. (New York: Greenwood Press, 1988). WORKS CITED
  108. Fitzgerald, Geraldine, "Another Neurotic Electra: A New Look at Mary Tyrone," in Eugene O'Neill: A World View, ed. Virginia Floyd (New York: Frederick Ungar, 1979).
  109. Gelb, Arthur and Barbara, O'Neill. Rev. edn. (New York: Harper, 1973).
  110. Huggins, Nathan Irvin, Harlem Renaissance (New York: Oxford University Press, 1971).
  111. Manheim, Michael, Eugene O'Neill's New Language of Kinship (Syracuse, New York: Syracuse University Press, 1982).
  112. O'Neill, Eugene, Complete Plays (Vols. I, 11, and III), ed. Travis Bogard (New York: Library of America, 1988).
  113. "O'Neill Talks about His Plays" in O'Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher (New York: New York University Press, 1961), pp. 110-12.
  114. Pfister, Joel, Staging Depth: Eugene O'Neill and the Politics of Psychological Discourse (Chapel Hill and London: University of North Carolina Press, 1995).
  115. Shannon, William V., The American Irish: A Political and Social Portrait (New York: Macmillan, 1963).
  116. Ben-Zvi, "Susan Glaspell and Eugene O'Neill: The Imagery of Gender," The Eugene O'Neill Newsletter 10, I (Spring 1986): 24; Ben-Zvi, "Freedom and Fixity in the Plays of Eugene O'Neill," Modern Drama 31, I (March 1988): 16-27;
  117. and Judith E. Barlow, "No He-Men Need Apply: A Look at O'Neill's Heroes," The Eugene O'Neill Review, 19, I and 2 (springlfall 1995): 111-21.
  118. Doris Nelson, "O'Neill's Women," The Eugene O'Neill Newsletter 6, 2 (summer-fall 1982): 3.
  119. Margaret Loftus Ranald, The Eugene O'Neill Companion (Westport, Connec- ticut: Greenwood Press, 1984), p. 527.
  120. For discussions of O'Neill's "Earth Mother", see Travis Bogard, Contour in Time: The Plays of Eugene O'Neill, rev. edn. (New York: Oxford University Press, 1988), and Michael Manheim, Eugene O'NeillS New Language of Kinship (Syracuse, New York: Syracuse University Press, 1982).
  121. Bette Mandl, "Gender as Design in Eugene O'Neill's Strange Interlude," The Eugene O'Neill Review, 19, I and 2 (springlfall 1995): 126. Mandl borrows Claude LCvi-Strauss's use of the term "currency."
  122. Nelson, "O'Neill's Women," 7.
  123. 9 The hostile relationship between Ruth Mayo and her mother in Beyond the Horizon is a relatively minor thread in that work. There are other mother- daughter pairings in plays like Gold, The Rope, and All God's Chillun Got Wings, but none that is significantly developed or explored. For a discussion of women in the Cycle plays, see Martha Gilman Bower, Eugene O'Neill's Unfinished Threnody and Process of Invention in Four Cycle Plays (Lewiston, NY: Edwin Mellen Press, 1992).
  124. Sigmund Freud, "Femininity," New Introductory Lectures on Psycho-Analysis and Other Works in James Strachey, trans. and ed., The Standard Edition of the Complete Psychological Works of Sigmund Freud (London: Hogarth Press, 1964), p. 121. Although this lecture was composed in 1933, fairly late in Freud's career, it recapitulates ideas he propounded much earlier.
  125. Susan Harris Smith, "Inscribing the Body: Lavinia Mannon as the Site of Struggle," The Eugene O'Neill Review, 19, I and 2 (springlfall 1995): 45.
  126. I Smith, "Inscribing the Body," 4 5. See Louis Sheaffer, O'Neill: Son and Playwright (Boston: Little, Brown, 1968) and O'Neill: Son and Artist (Boston: Little, Brown, 1973); Manheim, Eugene O'NeillS New Language of Kinship; Doris Alexander, Eugene O'Neill's Creative Struggle: The Decisive Decade, 1924-1933 (University Park: Pennsyl- vania State University Press, 1992); and Laurin Porter, The Banished Prince: Time, Memory, and Ritual in the Late Plays of Eugene O'Neill (Ann Arbor: UMI Research Press, 1988).
  127. I Gloria Cahill, "Mothers and Whores: The Process of Integration in the Plays of Eugene O'Neill," The Eugene O'Neill Review, 16, I (spring 1992): 5-23.
  128. I Freud, "Femininity," I 3 3-34. Jung, quoted in Cahill, "Mothers and Whores," 3.
  129. I Travis Bogard discusses "the dual wife-mother character" in the introduction to The Later Plays of Eugene O'Neill (New York: Random House, 1967), pp. XV- xvi, and "The search for the surrogate mother" in Contour in Time, pp. 441-45. See also Doris V. Falk, Eugene O'Neill and the Tragic Tension (New Brunswick, NJ: Rutgers University Press, 1958), p. 76. The discussion that follows is partly based on my essay "O'Neill's Many Mothers: Mary Tyrone, Josie Hogan, and their Antecedents," in Shyamal Bagchee, ed., Perspectives on O'Neill: New Essays (ELS Monograph, University of Victoria 1988), pp. 7-16. Reprinted in John Houchin, ed. The Critical Response to Eugene O'Neill (New York: Greenwood, 1993), pp. 283-90.
  130. Trudy Decker dubs Essie Miller "a Ladiesy-Home-Journal wife-and-mother." See "Sexuality as Destiny: The Shadow Lives of O'Neill's Women," The Eugene O'Neill Newsletter 6 , z (summer-fall 1982): 9.
  131. See Bette Mandl, "Absence as Presence: The Second Sex in The Iceman Cometh," The Eugene O'Neill Newsletter 6, 2 (summer-fall 1982): 10--15.
  132. Ann C. Hall, "A Kind of Alaska": Women in the Plays of O'Neill, Pinter, and Shepard (Carbondale: Southern Illinois University Press, 1993), pp. 26-3 5. Manheim, New Language of Kinship, p. 159. Hall, "A Kind of Alaska," p. 50. Hall, "A Kind of Alaska," p. 53.
  133. Bower, Eugene O'Neill's Unfinished Threnody, pp. 1-8, passim. Part of O'Neill's 23 April 1931 dedication of Mourning Becomes Electra to Carlotta. Reprinted in Inscriptions: Eugene O'Neill to Carlotta Monterey O'Neill, ed. Donald Gallup (New Haven: privately printed, 1960). Manheim, New Language of Kinship, p. 122.
  134. Suzanne Burr, "O'Neill's Ghostly Women," in Feminist Rereadings of Modern American Drama, ed. June Schlueter (Rutherford: Fairleigh Dickinson Univer- sity Press, 1989), p. 3 8. Hall, "A Kind of Alaska," p. 2.
  135. I Anne Fkche, "'A Monster of Perfection': O'Neill's 'Stella,'" in Schlueter, p. 25. Fkche, "A Monster of Perfection," 44. Printed
  136. Bogard, Travis, Contour in Time: The Plays of Eugene O'Neill. Revised Edition (New York: Oxford University Press, 1988).
  137. Nathan, George Jean, "Eugene O'Neill after Twelve Years." American Mercury (October 1946): pp. 462-66. (Based, apparently, on letters from O'Neill during the period and, presumably, on conversations in New York after the O'Neills' return East.)
  138. O'Neill, Eugene Gladstone, The Calms of Capricorn. Developed from O'NeillS Scenario by Donald Gallup. With a Transcription of the Scenario (New Haven and New York: Ticknor and Fields, 1982).
  139. More Stately Mansions. Shortened from the Author's Partly Revised Script by Karl Ragnar Gierow and Edited by Donald Gallup (New Haven and London: Yale University Press, 1964).
  140. More Stately Mansions. The Unexpurgated Edition. Edited by Martha Gilman Bower (New York, Oxford: Oxford University Press, 1988).
  141. Selected Letters . . . Edited by Travis Bogard and Jackson R. Bryer (New Haven and London: Yale University Press, 1988).
  142. A Touch of the Poet (New Haven: Yale University Press, 1957).
  143. Work Diary, 1924-1943. Transcribed by Donald Gallup. Preliminary Edition. 2 volumes (New Haven: Yale University Library, 1981).
  144. O'Neill, Carlotta Monterey, "Diary" (Yale Collection of American Literature. Acronym: YCAL).
  145. O'Neill, Eugene Gladstone, Autograph draft letter, dated by Mrs. O'Neill 24 March 1945 (probably when she typed and sent it) to Frederic I. Carpenter (YCAL: O'Neill MS. I 18, vol. 3 , 4 February to 16 September 1945).
  146. Miscellaneous notes, outlines, scenarios, and drafts of the Cycle plays (YCAL).
  147. Sergeant, Elizabeth Shepley, typewritten notes of interviews with Eugene O'Neill, 3 [i.e., 41, 10 [i.e., I I], and 25 August 1946 (YCAL MS. 3. Sergeant papers, series III, box I 6, folder 3 5 8).
  148. of Jean Chothia, Forging a Language (Cambridge University Press, 1979)~ pp. 198-206.
  149. Sheaffer, O'Neill: Son and Playwright, p. 122; Arthur and Barbara Gelb, O'Neill (New York: Harper and Row, 1973)~ p. 233.
  150. Raymond Williams in Williams and M. Axton, eds., English Dramatic Forms and Development (Cambridge University Press, 1977)~ p. 217. See, for example, "An Interview with Edward Albee" in A. S. Downer, ed., American Theatre Today (New York: Basic Books, 1967) and "Edward Albee" in Jackson R. Bryer, ed., The Playwrights' Art (New Brunswick, New Jersey: Rutgers University Press, 1995)~ p. 10. Interview, New York Herald Tribune (16 March 1924)~ quoted in Oscar Cargill et al., O'Neill and his Plays (New York: New York University Press, 1961), p. 110. Quoted, Cargill, p. 168. Playbill for The Spook Sonata, Experimental Theatre, New York (3 January 1924). Eric Bentley, "The Life and Hates of Eugene O'Neill," in Thinking About the Playwright: Comments from Four Decades (Evanston: Northwestern University Press, 1987), p. 32.
  151. Robert Benchley, Benchley a t the Theatre: Dramatic Criticism, 1920-40, ed. Charles Gethcell (Ipswich, Mass.: The Ipswich Press, 1985), p. 97.
  152. John Henry Raleigh, The Plays of Eugene O'Neill, with a preface by Harry T. Moore (Carbondale and Edwardsville: Southern Illinois University Press, 1965), p. 184. Kurt Eisen, The Inner Strength of Opposites: O'Neill's Novelistic Drama and the Melodramatic Imagination (Athens: University of Georgia Press, 1994), PP. 26, 30. Quoted by the Gelbs, p. 448. Gelb and Gelb, pp. 448, 449. Contrast with Raleigh: "he could not, under- standably, continue to utter the word 'nigger' every night and began to substitute euphemisms, such as 'black baby,"' Plays of Eugene O'Neill, pp. 108-09. Sheaffer, acknowledging that Gilpin may have been "resentful of all he had had to endure because of his color," reports the threat as "If you change the lines again, I'll beat the hell out of you" (SA, p. 3 5). Raleigh, The Plays of Eugene O'Neill, p. 109.
  153. Joel Pfister, Staging Depth: Eugene O'Neill and the Politics of Psychological Discourse (Chapel Hill: University of North Carolina Press, 1995), offers an extensive discussion of O'Neill and race, pp. 121-37; Hughes quoted from p. 136; Nathan and Robeson, p. 262 n. 73. August Strindberg, The Father in Plays: One, trans. by Michael Meyer (London: Methuen, 1964, 1994), p. 61.
  154. John Howard Lawson, "Eugene O'Neill," in Gassner, A Collection of Critical Essays, p. 49.
  155. SA, p. 500; Raleigh, The Plays of Eugene O'Neill, pp. 127-42, passim. Anne Fleche, "A Monster of Perfection: O'Neill's 'Stella,"' in Feminist Readings of Modern American Drama, ed. June Schlueter (Rutherford: Fairleigh Dick- inson University Press, 1989), p. 25.
  156. See, for example, Judith Barlow, "O'Neill's Many Mothers: Mary Tyrone, Josie Hogan, and their Antecedents" in Perspectives on O'Neill: New Essays, ed. Shyamal Bagchee (Victoria: University of Victoria Press, 1988), pp. 7-17.
  157. Robert Benchley, Benchley at the Theatre, p. 70.
  158. Ann C. Hall, "A Kind of Alaska": Women in the Plays of O'Neill, Pinter, and Shepard (Carbondale and Edwardsville: Southern Illinois University Press, 1993), P. 53.
  159. Eric Bentley, "Eugene O'Neill's Pieta," in What is Theatre?: Incorporating "The Dramatic Event" and other Reviews (New York: Limelight Editions, 1984), PP. 18, 19.
  160. Mary McCarthy, Mary McCarthy's Theater Chronicles, 1937-1962 (New York: Farrar Straus and Giroux, 1963), p. 89.
  161. Eric Bentley, "A Touch of the Adolescent" in What is Theatre?, p. 396. See also Kurt Eisen, The Inner Strength of Opposites: "For all its reflections on American history and the individual's struggle to transcend the duality that history has conditioned, More Stately Mansions is a play about a failed writer," p. 87. Quoted by Michael Robinson, Strindberg and Autobiography (Norwich: Norvik Press, 1986), p. 3.
  162. Pfister, Staging Depth, p. 99. Moorton, Eugene O'Neill's Century, p. xxii.
  163. For Sheaffer, the metaphor of writing in blood becomes a key to interpreting O'Neill. and he emphasizes the phrase "emotional hemophiliac" in both volumes (SP, p. 3 S I; SA, p. ix).
  164. Bennett Simon, Tragic Drama and the Family: Psychoanalytic Studies from Aeschylus to Beckett (New Haven: Yale University Press, 1988), p. 181.
  165. Walter A. Davis, Get the Guests: Psychoanalysis, Modern American Drama, and the Audience, "The Wisconsin Project on American Writers," Frank Lentricchia, general editor (Madison: University of Wisconsin Press, 1994), p. 207. Invention in Four Cycle Plays (1988) and Laurin Porter's The Banished Prince: Time, Memory and Ritual in the Late Plays (1988) focus attention on O'Neill's massively conceived but uncompleted Cycle -"A Tale of Possessors Self-Dispossessed" -stressing the relationship of A Touch of the Poet and More Stately Mansions from that Cycle to the last plays. And Michael Hinden's "Long Day's Journey Into Night": Native Eloquence (1990) is the most recent full-length study of that play. O'Neill's relationship to earlier writers -Ibsen, Strindberg, and the Greek tragedians -has been included in several critical studies, but comparisons of his plays with the work of two writers he is not normally compared with is the exclusive focus of two full-length works: Peter Egri's Chekhou and O'Neill (1986), which deals more with Chekhov's short stories than his plays; and Normand Berlin's O'NeillS Shakespeare (1993), one of the most original approaches to the playwright in recent years. Berlin has also done work in article form on the relationship between O'Neill and Samuel Beckett ("The Beckettian O'Neill," Modern Drama g I [March 19881: 28-34). And while not a discussion of O'Neill's relationship to one specific dramatist, Edward Shaughnessy's O'Neill in Ireland (1988) certainly suggests the influence of John Millington Synge on O'Neill's work. In addition, James R. Robinson's Eugene O'Neill and Oriental Thought (1982) has been important in O'Neill scholarship in exploring Eastern ideas in the plays, while Marc Maufort compares the playwright with Herman Melville in Songs of American Experience (1989). The book which led the way in attacking O'Neill's plays is Virgil Geddes' The Melodrarnadness of Eugene O'Neill (first published in 1934, and reprinted in 1973 and 1977). Geddes has had numerous successors, including the critic Eric Bentley. Articles too numerous and varied to include for discussion here have dealt with and touched on all these subjects, of course, as have sub-sections of books and anthologies of criticism of modern drama. Several articles were among the first to discuss O'Neill's relationship to other modern dramatists: Sverre Arestad's "The Iceman Cometh and The Wild Duck," Scandinavian Studies 20 (February 1948): 1-11; Sophus Winther's "Strindberg and O'Neill: A Study of Influence," Scandinavian Studies 31 (August 1959): 103-20;
  166. Egil Tornqvist's "Ibsen and O'Neill: A Study in Influence," Scandi- navian Studies 37 (August 1965): 211-35; Helen Muchnic's "The Irrele- vancy of Belief: The Iceman Cometh and [Gorky's] The Lower Depths, in Cargill et al., eds., O'Neill and his Plays (1961): 43 1-42; and more recently (as mentioned above) Normand Berlin's "The Beckettian O'Neill." In addition, Travis Bogard compares O'Neill with Shaw in The Revels History of Drama in English, vol. 8 (London: Methuen, 1977): pp. 66-76; and Linda Ben-Zvi deals with O'Neill and Susan Glaspell in The Eugene O'Neill Newsletter 10 (Spring 1986): 22-27.
  167. Similarly, Cyrus Day's articles were the first to emphasize the influence of the Last Supper on The Iceman Cometh ("The Iceman and the Bride- groom," Modern Drama I [May 19581: 1-9) and of Nietzsche's Beyond Good and Evil on Lazarus Laughed ("Amor Fati: Lazarus as Superman and Savior," Modern Drama 3 [December I 9601: 297-3 o 5). Numerous critics have dealt with the influence of Aeschylus on Mourning Becomes Electra, most recently R. F. Moorton in a collection of essays he edited, Eugene O'Neill's Century: 105-1 8. Articles dealing with autobiographical elements in the plays have been common through the years since Long Day's Journey Into Night. The most shaping probably has been Edwin Engel's "Ideas in the Plays of Eugene O'Neill," in John Gassner, ed., Ideas in the Drama (New York: Columbia University Press, 1964: pp. 101-24) -shaping because, following his Haunted Heroes, which was written before Long Day's Journey, it was the first to delineate precisely the importance of that work to the entire O'Neill canon. Among those probing new depths in biographical criticism of the playwright is Stephen Black, whose articles have appeared in American Literature, Modern Drama, and The Eugene O'Neill Review. Among the most highly regarded pieces on Long Day's Journey Into Night is the chapter of that play by Richard E. Sewall in his The Vision of Tragedy, revised and enlarged edition (Yale University Press, 1980: pp. 161-74). (This and numerous other engaging essays on O'Neill appear in books and collections which, since they are not devoted exclusively to the playwright, are easily overlooked in listings of significant O'Neill studies.) And one not-so-recent followed by two more recent essays on The Iceman Cometh have suggested original approaches to that play: William R. Brashear's "The Wisdom of Silenus in O'Neill's Iceman" (American Literature 3 6 [May 19641: I 80-8 8);
  168. Normand Berlin's discussion of the play in O'Neill's Shakespeare: pp. 166-85; and Stephen Black's "Tragic Anagnorisis in The Iceman Cometh," in Shyamal Bagchee, ed. Perspectives on O'Neill: New Essays: pp. 17-32. The article which has probably had the most influence in attacking O'Neill also focuses on The Iceman Cometh: Eric Bentley's "Trying to Like O'Neill" (The Kenyon Review 14 [July 19521: 476-92). Several articles by Michael Manheim have sought to point the way toward a new approach to O'Neill deriving from post-structuralist criti- cism: "The Transcendence of Melodrama in A Touch of the Poet and A Moon for the Misbegotten," in John Stroupe, ed., Critical Approaches to O'Neill: 147-59; and parallel articles in the same vein on The Iceman Cometh, in James Martine, ed., Critical Essays on Eugene O'Neill: pp. 145-58; and Long Day'slourney Into Night, in Shyamal Bagchee, ed. Perspectives on O'Neill: New Essays: pp. 33-42. John V. Antush's "Eugene O'Neill: Modern and Postmodern," The Eugene O'Neill Review 13 (Spring 1989): 14-26 comes at the issue in rather different terms. There have been an increasing number of articles using feminist ap- proaches to the playwright and his work. Examples are Suzanne Burr's "O'Neill's Ghostly Women," in Feminist Readings of Modern American Drama, edited by June Schlueter (Rutherford, New Jersey: Fairleigh Dick- inson University Press, 1989): pp. 24-47; Bette Mandl's "Gender as Design in Strange Interlude (The Eugene O'Neill Review 19 [SpringJFall 19951: 123-28;
  169. Gloria Cahill's "Mothers and Whores: The Process of Integration in the Plays of Eugene O'Neill" (The Eugene O'Neill Review 16 [Spring 19921: 5-23; and previously published articles by Judith E. Barlow, referred to in the notes for her essay in this collection. The Eugene O'Neill Newsletter 6 (Summer/Fall 1992) devoted a special section to "O'Neill's Women." Collections of critical articles devoted exclusively to the playwright have been particularly important in O'Neill study. Among the most significant are: Oscar Cargill et al.'s O'Neill and his Plays (1961);
  170. John Gassner's O'Neill: A Collection of Critical Essays (1964);
  171. Ernest G. Griffen's Eugene O'Neill: A Collection of Critical Essays (1976);
  172. Virginia Floyd's Eugene OYNeill: A World View (1979);
  173. James J. Martine's Critical Essays on Eugene O'Neill (1984);
  174. Harold Bloom's collections of essays on O'Neill generally (1987) and on Long Day's Journey (1988) and The Iceman Cometh (1987) specifically; Shyamal Bagchee's Perspectives on O'Neill: New Essays (1988);
  175. John Stroupe's Critical Approaches to O'Neill (1988);
  176. Marc Maufort's Eugene O'Neill and the Emergence of American Drama (1989);
  177. Richard F. Moorton, Jr.'s Eugene O'Neill's Century: Centennial Views on America's Foremost Tragic Dramatist (1991); and John H. Houchin's The Critical Response to Eugene O'Neill(1993). Entire issues of Modern Drama were devoted to O'Neill in 1960 (Modern Drama 3) and 1988 (Modern Drama 31). I have unfortunately been unable to mention more than a few of the significant essays in these collections. Articles on O'Neill appear regularly, of course, in literary and theatre journals, but the chief source of such articles is the Eugene O'Neill Review published semi-annually by Frederick C. Wilkins, and its predecessor the Eugene O'Neill Newsletter. The pre-eminent edition of O'Neill's plays is the three-volume O'Neill, edited by Travis Bogard for the Library of America in 1988. His letters appear in Selected Letters of Eugene O'Neill edited by Bogard and Jackson Bryer in 1988. Other O'Neill writings have been edited and published by SELECT BIBLIOGRAPHY OF FULL-LENGTH W O R K S Ahuja, Chapman, Tragedy, Modern Temper and O'Neill (Atlantic Highlands, NJ: Humanities Press, 1983).
  178. Alexander, Doris, Eugene O'Neill's Creative Struggle: The Decisive Decade, 1924- 1933 (University Park: Penn State University Press, 1992).
  179. The Tempering of Eugene O'Neill (NY: Harcourt, Brace and World, 1962).
  180. Atkinson, Jennifer McCabe, Eugene O'Neill: A Descriptive Bibliography (Univer- sity o f Pittsburgh Press, 1974).
  181. Barlow, Judith E., Final Acts: The Creation of Three Late O'Neill Plays (Athens: University o f Georgia Press, 1985).
  182. Berlin, Normand, Eugene O'Neill (NY: St. Martin's Press, 1988).
  183. O'NeillS Shakespeare (Ann Arbor: University o f Michigan Press, 1993).
  184. Bloom, Harold, ed., Eugene O'Neill (NY: Chelsea House, 1987). Eugene O'Neill's "Long Day's Journey Into Night" (NY: Chelsea House, 1988). Eugene O'Neill's "The Iceman Cometh" (NY: Chelsea House, 1987).
  185. Bogard, Travis, Contour in Time: The Plays of Eugene O'Neill (Oxford University Press, 1972, revised edition, 1988).
  186. The Eugene O'Neill Songbook (Ann Arbor, Michigan: UMI Research Press, 1988).
  187. Boulton, Agnes, Part of a Long Story (Garden City, NY: Doubleday, 195 8).
  188. Bowen, Crosswell and Shane O'Neill, The Curse of the Misbegotten: A Tale of the House of O'Neill (NY: McGraw-Hill, 1959).
  189. Carpenter, Frederic I., Eugene O'Neill (NY: Twayne Publishers, 1957, revised edition, 1979).
  190. Chabrowe, Leonard, Ritual and Pathos: The Theatre of Eugene O'Neill (Lewisburg, Pennsylvania: Bucknell University Press, 1976; London: Associated University Presses, 1976).
  191. Chothia, Jean, Forging a Language: A Study of the Plays of Eugene O'Neill (Cambridge University Press, 1979 j.
  192. Clark, Barrett H., Eugene O'Neill (NY: Robert McBride, 1927). Eugene O'Neill: The Man and his Plays (NY: Dover Publications, 1947).
  193. Clark, B. H . and Ralph Sanborn, A Bibliography o f the Works of Eugene O'Neill Together with the Collected Poems of Eugene O'Neill (London: Benjamin Blom, 1965).
  194. Cunningham, Frank, Sidney Lumet: Film and Literary Vision (Lexington: Univer- sity of Kentucky Press, 1991).
  195. Dubost, Thierry, Struggle, Defeat, or Rebirth: Eugene O'Neill's Vision of Humanity (Jefferson, North Carolina: McFarland and Company, 1996).
  196. Eisen, Kurt, The Inner Strength of Opposites: O'Neill's Novelistic Drama and the Melodramatic Imagination (Athens: University o f Georgia Press, 1994).
  197. Engel, Edwin, The Haunted Heroes of Eugene O'Neill (Harvard University Press, 1953).
  198. Falk, Doris V., Eugene O'Neill and the Tragic Tension: An Interpretive Study of the Plays (New Brunswick, NJ: Rutgers University Press, 1958).
  199. Floyd, Virginia, ed., Eugene O'Neill: A World View (NY: Frederick Ungar, 1979). The Plays of Eugene O'Neill: A New Assessment (NY: Frederick Ungar, 1984).
  200. Frazer, Winifred D., Love as Death in "The Iceman Cometh": A Modern Treatment of an Ancient Theme (Gainesville: University o f Florida Press, 1967).
  201. Frenz, Horst, Eugene O'Neill (NY: Frederick Ungar, 1971).
  202. Frenz, H. and Susan Tuck, eds., Eugene O'Neill's Critics: Voices from Abroad (Carbondale: Southern Illinois University Press, 1984).
  203. Gassner, John, Eugene O'Neill (Minneapolis: University o f Minnesota Press, 1965).
  204. Gassner, J., ed., O'Neill: A Collection of Critical Essays (Englewood Cliffs, NJ: Prentice Hall, 1964).
  205. Geddes, Virgil, The Melodramadness of Eugene O'Neill. (Brookfield, Conn: The Brookfield Players, 1934, reprinted by Folcroft, Pennsylvania: The Folcroft Press, 1973 and Nonvood, Pennsylvania: The Norwood Press, 1977).
  206. Gelb, Arthur and Barbara, O'Neill (NY: Harper and Row, 1962, second edition, 1987).
  207. Griffen, Ernest G., ed., Eugene O'Neill: A Collection of Criticism (NY: McGraw- Hill, 1976).
  208. Hall, Ann C., "A Kind of Alaska": Women in the Plays of O'Neill, Pinter, and Shepard (Carbondale: Southern Illinois University Press, 1993).
  209. Hayashi, Tetsumaro, Eugene O'Neill: Research Opportunities and Dissertation Abstracts (Jefferson, North Carolina: MacFarland and Company, 1983).
  210. Hinden, Michael, "Long Day's Journey Into Night": Native Eloquence (Boston: G. K. Hall, 1990).
  211. Houchin, John H., ed., The Critical Response to Eugene O'Neill (Westport, Connecticut: Greenwood Press, 1993).
  212. Josephson, Lennart, A Role: O'Neill's Cornelius Melody (Stockholm: Almqvist and Wiksell International, 1977; and Atlantic Highlands, N J : Humanities Press, 1978).
  213. Kobernik, Mark, Semiotics of Drama and the Style of Eugene O'Neill (Amsterdam: Benjamins, 1989).
  214. Leech, Clifford, Eugene O'Neill (London: Oliver and Boyd; and NY: Grove Press, 1963).
  215. Long, Chester Clayton, The Role of Nemesis in the Structure o f Selected Plays by Eugene O'Neill (The Hague: Mouton, 1968).
  216. McDonough, Edwin J., Quintero Directs O'Neill (Chicago: A Capella Books, 1991).
  217. Manheim, Michael, Eugene O'Neill's New Language of Kinship (Syracuse, New York: Syracuse University Press, 1982).
  218. Martine, James J., ed., Critical Essays on Eugene O'Neill (Boston: G. K. Hall, 1984).
  219. Maufort, Marc, ed., Eugene O'Neill and the Emergence of American Drama (collected essays) (Amsterdam: Rodopi, 1989; and Atlantic Highlands, NJ: Humanities Press, 1989).
  220. Songs of American Experience: The Vision of O'Neill and Melville (NY: Peter Lang, 1990).
  221. Miller, Jordan Y., Eugene O'Neill and the American Critic (Hamden, Connecticut: Archon Books, 1973).
  222. Moorton, Richard F. Jr., ed., Eugene O'Neill's Century: Centennial Views on America's Foremost Tragic Dramatist (Westport, Connecticut: Greenwood Press, 1991).
  223. O'Neill, Eugene, "As Ever, Gene": The Letters of Eugene O'Neill to George Jean Nathan. Edited by Nancy L. Roberts and Arthur W. Roberts (Rutherford, New Jersey: Fairleigh Dickinson University Press, 1987).
  224. The Calms of Capricorn. Developed from O'Neill's scenario by Donald Gallup (New Haven and NY: Ticknor and Fields, 1982).
  225. Comments on the Drama and the Theater. Collected and edited by Ulrich Halfmann (Tubingen: Gunter Narr Vetlag, 1987).
  226. Complete Plays. 3 volumes. Edited with notes by Travis Bogard (NY: The Library of America, 1988).
  227. "Love and Admiration and Respect": The O'Neill-Commins Correspondence. Edited by Dorothy Commins (Durham, North Carolina: Duke University Press, 1986). Poems: 1912-1914. Edited by Donald Gallup (New Haven and N Y Ticknor and Fields, 1980).
  228. Selected Letters of Eugene O'Neill. Edited by Travis Bogard and Jackson Bryer (Yale University Press, 1988).
  229. "The Theatre We Worked For": The Letters of Eugene O'Neill to Kenneth Macgowan. Edited by Jackson Bryer, with introductory essays by Travis Bogard (Yale University Press, 1982).
  230. The Unfinished Plays: Notes for "The Visit of Malatesta," "The Last Conquest," and "Blind Alley Guy." Edited and annotated by Virginia Floyd (NY: Frederick Ungar, 1988).
  231. The Unknown O'Neill: Unpublished and Unfamiliar Writings. Edited with commentaries by Travis Bogard (Yale University Press, 1988).
  232. Work Diary, 1924-1943. Transcribed by Donald Gallup. 2 volumes (New York Haven: Yale University library, 1 9 8 1 ) .
  233. Orlandello, John, O'Neill on Film (Rutherford, New Jersey: Fairleigh Dickinson University Press, 1982).
  234. Pfister, Joel, Staging Depth: Eugene O'Neill and the Politics of Psychological Discourse (Chapel Hill: University of North Carolina Press, 1995).
  235. Porter, Laurin R., The Banished Prince: Time, Memory, and Ritual in the Late Plays of Eugene O'Neill (Ann Arbor, Michigan: UMI Research Press, 1988).
  236. Prasad, Hari M., The Dramatic Art of Eugene O'Neill (NY: Advent Press, 1987).
  237. Raleigh, John Henry, The Plays of Eugene O'Neill (Carbondale: Southern Illinois University Press, 1965).
  238. Raleigh, J. H., ed., "The Iceman Cometh": A Collection of Critical Essays (Engle- wood Cliffs, NJ: Prentice Hall, 1968).
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About the author
Rizwan Ali
West Bengal State University, Graduate Student

A learner of English Language and Literature

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Eugene O'Neill's Place in Irish Theater Today: Interviews with Irish Theater Scholars
Dan McGovern

The Eugene O'Neill Review, 2018

president of the board of the Eugene O'Neill Foundation, Tao House, interviewed four distinguished Irish theater scholars regarding Eugene O'Neill's place in Irish theater today. 1 The scholars are, in the alphabetical order in which their remarks will be presented, David Clare, Christopher Morash, Christopher Murray, and Anthony Roche. 2 They received a list of fourteen questions in advance. The interviews with professors Clare, Morash, and Murray were conducted in person, recorded, and transcribed. Professor Roche submitted written responses as he was indisposed at the time the interview was scheduled. Each of them took advantage of the opportunity to amend their remarks when reviewing drafts of this article and have given it their approval. 1. In The Oxford Handbook of Modern Irish Theatre, John P. Harrington notes that O'Neill "has been presented on the Irish National Theatre stage more than any other American playwright. " 5 And yet the last O'Neill production at the Abbey appears to have been The Iceman Cometh in 1992. 6 Is O'Neill still a significant presence in Irish theater? david clare: I would actually say much less than he was. He was quite regularly produced at the Abbey and the Gate over a number of decades, but since the '90s it's mainly been focused on the late masterpieces often with celebrity casting. . . . In terms of early to mid-twentieth century American drama there actually have been fewer productions of that generally and the focus has been mainly on Miller and Williams, I think for their perceived exoticism. When people go to the theater they want to see a different

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O'Neill's Diversity of Form and Technique: A Study of His Short Plays 1
IOSR Journals

Nineteenth century America produced eminent prose writers and poets such as Hawthorne, Melville, Poe, Whitman, Emerson, Thoreau, and Mark Twain but none of comparable quality in the field of drama. The gap remained until after the First World War, the year 1920, to be exact, with O'Neill's production of "Beyond the Horizon" and the inception of the "Theater Guild" which enabled him to face the challenge by refining the genre which had so far lagged behind in its development and maturity, as well as in form and content. Appreciating O'Neill's contribution, this study aims is to highlight O'Neill's craft in making drama a distinct literary genre with diversity of both form and technique. A thorough thematic analysis focuses primarily on the different forms and techniques which O'Neill has implicitly or explicitly employed in his short plays from the outset of his career until its end. O'Neill's experimentation in form, including his use of multiple acts and scenes, makes him entirely a different dramatist. He was internationally recognized as a dramatist not because he used one or the other technique in his plays but because he blended all those techniques in his plays in a highly personalized manner. Highlights: The study of O'Neill's diversity of form and technique reveals that his stature as a great artist stems from the highly personalized approach he brought to this blend of form and technique.

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2014

Since O'Neill here, as elsewhere, was being perfectly honest in calling his relationship to Hollywood a purely financial one, questions may be raised as to the necessity of discussing O'Neill's relationship to the film world or in presenting a paper entitled "O'Neill and Film." This idea is also supported by the fact that unlike Bernard Shaw or Tennessee Williams, O'Neill was not intimately connected with the film versions of his works, which he sold outright, retaining no control over the final product. This paper will attempt to establish Eugene O'Neill in relation to the cinema, not because he was the leader of the revolution in American drama from 1916 to 1924, but because he was writing in a period when the new art form of filmmaking, in all its gloss, especially in America, was rapidly expanding its horizons, reaching out towards new techniques and innovations. The writers of the period in general were naturally excited by the heady discoverie...

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