“Tyronian” Tragedy

In Eugene ONeills agonizingly autobiographical play Long Days Journey into Night, readers are introduced a dismal family situation. Drugs, death, illness and failure lace each conversation, and sadness flows nearly as unreservedly as the alcohol. In such a tragedy, nonpareil would expect to have a clear idea of with whom the blame lies. In this piece of drama, however, there is a distinct inability to do so. Eugene ONeill persistently manipulates the emotional responses of the reader. This manipulation keeps partiality off balance and uncertain.ONeill accomplishes this by allowing readers to sympathize with unmatched family member. Once sympathy is established for superstar particular lineament, that character promptly says, or does, something that loses the readers alliance, along with the alliance of whichever character he or she is berating at that particular moment. This results in the readers inability to discern who, precisely, is culpable for the Tyrone familys situation . The idea of assigning culpability in Long Days Journey Into Night is almost humourous.Even if one wanted to, it would be difficult to sort through ageing age of built up anger, layer upon layer of repression, and huge amounts of guilt in each character for each character is at fault for one thing or a nonher, and, in addition, each character blames someone else for his or her problem. For example, Mary blames her husband and his stingyness for her addiction to morphine. Due to their mother being an addict, Jamie is otiose to bring girls home, thus he visits prostitutes. Such behavior has influenced his younger brother Edmund, making him old in the lead his time (35).Consequently, Jamie is at fault for Edmunds poor health. In turn, his mother, for causing the addiction by being brought into the world, as well as worsening it with his own illness, blames Edmund. And so, the unrelenting circle continues. However, if one does not wish to inflict upon ones distinguished teachi ng assistant a painfully long dissertation of each members contributions to the tragedy and the results thereof, one ought to maintain, for arguments sake, that the majority of the culpability lies with James Tyrone, for his behaviour in regards to money, alcohol, and his own status as a failed actor.Jamess obtain had left the family when James was only ten years of age. This left James as the man of the family, working twelve hours each day to help provide for his mother and three sisters. As James explains, It was in those days I learned to be a miser(151). He feels proud of his savings, and announces to his family in regards to buying something I got them dead cheap(15). His own early credit entry of the importance of money explains his continual contempt for his own childrens lack of concern when it comes to workingWhat do you know of the value of a dollar? (150). He accuses Jamie of being lazy and having no ambition. Not only does James Tyrone wish his sons understood the val ue of money, but since they do not, he is forced to be miserly plentiful for the whole family. Consequently, the family resents his overly economic ways. There are many attacks throughout the play on James Tyrone for this, the first one being Jamie accusing him of not sending Edmund to a real doctor for his illness when he first got sick. Jamie says, Hardy only charges a dollar. Thats what makes you think hes a fine doctor (31).Later, other dialogue gives an even worse view of the situation Tyrone sending Edmund to a cheap sanatorium, but spending money on real estate JAMIE Well, for Gods sake, dissipate out a good place and not some cheap dump TYRONE (Stung) Ill send him wherever Hardy thinks best JAMIE Well, dont give Hardy your old over-the-hills-to-the-poorhouse song about taxes and mortgages. TYRONE Im no millionaire who empennage throw money awayWhy shouldnt I tell Hardy the truth? JAMIE Because hell think you want him to plop a cheap dump, and because hell now it isnt th e truth i especially if he hears afterwards youve seen McGuire and let that flannel-mouth, gold-brick merchant sting you with another piece of bum topographic point (82) Later realizing the anger this statement comes from, James Tyrone offers Edmund any place you like Never mind what it costs whatever place I can afford. Any place you like. Sadly, there follows the stipulation Tyrone cannot seem to shake off Within reason. (151). Cheap medical pull off seems to be Tyrones weakness.As Mary Tyrone makes clear, his tightfisted ways result, though inadvertently, in her downfall as well, due to a doctor giving her morphine as an easy fix. But bearing Edmund was the brook straw. I was so sick afterwards, and that ignorant quack of a cheap hotel doctor-All he knew was I was in pain. It was easy for him to stop the pain. (90) Tyrone is also to blame for his wifes oecumenical unhappiness, not just her addiction to morphine. Mary says to Edmund that she has neer been happy in the house, because Everything was done in the cheapest way. Your father would never spend the money to make it right. (45). The later(prenominal) scene has Mary come downstairs (60), in a detached sort of manner.She complains bitterly to Edmund about Tyrones inability to make a real home. He is too stingy to build a real home, with good servants, and so she has suffered all her life. When Tyrone himself comes in, she says in continuation of her previous statements Im sick and tired of pretending this is a home You wont help me (69). She goes on to say that had he remained a bachelor Then nothing would have happened. This indicates strongly that she blames him too.Tyrone condemns Mary for her addiction, yet feels no guilt or responsibility for it, taking away any amount of forgiveness readers may have parted with in Tyrones favour. The amusing part of this however, is while he condemns his wife for substance abuse, the same thing is his own major vice. Mary tells her husband I would never have married you if Id known you drank so very much (115). She also launches into a story about their honeymoon, when Tyrone was dragged home intoxicated. It appears that in a fashion similar to that of their father, Jamie and Edmund seem quite partial to alcohol.In fact, the entire family seems unable to confront reality without chemical assistance. Marys words indicate that drinking all day is a common Tyrone family activity I know what to expect. You will be drunk tonight. Well, it wont be the first time, will it i or the thousandth? (72). The Tyrone men validate their drinking habits with folk wisdom about whiskeys alleged health benefits Its before a meal and Ive always found that good whiskey, taken in moderation as an appetizer, is the best of tonics (68). Alcohol has contributed to Jamies failures.It has hurt Edmunds health. And it becomes a extension of conflict amongst Jamie and Tyrone, as Jamie consistently steals his fathers whiskey, replacing the amount taken with w ater, so his father wont take notice. Regrettably, the alcohol solves no problems, and problems get more intricate as the tongues loosen from the booze. The three men share a drink, but none of the social magic of alcohol seems to work. Tyrone, Edmund and Jamie remain as miserable as ever. The last, most driving element of James Tyrones guilt is his status as a failed actor.In act four of the play, James Tyrone relates something to his youngest son that he has never told anyone before. He explains that since his father left the family when he was ten, he grew up to be miserly. Thus he was quick to give up artistic fulfillment in exchange for financial security, ruining his career as one of the three or four young actors with the greatest artistic promise in the States(153). James Tyrone now muses that he doesnt even know what it was he had wanted to buy. It appears that James has never forgiven himself for this, and therefore inflicts it on his family and neighbours.Mary says in r egards to the neighbours they bowed to your father and he bowed back as if he were taking a curtain call(44). Jamie relates that Tyrone puts on an act for everybody (57). Tyrone begins to quote a play almost as tragic as his own family life, but his son, obviously well versed in his fathers repertoire of chastisements from King Lear, finishes the sentence before his father can continue, with to have a thankless child. I know(92). His sons also immediately think in terms of tragedy when referring to their father, quoting Othello in reference to Jamess snoring The Moor, I know his trumpet(21).It appears that Tyrone turns his own life into a tragedy, like the ones he once portrayed so well upon the stage, switching affections and emotions like he would have to between scenes, although his family isnt as accepting of this as Edwin Booth and the critics obviously were. But why bother to deal with the question of fault? After all, the characters themselves claim not to care about it, su ch as in act two, scene two, when James Tyrone tries to blame Edmunds consumptive state on Marys side of the family. Jamie cries out against blame Who gives a damn about that part of it