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Alkohoolikud ja morfiinisõltlane klativad peresuhteid.
135 pages, Unknown Binding
First published January 1, 1956
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About the author
Eugene O'Neill
519 books1,229 followersAmerican playwright Eugene Gladstone O'Neill authored
Mourning Becomes Electra
in 1931 among his works; he won the Nobel Prize of 1936 for literature, and people awarded him his fourth Pulitzer Prize for
Long Day's Journey into Night
, produced in 1956.
He won his Nobel Prize "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy." More than any other dramatist, O'Neill introduced the dramatic realism that Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg pioneered to Americans and first used true American vernacular in his speeches.
His plays involve characters, who, engaging in depraved behavior, inhabit the fringes of society, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote Ah, Wilderness! , his only comedy: all his other plays involve some degree of tragedy and personal pessimism.
He won his Nobel Prize "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy." More than any other dramatist, O'Neill introduced the dramatic realism that Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg pioneered to Americans and first used true American vernacular in his speeches.
His plays involve characters, who, engaging in depraved behavior, inhabit the fringes of society, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote Ah, Wilderness! , his only comedy: all his other plays involve some degree of tragedy and personal pessimism.
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April 17, 2025
“How could you believe me—when I can’t believe myself ? I’ve become such a liar.”
Long Day's Journey Into Night ~~~ Eugene O'Neill
I believe Eugene O'Neill's Long Day's Journey Into Night to be the greatest American play ever written, as well as the greatest play of the 20th century. It fascinates me that as most playwright's talents wane as they age, O'Neill's grew stronger with each passing year. To have written Long Day's Journey Into Night, THE ICEMAN COMETH, A MOON FOR THE MISBEGOTTEN, and HUGHIE at the end of his life is a testament to his talent. Writing these plays must have been pure hell for O'Neill. He wrote in longhand, suffering a severe Parkinson-like tremor in his hands which was extremely painful. It was impossible for him to write during the last 10 years of his life. I can only imagine the works he would have produced had this affliction not robbed us of his talent.
Long Day's Journey Into Night focuses on James Tyrone, an aging actor, Mary, his morphine-addicted wife, Edmund and Jamie, their two adult sons, both alcoholics.
Eugene O’Neill, his brother Jamie, and his father James on the porch of Monte Cristo Cottage in New London, their summer home.
Random thoughts ~~
Long Day's Journey Into Night is a ghost play; it is more memory than reality.
As the light moves from day to night during the course of this long painful day, the fog seems to seep through the walls.
The foghorn a constant reminder of old sorrows. As Mary says, "The past is the present, isn't it? It's the future, too." (IIii)
James & Mary Ella O'Neill, Eugene O'Neill's parents
Long Day's Journey Into Night is not a linear play. Yes, the action moves from day to night, but as the dialogue becomes fueled more and more by whiskey and morphine, the past is repeated over and over again, becoming more vicious, more accusatory.
There are four addicts living in this house, not one. But Mary's addiction leaves her isolated. Drinking is socially acceptable, drug addiction is not. Drug addiction is mysterious. Morphine separates Mary from her family. Mary's addiction is dirty.
Mary is a master of deceit. She even acknowledges this.
Each and everyone of the Tyrones is fascinating, and each is brilliantly written, complex and real. We know these people. Again, the past is the present.
Mary is the most fascinating of the Tyrones. She controls and manipulates every moment while she is on stage. Yet, Mary is barely in control of herself.
Mary is cruel in ways the others are not. She attacks like a cornered feline.
O'Neill's language, so simple, so powerful. As James says, Edmund does have a touch of the poet in him.
Eugene O'Neill
At the close of the play, all four of the Tyrones are still on stage lost in the past ~~ Mary's past.
“Then in the spring something happened to me. Yes, I remember. I fell in love with James Tyrone and was so happy for a time.” (IV) It is one of the most beautiful moments in the history of theatre.
Long Day's Journey Into Night ~~~ Eugene O'Neill
I believe Eugene O'Neill's Long Day's Journey Into Night to be the greatest American play ever written, as well as the greatest play of the 20th century. It fascinates me that as most playwright's talents wane as they age, O'Neill's grew stronger with each passing year. To have written Long Day's Journey Into Night, THE ICEMAN COMETH, A MOON FOR THE MISBEGOTTEN, and HUGHIE at the end of his life is a testament to his talent. Writing these plays must have been pure hell for O'Neill. He wrote in longhand, suffering a severe Parkinson-like tremor in his hands which was extremely painful. It was impossible for him to write during the last 10 years of his life. I can only imagine the works he would have produced had this affliction not robbed us of his talent.
Long Day's Journey Into Night focuses on James Tyrone, an aging actor, Mary, his morphine-addicted wife, Edmund and Jamie, their two adult sons, both alcoholics.
Eugene O’Neill, his brother Jamie, and his father James on the porch of Monte Cristo Cottage in New London, their summer home.
Random thoughts ~~
Long Day's Journey Into Night is a ghost play; it is more memory than reality.
As the light moves from day to night during the course of this long painful day, the fog seems to seep through the walls.
The foghorn a constant reminder of old sorrows. As Mary says, "The past is the present, isn't it? It's the future, too." (IIii)
James & Mary Ella O'Neill, Eugene O'Neill's parents
Long Day's Journey Into Night is not a linear play. Yes, the action moves from day to night, but as the dialogue becomes fueled more and more by whiskey and morphine, the past is repeated over and over again, becoming more vicious, more accusatory.
There are four addicts living in this house, not one. But Mary's addiction leaves her isolated. Drinking is socially acceptable, drug addiction is not. Drug addiction is mysterious. Morphine separates Mary from her family. Mary's addiction is dirty.
Mary is a master of deceit. She even acknowledges this.
Each and everyone of the Tyrones is fascinating, and each is brilliantly written, complex and real. We know these people. Again, the past is the present.
Mary is the most fascinating of the Tyrones. She controls and manipulates every moment while she is on stage. Yet, Mary is barely in control of herself.
Mary is cruel in ways the others are not. She attacks like a cornered feline.
O'Neill's language, so simple, so powerful. As James says, Edmund does have a touch of the poet in him.
Eugene O'Neill
At the close of the play, all four of the Tyrones are still on stage lost in the past ~~ Mary's past.
“Then in the spring something happened to me. Yes, I remember. I fell in love with James Tyrone and was so happy for a time.” (IV) It is one of the most beautiful moments in the history of theatre.
March 9, 2017
*Read for class*
Nope not a fan
Nope not a fan
May 5, 2018
“None of us can help the things life has done to us.”
“Long Day’s Journey into Night” is considered a classic of American drama, and it deserves that distinction. This text is a searing look into the intricacies of family, addiction, jealously, work, health, poverty, wealth and love. It has something to say about all of those topics and doing all that successfully is a monumental task in and of itself. To do all of that well is astounding.
The play follows a day in the life of the Tyrone family. Husband and wife Mary and James, and their two adult sons, Jamie and Edmund. Although the play is certainly no comedy there is a black Irish sense of humor that pervades the piece. At times, it is unnerving. The family is currently living together although each member is very isolated and hiding behind the lies that we all tell ourselves in order to gloss over our weaknesses or failures. Every reader will recognize themselves in the denial and lack of self –awareness that all humans suffer from to some extent. The Tyrone family just happens to be in the nexus of a perfect storm of all of these elements in the moment of the play’s action.
A huge element of this text are the stage directions and notes, which compose a large part of the play and are massively important to its success as a piece of literature and drama. At times, they convey more meaning than some of the dialogue, and that is not a criticism. In fact the note/stage directions are almost narrative at times, and while reading this play it can feel like a novel.
Eugene O’Neill never intended for this semi-autobiographical play to be performed (it was not even published until after his death) but we are lucky that it was. Its portrait of four people is unnerving in its depth of characterization and just plain ole humanness. We will find bits of ourselves in the Tyrone family. For good or ill, it is there.
As one character says-“We’ve loved each other! We always will! Let’s remember only that, and not try to understand what we cannot understand, or help things that cannot be helped-the things life has done to us we cannot excuse or explain.” That is a plea all of us could make at one time or another.
The universal tragedy (or power) of this play is its exploration of the things that we say (and sometimes don’t say) to the people we love the most.
“Long Day’s Journey into Night” is considered a classic of American drama, and it deserves that distinction. This text is a searing look into the intricacies of family, addiction, jealously, work, health, poverty, wealth and love. It has something to say about all of those topics and doing all that successfully is a monumental task in and of itself. To do all of that well is astounding.
The play follows a day in the life of the Tyrone family. Husband and wife Mary and James, and their two adult sons, Jamie and Edmund. Although the play is certainly no comedy there is a black Irish sense of humor that pervades the piece. At times, it is unnerving. The family is currently living together although each member is very isolated and hiding behind the lies that we all tell ourselves in order to gloss over our weaknesses or failures. Every reader will recognize themselves in the denial and lack of self –awareness that all humans suffer from to some extent. The Tyrone family just happens to be in the nexus of a perfect storm of all of these elements in the moment of the play’s action.
A huge element of this text are the stage directions and notes, which compose a large part of the play and are massively important to its success as a piece of literature and drama. At times, they convey more meaning than some of the dialogue, and that is not a criticism. In fact the note/stage directions are almost narrative at times, and while reading this play it can feel like a novel.
Eugene O’Neill never intended for this semi-autobiographical play to be performed (it was not even published until after his death) but we are lucky that it was. Its portrait of four people is unnerving in its depth of characterization and just plain ole humanness. We will find bits of ourselves in the Tyrone family. For good or ill, it is there.
As one character says-“We’ve loved each other! We always will! Let’s remember only that, and not try to understand what we cannot understand, or help things that cannot be helped-the things life has done to us we cannot excuse or explain.” That is a plea all of us could make at one time or another.
The universal tragedy (or power) of this play is its exploration of the things that we say (and sometimes don’t say) to the people we love the most.
May 25, 2024
[3.3⭐] 𝙇𝙖𝙧𝙜𝙤 𝙫𝙞𝙖𝙟𝙚 𝙝𝙖𝙘𝙞𝙖 𝙡𝙖 𝙣𝙤𝙘𝙝𝙚 es una obra de teatro escrita por Eugene O'Neill y estrenada en 1956. Ambientada en un solo día del verano de 1912, la obra sigue a la familia Tyrone: James, el padre y actor de teatro; Mary, la madre que lucha con la adicción a la morfina; y sus dos hijos, Jamie y Edmund. La trama explora temas profundos y dolorosos como la adicción, la enfermedad, la culpa, el resentimiento y los conflictos familiares. A medida que el día avanza, se desvelan las tensiones y los secretos que han carcomido a la familia, mostrando cómo cada miembro lidia con sus propias tragedias y frustraciones.
La protagonista es Mary, un personaje comparable en su complejidad y profundidad a Blanche de 𝙐𝙣 𝙩𝙧𝙖𝙣𝙫𝙞́𝙖 𝙡𝙡𝙖𝙢𝙖𝙙𝙤 𝘿𝙚𝙨𝙚𝙤 y a Nora de 𝘾𝙖𝙨𝙖 𝙙𝙚 𝙢𝙪𝙣̃𝙚𝙘𝙖𝙨. O'Neill la configura de una manera muy humana: Mary es difícil de clasificar, ya que es inestable y multifacética. En momentos actúa como una niña, y en otros como una madre; a veces está lúcida, y otras veces está drogada. Estas fluctuaciones psicológicas y de ánimo le dan una riqueza lírica, haciendo que a veces parezca habitar otro mundo.
La obra también utiliza el contraste entre el interior y el exterior de la casa para subrayar sus temas. La casa de veraneo, con sus dos pisos, ofrece un espacio para el aislamiento de Mary, quien frecuentemente se recluye en el segundo piso. La oscuridad del interior de la casa contrasta con el mundo exterior, reflejando la decadencia cultural y social de la época.
El personaje de Cathleen, la sirvienta, juega un rol esencial en la estructura dramática como catalizador de las relaciones entre los personajes. Actúa como una "enfermera" y confidente para Mary, haciendo preguntas que nadie más se atreve a formular y comentando sobre los personajes, lo que la convierte en una especie de narradora dentro de la obra.
El título 𝙇𝙖𝙧𝙜𝙤 𝙫𝙞𝙖𝙟𝙚 𝙝𝙖𝙘𝙞𝙖 𝙡𝙖 𝙣𝙤𝙘𝙝𝙚 es tremendamente simbólico y alude al viaje real de la familia a la costa y a los viajes interiores de los personajes. Estos viajes psicológicos y morales revelan un elemento trágico: el día que comienza despejado y termina en la oscuridad refleja el descenso de la familia hacia sus propios abismos. El viaje de Mary, en particular, es hacia la inconsciencia, sumida cada vez más en la neblina de su adicción y alejándose de la realidad.
Finalmente, puedo decir que es una obra que presenta una visión desgarradora y profundamente humana de la lucha interna y la decadencia de una familia, encapsulando temas universales de dolor, adicción y la búsqueda de consuelo en medio de la oscuridad.
Sin duda, es una obra que está cargada de simbolismo, crueldad y dureza.. El retrato íntimo y desgarrador de la familia Tyrone es en gran medida autobiográfico, reflejando las propias experiencias de O'Neill con su familia, lo que añade una capa adicional de autenticidad y dolor a la obra. Por ello, su lectura es realmente fructífera e imprescindible si quieres adentrarte al teatro realista norteamericano. Por otro lado, es cierto que no es de mis obras favoritas de este movimiento.
La protagonista es Mary, un personaje comparable en su complejidad y profundidad a Blanche de 𝙐𝙣 𝙩𝙧𝙖𝙣𝙫𝙞́𝙖 𝙡𝙡𝙖𝙢𝙖𝙙𝙤 𝘿𝙚𝙨𝙚𝙤 y a Nora de 𝘾𝙖𝙨𝙖 𝙙𝙚 𝙢𝙪𝙣̃𝙚𝙘𝙖𝙨. O'Neill la configura de una manera muy humana: Mary es difícil de clasificar, ya que es inestable y multifacética. En momentos actúa como una niña, y en otros como una madre; a veces está lúcida, y otras veces está drogada. Estas fluctuaciones psicológicas y de ánimo le dan una riqueza lírica, haciendo que a veces parezca habitar otro mundo.
La obra también utiliza el contraste entre el interior y el exterior de la casa para subrayar sus temas. La casa de veraneo, con sus dos pisos, ofrece un espacio para el aislamiento de Mary, quien frecuentemente se recluye en el segundo piso. La oscuridad del interior de la casa contrasta con el mundo exterior, reflejando la decadencia cultural y social de la época.
El personaje de Cathleen, la sirvienta, juega un rol esencial en la estructura dramática como catalizador de las relaciones entre los personajes. Actúa como una "enfermera" y confidente para Mary, haciendo preguntas que nadie más se atreve a formular y comentando sobre los personajes, lo que la convierte en una especie de narradora dentro de la obra.
El título 𝙇𝙖𝙧𝙜𝙤 𝙫𝙞𝙖𝙟𝙚 𝙝𝙖𝙘𝙞𝙖 𝙡𝙖 𝙣𝙤𝙘𝙝𝙚 es tremendamente simbólico y alude al viaje real de la familia a la costa y a los viajes interiores de los personajes. Estos viajes psicológicos y morales revelan un elemento trágico: el día que comienza despejado y termina en la oscuridad refleja el descenso de la familia hacia sus propios abismos. El viaje de Mary, en particular, es hacia la inconsciencia, sumida cada vez más en la neblina de su adicción y alejándose de la realidad.
Finalmente, puedo decir que es una obra que presenta una visión desgarradora y profundamente humana de la lucha interna y la decadencia de una familia, encapsulando temas universales de dolor, adicción y la búsqueda de consuelo en medio de la oscuridad.
Sin duda, es una obra que está cargada de simbolismo, crueldad y dureza.. El retrato íntimo y desgarrador de la familia Tyrone es en gran medida autobiográfico, reflejando las propias experiencias de O'Neill con su familia, lo que añade una capa adicional de autenticidad y dolor a la obra. Por ello, su lectura es realmente fructífera e imprescindible si quieres adentrarte al teatro realista norteamericano. Por otro lado, es cierto que no es de mis obras favoritas de este movimiento.
September 21, 2018
Interesting read. My first O'Neill. An unhappy family re-lives in intoxicated conversations the highs, the lows, the lies, and the fantasies that they all seem to believe have led them to their present morbid state. Blame the mother. Blame the father. Blame the sons. Blame society. Blame the drugs. Blame death, loneliness, and want. Very hard to realize, emotionally charged and psychologically complex, directions to the actors. Realistic dialogue. And very long. 3.5-stars rounded up to 4.
September 20, 2025
تا حالا شده کتابی بخونید که دردتون بگیره؟
سفری طولانی از روز به شب از اون دست نوشتههایی بود که برای من بسیار دردآوره. بیشتر اوقات، بعد خوندنِ هر پنج یا ده صفحه از شدت دردی (نه فقط درد روانی که حتی درد فیزیکی!) که حس میکردم، کتاب رو کنار میذاشتم و بعدا دوباره سراغش میرفتم. حقیقتا نمیدونم باید در وصف این کار اونیل چی بگم: اینکه یه نویسنده تونسته به صورت اعجابانگیزی یه خانواده آشفته، ناکارامد و بسیار از همپاشیده رو به تصویر بکشه که انقدر برای من دردآوره، لایق تشویق و تمجیده یا فحش و لعنت؟
سفری طولانی از روز به شب، روایتی بس زیبا و استادانه از خانوادهی تایرون متشکل از پدر و مادر و دو فرزند پسر است که در ابتدای کتاب (صبح)، انگار همه چیز اوکیه و یه خانواده خیلی خوب به تصویر کشیده شده. اما دیری نمیگذره که غده چرکین تباهی و فنا، تدریجا توی این خانواده سر باز میکنه و کثافت و عذاب و درد کل خانواده رو میبلعه (تا انتهای شب). زندگی این خانواده داستان یک چرخه تباه از بازتولید بدبختی و فلاکت توسط خود اعضا برای یکدیگره که یه اکوسیستم بسیار سمی رو تشکیل میده.
چطور میشه یه نویسنده انقدر قشنگ ذهنیت کل اعضای یک خانواده رو نسبت به هم تصویر کنه؟ چطور میتونه انقدر واقعگرایانه از محیط هولناکی بین خانواده بگه که توش عشق و تنفر، میل و سرکوب و فقدان، از خودگذشتگی و خودخواهی، شوخی و تلخی، حسادت و خیرخواهی، کینه و بخشش، سازگاری و ناسازگاری و... در کنار هم قرار بگیرند؟ اون هم نه در قالب شخصیتهای و رویدادهای جدا، بلکه حتی لابهلای هر یکی دو خط، این تغییر و تضاد با هم مواجه میشوند (به خصوص در بخش دیالوگهای مادر خانواده).
سفری طولانی از روز به شب از اون دست نوشتههاس که اونایی که مشکلات ریشهای خانواده dysfunctional رو تجربه کردن، قراره باهاش درد بکشن، ولی شاید عین من، از خوندنش نتونن دست بکشن. حدیثِ نفسی که اونیل از زندگی خودش توی این نمایشنامه بازتاب داده، داستان زندگی تأثربرانگیز شاید خیلی از ماهاس که حتی کوچکترین وجه درد و رنجمون رو، نمیتونیم به زبان بیاریم؛ چه برسه به اینکه بخوایم به این زیبایی بنویسمشون.
این متن روایتی از انسانهاییست که موجب ایجاد فقدان و میل در دیگری شدهاند و خواسته یا ناخواسته، هر مدل سرکوبی که میتوانستند رو به خود یا دیگری اعمال نمودند. خانواده تایرون به نظر من یادآور خیلی از خانوادههای ایرانیه که عشق و علاقه ( اغلب کورکورانه) در کنار ناآگاهی و جهالت پدر و مادر، فرزندانی رو خلق کرده که تقاص حماقتها و عقدهها و شکستهای پدر و مادر خودشون رو، با تنفر از خود و بقیه، از دست دادن تمام جایگاههایشان در جامعه و همچنین، خودتخریبی و اعتیاد و فرار برای فراموشی تا مرز فروپاشی، پس میدهند. انگار پردهای از لجاجت، حجب و حیا و ریای لجنمال و عشق کوکورانه و... این اکوسیستم مریض رو هی سمی و سمیتر میکنه. این خانوادهها هرچند تا مغز استخوان همه در رنجد اما تا وقتی خیلی دیر نشده دست به اعتراف و پشیمانی نمیزنند و زمانی که میزنند، خیلی دیره...
یک "به مو رسیده ولی پاره نشده"ی دائمی و همیشگی، بهترین توصیفیه که از وضعیت هولناک و بسیار تراژدیک این خانواده میتونم به شما ارائه بدم. درسته به مو رسیدن و پاره نشدن، در پسِ پشتِ خود میخواد امید ( هرچند به نظرم یک امید سمی و رقتانگیز) رو القا کنه، ولی وقتی کار از کار میگذره و این توصیف به وضعیت همیشگی یک خانواده تبدیل میشه و حتی رقتبارترین امیدها هم رنگ میبازند.
توی شیمی اصطلاحی به نام «فاصله تعادلی» بین اتمهای یک پیوند مولکولی تعریف میشه که بیانگر اینه که فاصله بین دوتا اتم دائم در حال تغییره و کم و زیاد میشه. این فاصله از یه جایی کمتر و بیشتر نمیشه، چون وقتی زیاد نزدیک هم شن دافعه و وقتی زیاد دور میشن، جاذبه اونارو تو این فاصله نگه میداره. روابط بین خانوادههای اینچنینی هم به همین صورته: ملغمهای استیصالی بین عشق و تنفرِ دائم در حال چرخش.
در انتهای کتاب یک متن تحلیلی از سوی مترجم قرار داشت برای تحلیل روایت کتاب بر اساس نظمهای سهگانهی لاکانی که واقعا خوندنش مفید و جذاب بود برای من.
سفری طولانی از روز به شب از اون دست نوشتههایی بود که برای من بسیار دردآوره. بیشتر اوقات، بعد خوندنِ هر پنج یا ده صفحه از شدت دردی (نه فقط درد روانی که حتی درد فیزیکی!) که حس میکردم، کتاب رو کنار میذاشتم و بعدا دوباره سراغش میرفتم. حقیقتا نمیدونم باید در وصف این کار اونیل چی بگم: اینکه یه نویسنده تونسته به صورت اعجابانگیزی یه خانواده آشفته، ناکارامد و بسیار از همپاشیده رو به تصویر بکشه که انقدر برای من دردآوره، لایق تشویق و تمجیده یا فحش و لعنت؟
سفری طولانی از روز به شب، روایتی بس زیبا و استادانه از خانوادهی تایرون متشکل از پدر و مادر و دو فرزند پسر است که در ابتدای کتاب (صبح)، انگار همه چیز اوکیه و یه خانواده خیلی خوب به تصویر کشیده شده. اما دیری نمیگذره که غده چرکین تباهی و فنا، تدریجا توی این خانواده سر باز میکنه و کثافت و عذاب و درد کل خانواده رو میبلعه (تا انتهای شب). زندگی این خانواده داستان یک چرخه تباه از بازتولید بدبختی و فلاکت توسط خود اعضا برای یکدیگره که یه اکوسیستم بسیار سمی رو تشکیل میده.
چطور میشه یه نویسنده انقدر قشنگ ذهنیت کل اعضای یک خانواده رو نسبت به هم تصویر کنه؟ چطور میتونه انقدر واقعگرایانه از محیط هولناکی بین خانواده بگه که توش عشق و تنفر، میل و سرکوب و فقدان، از خودگذشتگی و خودخواهی، شوخی و تلخی، حسادت و خیرخواهی، کینه و بخشش، سازگاری و ناسازگاری و... در کنار هم قرار بگیرند؟ اون هم نه در قالب شخصیتهای و رویدادهای جدا، بلکه حتی لابهلای هر یکی دو خط، این تغییر و تضاد با هم مواجه میشوند (به خصوص در بخش دیالوگهای مادر خانواده).
سفری طولانی از روز به شب از اون دست نوشتههاس که اونایی که مشکلات ریشهای خانواده dysfunctional رو تجربه کردن، قراره باهاش درد بکشن، ولی شاید عین من، از خوندنش نتونن دست بکشن. حدیثِ نفسی که اونیل از زندگی خودش توی این نمایشنامه بازتاب داده، داستان زندگی تأثربرانگیز شاید خیلی از ماهاس که حتی کوچکترین وجه درد و رنجمون رو، نمیتونیم به زبان بیاریم؛ چه برسه به اینکه بخوایم به این زیبایی بنویسمشون.
این متن روایتی از انسانهاییست که موجب ایجاد فقدان و میل در دیگری شدهاند و خواسته یا ناخواسته، هر مدل سرکوبی که میتوانستند رو به خود یا دیگری اعمال نمودند. خانواده تایرون به نظر من یادآور خیلی از خانوادههای ایرانیه که عشق و علاقه ( اغلب کورکورانه) در کنار ناآگاهی و جهالت پدر و مادر، فرزندانی رو خلق کرده که تقاص حماقتها و عقدهها و شکستهای پدر و مادر خودشون رو، با تنفر از خود و بقیه، از دست دادن تمام جایگاههایشان در جامعه و همچنین، خودتخریبی و اعتیاد و فرار برای فراموشی تا مرز فروپاشی، پس میدهند. انگار پردهای از لجاجت، حجب و حیا و ریای لجنمال و عشق کوکورانه و... این اکوسیستم مریض رو هی سمی و سمیتر میکنه. این خانوادهها هرچند تا مغز استخوان همه در رنجد اما تا وقتی خیلی دیر نشده دست به اعتراف و پشیمانی نمیزنند و زمانی که میزنند، خیلی دیره...
یک "به مو رسیده ولی پاره نشده"ی دائمی و همیشگی، بهترین توصیفیه که از وضعیت هولناک و بسیار تراژدیک این خانواده میتونم به شما ارائه بدم. درسته به مو رسیدن و پاره نشدن، در پسِ پشتِ خود میخواد امید ( هرچند به نظرم یک امید سمی و رقتانگیز) رو القا کنه، ولی وقتی کار از کار میگذره و این توصیف به وضعیت همیشگی یک خانواده تبدیل میشه و حتی رقتبارترین امیدها هم رنگ میبازند.
توی شیمی اصطلاحی به نام «فاصله تعادلی» بین اتمهای یک پیوند مولکولی تعریف میشه که بیانگر اینه که فاصله بین دوتا اتم دائم در حال تغییره و کم و زیاد میشه. این فاصله از یه جایی کمتر و بیشتر نمیشه، چون وقتی زیاد نزدیک هم شن دافعه و وقتی زیاد دور میشن، جاذبه اونارو تو این فاصله نگه میداره. روابط بین خانوادههای اینچنینی هم به همین صورته: ملغمهای استیصالی بین عشق و تنفرِ دائم در حال چرخش.
در انتهای کتاب یک متن تحلیلی از سوی مترجم قرار داشت برای تحلیل روایت کتاب بر اساس نظمهای سهگانهی لاکانی که واقعا خوندنش مفید و جذاب بود برای من.
April 8, 2021
Strong stuff. Unhappy people. Remarkably complex psychological stage instructions.
August 27, 2024
Note: Updated several times.
The following words describe this masterpiece: lunacy, rheumatism, addiction, alcohol, whiskey, morphine, Shakespeare, consumption, tragedy: James Tyrone, Mary, Jaime and Edmund all go crazy together in one boozy, morphine soaked afternoon.
This is the one of the finest and most wrenching dramas I've ever read- and seen live in the theater. As James Tyrone Sr is on his last legs as an actor- he and his family go off to their summer cottage at the Monte Cristo home in Connecticut.
As the day shifts into night, we meet James' two sons: brutish, but gentle Jaime, and sensitive Edmund, who is dying of consumption. There's Kathleen, their maid; and finally, Mary Tyrone- the matriarch who is one of the most unforgettable female protagonists that come to mind.
The play is a domestic drama and a battle of wits between the parents and their sons, who have all been unhappy about their lives and blaming each other, then comforting each other in quick, brutal moments.
Mary is addicted to morphine due to Tyrone's miserly ways with money- and after the pain of giving birth to Edmund as Tyrone toured on the road-the morphine she took to take the pain away has only made her more delusional and masochistic. She misses her dear father, whom she left behind to marry James Tyrone; and out of Catholic guilt, she is punishing herself constantly for not having been the ideal daughter, doomed and trapped in the past.
James often obsessed with making a quick dollar, often falls prey to money making schemes that often leave him broke. Jaime is a drunk because he can't bear to see his brother dying, and angry that his father enabled their mother to become a "dope fiend".
Edmund, shy and sensitive seems to have been stunted in his growth because though he is a man, he's trapped in a childlike state with everyone around him basically waiting for him to die.
It's a cruel, I mean, CRUEL play, with some of the most lacerating dialogue I've heard and read. And at the same time, it's also from toxic love.
No wonder this play set the tone for Edward Albee's "Who's Afraid of Virginia Woolf?" several years later after this play was produced in 1956.
The 1962 film adaptation directed by Sidney Lumet starring Katharine Hepburn in one of her finest screen performances as Mary remains my favorite incarnation of this pathetic and tragic anti heroine. Sir Ralph Richardson as Tyrone, Jason Robards as Jaime and a handsome Dean Stockwell as Edmund are all wonderful in this film that captures the tragedy in glorious black and white.
I’d say if I hadn’t seen Bette Davis’s Oscar snub in “Baby Jane”- Kate Hepburn could’ve been worthy as her. Alas crazy women competing against Anne Bancroft’s noble Annie Sullivan didn’t have a chance. She too is excellent. 1962 was a strong year for actresses nominated for Best Actress.
I managed to see three productions of this play live: First, I saw Jessica Lange (Mary), Gabriel Byrne (James), Michael Shannon (Jaime) and John Gallagher Jr (Edmund) star in the 2016 Broadway revival which won Ms. Lange a Tony Award. It was an uneven production, but still affecting nonetheless.
I did not care for Ms. Lange's performance- it was all artifice without substance or subtle gestures. Mr. Shannon was wonderful as Jaime, and plays him as the anchor and survivor of this toxic family; Gabriel Byrne was wonderfully delusional and angry as James. Gallagher was not on par with his costars and it felt he was lost in the part.
The second production I saw was at the 2018 Brooklyn Academy of Music, traveling from London: It had a haunting, and gorgeous set design of deep blues and huge windows, with the lighthouse painted.
Starring Jeremy Irons (as James- and quite pragmatic and empathic) and Lesley Manville in a haunting performance as Mary that I have never forgotten. She had a voice that could start off as high pitched and overly sweet, but her facial expressions and manic movements that were twitchy cruelly depicted the dope fiend she has become. She’s the shell of the charming woman she once was.
I felt their performance truly captured the poetry that came from O'Neill's broken heart. Matthew Beard as Edmund and Rory Keenan as Jaime were also affecting and sad. Keenan’s Jaime tries to laugh off the tragedy unfolding in his family but you see the damage in his often slumped body language.
There was a third production I saw: modernized and transposed to Covid era Connecticut in 2021, starring Elizabeth Marvel (Mary), Bill Camp (James) and Jaime (Jason Bowen) and Jaime (Ato Blankson-Wood) are their black sons.
This was a truncated, 90 minute version of O'Neil's play that was a true misfire because so much of the drama and heart of the play had been literally, chopped off.
I’ve often argued with friends of which of the big three American Dramas have the most mentally unstable characterizations- is it Mary Tyrone? Blanche DuBois? Or Willy Loman? I’d say about equal for all three- yet Mary is the most sympathetic since she has never deliberately tried to ruin or be cruel to anyone.
The following words describe this masterpiece: lunacy, rheumatism, addiction, alcohol, whiskey, morphine, Shakespeare, consumption, tragedy: James Tyrone, Mary, Jaime and Edmund all go crazy together in one boozy, morphine soaked afternoon.
This is the one of the finest and most wrenching dramas I've ever read- and seen live in the theater. As James Tyrone Sr is on his last legs as an actor- he and his family go off to their summer cottage at the Monte Cristo home in Connecticut.
As the day shifts into night, we meet James' two sons: brutish, but gentle Jaime, and sensitive Edmund, who is dying of consumption. There's Kathleen, their maid; and finally, Mary Tyrone- the matriarch who is one of the most unforgettable female protagonists that come to mind.
The play is a domestic drama and a battle of wits between the parents and their sons, who have all been unhappy about their lives and blaming each other, then comforting each other in quick, brutal moments.
Mary is addicted to morphine due to Tyrone's miserly ways with money- and after the pain of giving birth to Edmund as Tyrone toured on the road-the morphine she took to take the pain away has only made her more delusional and masochistic. She misses her dear father, whom she left behind to marry James Tyrone; and out of Catholic guilt, she is punishing herself constantly for not having been the ideal daughter, doomed and trapped in the past.
James often obsessed with making a quick dollar, often falls prey to money making schemes that often leave him broke. Jaime is a drunk because he can't bear to see his brother dying, and angry that his father enabled their mother to become a "dope fiend".
Edmund, shy and sensitive seems to have been stunted in his growth because though he is a man, he's trapped in a childlike state with everyone around him basically waiting for him to die.
It's a cruel, I mean, CRUEL play, with some of the most lacerating dialogue I've heard and read. And at the same time, it's also from toxic love.
No wonder this play set the tone for Edward Albee's "Who's Afraid of Virginia Woolf?" several years later after this play was produced in 1956.
The 1962 film adaptation directed by Sidney Lumet starring Katharine Hepburn in one of her finest screen performances as Mary remains my favorite incarnation of this pathetic and tragic anti heroine. Sir Ralph Richardson as Tyrone, Jason Robards as Jaime and a handsome Dean Stockwell as Edmund are all wonderful in this film that captures the tragedy in glorious black and white.
I’d say if I hadn’t seen Bette Davis’s Oscar snub in “Baby Jane”- Kate Hepburn could’ve been worthy as her. Alas crazy women competing against Anne Bancroft’s noble Annie Sullivan didn’t have a chance. She too is excellent. 1962 was a strong year for actresses nominated for Best Actress.
I managed to see three productions of this play live: First, I saw Jessica Lange (Mary), Gabriel Byrne (James), Michael Shannon (Jaime) and John Gallagher Jr (Edmund) star in the 2016 Broadway revival which won Ms. Lange a Tony Award. It was an uneven production, but still affecting nonetheless.
I did not care for Ms. Lange's performance- it was all artifice without substance or subtle gestures. Mr. Shannon was wonderful as Jaime, and plays him as the anchor and survivor of this toxic family; Gabriel Byrne was wonderfully delusional and angry as James. Gallagher was not on par with his costars and it felt he was lost in the part.
The second production I saw was at the 2018 Brooklyn Academy of Music, traveling from London: It had a haunting, and gorgeous set design of deep blues and huge windows, with the lighthouse painted.
Starring Jeremy Irons (as James- and quite pragmatic and empathic) and Lesley Manville in a haunting performance as Mary that I have never forgotten. She had a voice that could start off as high pitched and overly sweet, but her facial expressions and manic movements that were twitchy cruelly depicted the dope fiend she has become. She’s the shell of the charming woman she once was.
I felt their performance truly captured the poetry that came from O'Neill's broken heart. Matthew Beard as Edmund and Rory Keenan as Jaime were also affecting and sad. Keenan’s Jaime tries to laugh off the tragedy unfolding in his family but you see the damage in his often slumped body language.
There was a third production I saw: modernized and transposed to Covid era Connecticut in 2021, starring Elizabeth Marvel (Mary), Bill Camp (James) and Jaime (Jason Bowen) and Jaime (Ato Blankson-Wood) are their black sons.
This was a truncated, 90 minute version of O'Neil's play that was a true misfire because so much of the drama and heart of the play had been literally, chopped off.
I’ve often argued with friends of which of the big three American Dramas have the most mentally unstable characterizations- is it Mary Tyrone? Blanche DuBois? Or Willy Loman? I’d say about equal for all three- yet Mary is the most sympathetic since she has never deliberately tried to ruin or be cruel to anyone.
October 12, 2023
به استحکام شیشه در بارش سنگ :
خانواده و بحران خانوادگی، یکی از پیچیدهترین و فشردهترین پدیدههای اجتماعی است که دستمایهی خوبی برای تحلیلهای روانی، تاریخی، اقتصادی، فرهنگی، سیاسی و اجتماعی، و همچنین گویاترین و کمجمعیتترین سوژه برای اجرا بر صحنهی تئاتر است.
اونیل از اولین افرادی بود که متوجه ترکهای بسیاری بر تن فرد و جامعهی آمریکایی بود و برای به صحنه کشیدنش، تئاتر تجربی خود را عرضه کرد که در نتیجهی آن، چندی از به یادماندنیترین های عرصهی نمایش و نمایشنامه را برای ما به یادگار گذاشت.
آثار او با روایاتی که مدام به زندگی شخصی او نقب میزنند، بسیار ساده، شفاف و گویا و در عین حال نیازمند بررسیهای دقیق هستند، چرا که به دقت معضلات را از جنبههای گوناگون هدف میگیرد.
سفر طولانی از روز به شب، چه بسا نزدیکترین متن به زندگی حقیقی اوست. اثری به غایت تلخ، که با لبخندی محو و دروغین میآغازد و با جنون و اعترافی محزون پایان میگیرد.
هرچند داستان آن در اصل یک روز از زندگی یک خانواده معمولی در آمریکاست، در لایههای زیرین آن انبوهی از معادلات روانی و معضلات اجتماعی و اشتباهات شخصی نهفته است. همانطور که بسیاری از همکاران بعدی اونیل، مانند آرتور میلر یا تنسی ویلیامز، ایدهی خانوادهی آویزان از نخ و در معرض فروپاشی بسط دادند، اما کماکان نمایشنامه سفر طولانی از روز به شب، نکات متمایزکنندهای دارد.
در آثار دیگران، نسبت به بسیاری از مشکلات، دیدی نسبتا ناتورالیستی وجود دارد. که بسیاری از مشکلات وارد بر جامعه را ناشی از تصمیمات سیاسی و تفکرات سرمایهداری یا رویای آمریکایی میبیند. یعنی عمدهی تهی شدن و متحل شدن تدریجی خانواده، مشکلی سیاسی اقتصادی است که از بیرون وارد شده و این فجایع گسترده اما خاموش را رقم زده است. در حالی که اونیل با واکاوی روانی پرسوناژهایش، غرایض، تربیت، طرز تفکر و امیال آنها را تشریح میکند و معادله را از عوامل بیرونی، به عوامل درونی-بیرونی تغییر میدهد.
فراتر از همه اینها، سفر طولانی از روز به شب، دقیقا مانند نام رسانای خود، اثری است به غایت خواندنی و قابل تأمل و قابل لمس. خستگی و اندوهی که پس از آخرین پرده بر جان مخاطب مینشیند تا مدتها دست از سر او برنخواهد داشت.
از همان دست کتابهایی که شما را بیتوجه به دنیای اطراف، به گوشهای خیره خواهد کرد.
مهر هزار و چهارصد و دو
خانواده و بحران خانوادگی، یکی از پیچیدهترین و فشردهترین پدیدههای اجتماعی است که دستمایهی خوبی برای تحلیلهای روانی، تاریخی، اقتصادی، فرهنگی، سیاسی و اجتماعی، و همچنین گویاترین و کمجمعیتترین سوژه برای اجرا بر صحنهی تئاتر است.
اونیل از اولین افرادی بود که متوجه ترکهای بسیاری بر تن فرد و جامعهی آمریکایی بود و برای به صحنه کشیدنش، تئاتر تجربی خود را عرضه کرد که در نتیجهی آن، چندی از به یادماندنیترین های عرصهی نمایش و نمایشنامه را برای ما به یادگار گذاشت.
آثار او با روایاتی که مدام به زندگی شخصی او نقب میزنند، بسیار ساده، شفاف و گویا و در عین حال نیازمند بررسیهای دقیق هستند، چرا که به دقت معضلات را از جنبههای گوناگون هدف میگیرد.
سفر طولانی از روز به شب، چه بسا نزدیکترین متن به زندگی حقیقی اوست. اثری به غایت تلخ، که با لبخندی محو و دروغین میآغازد و با جنون و اعترافی محزون پایان میگیرد.
هرچند داستان آن در اصل یک روز از زندگی یک خانواده معمولی در آمریکاست، در لایههای زیرین آن انبوهی از معادلات روانی و معضلات اجتماعی و اشتباهات شخصی نهفته است. همانطور که بسیاری از همکاران بعدی اونیل، مانند آرتور میلر یا تنسی ویلیامز، ایدهی خانوادهی آویزان از نخ و در معرض فروپاشی بسط دادند، اما کماکان نمایشنامه سفر طولانی از روز به شب، نکات متمایزکنندهای دارد.
در آثار دیگران، نسبت به بسیاری از مشکلات، دیدی نسبتا ناتورالیستی وجود دارد. که بسیاری از مشکلات وارد بر جامعه را ناشی از تصمیمات سیاسی و تفکرات سرمایهداری یا رویای آمریکایی میبیند. یعنی عمدهی تهی شدن و متحل شدن تدریجی خانواده، مشکلی سیاسی اقتصادی است که از بیرون وارد شده و این فجایع گسترده اما خاموش را رقم زده است. در حالی که اونیل با واکاوی روانی پرسوناژهایش، غرایض، تربیت، طرز تفکر و امیال آنها را تشریح میکند و معادله را از عوامل بیرونی، به عوامل درونی-بیرونی تغییر میدهد.
فراتر از همه اینها، سفر طولانی از روز به شب، دقیقا مانند نام رسانای خود، اثری است به غایت خواندنی و قابل تأمل و قابل لمس. خستگی و اندوهی که پس از آخرین پرده بر جان مخاطب مینشیند تا مدتها دست از سر او برنخواهد داشت.
از همان دست کتابهایی که شما را بیتوجه به دنیای اطراف، به گوشهای خیره خواهد کرد.
مهر هزار و چهارصد و دو
June 22, 2021
What I like so much about O’Neil is his honesty. He does not try to make his characters better than they are, redeem them or make excuses for them. He lets them be as they are; no dressing them up with nice company clothes or helping the reader/audience adjust to their reality. His characters therefore will make us uncomfortable. That would be especially the case with, A Long Day’s Journey into Night, his last and best play—the one about his own birth family—published posthumously.
Tyrone, the proud, greedy, cheapskate, hard-drinking, actor father. Mary, the vain, clingy, delusional, formerly pious, ex-convent Catholic, drug-addict mother. Jamie, the cynical, lazy, alcoholic, womanizing, scapegoat oldest son and Edmund, the unwanted, nervous, poetically inclined, consumptive youngest son, based on the author.
If you can stand their company, come spend a day with O’Neill’s family. Reading A Long Day’s Journey into Night is much shorter than a real day, of course. Watching the play performed is best if you get the chance, but live theatre is not so accessible as a book.
The good news is that O’Neill left this family behind. He did not hang on to old hatred as so many do. Rather, he wrote and dedicated this play to his wife on their 12th anniversary:
To know all, is to forgive all. ~the Oblates of St. Benedict
Updated June 22, 2021 for minor errors
September 9, 2020: Have read this several times and something always draws me back. Have also seen the excellent dramatization of it. All the more compelling since I learned that this was O'Neill exorcising his own family demons. I understand completely why anyone would not 'like' this. It is NOT likable. It is a tragedy, a family tearing itself apart. And yet, when you consider the author lived through it, went on to have a hugely successful career, a happy marriage and then was actually able to write so honestly about his own family after having suffered this much, it is an amazing testimony to the human spirit.
Tyrone, the proud, greedy, cheapskate, hard-drinking, actor father. Mary, the vain, clingy, delusional, formerly pious, ex-convent Catholic, drug-addict mother. Jamie, the cynical, lazy, alcoholic, womanizing, scapegoat oldest son and Edmund, the unwanted, nervous, poetically inclined, consumptive youngest son, based on the author.
If you can stand their company, come spend a day with O’Neill’s family. Reading A Long Day’s Journey into Night is much shorter than a real day, of course. Watching the play performed is best if you get the chance, but live theatre is not so accessible as a book.
The good news is that O’Neill left this family behind. He did not hang on to old hatred as so many do. Rather, he wrote and dedicated this play to his wife on their 12th anniversary:
‘Dearest: I give you the original script of this play of old sorrows, written in tears and blood. A sadly inappropriate gift, it would seem, for a day celebrating happiness. But you will understand. I mean it as a tribute to your love and tenderness which gave me the faith in love that enabled me to face my dead at last and write this play—write it with deep pity and understanding and forgiveness for all the four haunted Tyrones.’ These twelve years, Beloved One, have been a Journey into Light—into love. You know my gratitude. And my love! GeneA Journey through the Dark Night is a triumph of Love and Forgiveness.
To know all, is to forgive all. ~the Oblates of St. Benedict
Updated June 22, 2021 for minor errors
September 9, 2020: Have read this several times and something always draws me back. Have also seen the excellent dramatization of it. All the more compelling since I learned that this was O'Neill exorcising his own family demons. I understand completely why anyone would not 'like' this. It is NOT likable. It is a tragedy, a family tearing itself apart. And yet, when you consider the author lived through it, went on to have a hugely successful career, a happy marriage and then was actually able to write so honestly about his own family after having suffered this much, it is an amazing testimony to the human spirit.
November 20, 2013
It's really sad to think that kids in high school are forced to read junk like DEATH OF A SALESMAN and THE CRUCIBLE when a great play like this one is almost forgotten.
The thing I love the most about this play is that it really feels like the story of a family where there is no hope. I know just what it's like when one parent is permanently checked out on drugs, or alcohol, and the other parent is trying to keep up a false front, and the kids are always either acting out or just pretending nothing is wrong. I grew up in a house just like this and I would give everything to be able to put these feelings into words the way Eugene O'Neill does in this play. There's nothing depressing about reading it because every word just feels honest and natural and there's never any sentimentality.
I'd also like to point out that the characters in this play are all very well educated and the father is a great Shakespearean actor, so the language they use is much more emotional and expressive and even poetic, compared to the drab, flat, lifeless conversations in DEATH OF A SALESMAN, or the unbearably artificial Puritan dialogue in THE CRUCIBLE.
Who put the fix in to make Arthur Miller the "official" American playwright? Eugene O'Neill could kick him deaf, dumb, and blind.
The thing I love the most about this play is that it really feels like the story of a family where there is no hope. I know just what it's like when one parent is permanently checked out on drugs, or alcohol, and the other parent is trying to keep up a false front, and the kids are always either acting out or just pretending nothing is wrong. I grew up in a house just like this and I would give everything to be able to put these feelings into words the way Eugene O'Neill does in this play. There's nothing depressing about reading it because every word just feels honest and natural and there's never any sentimentality.
I'd also like to point out that the characters in this play are all very well educated and the father is a great Shakespearean actor, so the language they use is much more emotional and expressive and even poetic, compared to the drab, flat, lifeless conversations in DEATH OF A SALESMAN, or the unbearably artificial Puritan dialogue in THE CRUCIBLE.
Who put the fix in to make Arthur Miller the "official" American playwright? Eugene O'Neill could kick him deaf, dumb, and blind.
November 30, 2016
Χαρακτήρες βγαλμένοι από τη ζωή. Όσο εξελίσσεται το έργο, η τραγικότητα τους αυξάνεται. Ευθύτητα και κυνισμός τους χαρακτηρίζει.
Σπουδαίο. Δυσκολεύομαι να γράψω κάτι παραπάνω.
Σπουδαίο. Δυσκολεύομαι να γράψω κάτι παραπάνω.
April 9, 2025
ریویوو فارسی خفن روش نوشتن قبلا
فقط میتونم بگم نصیحت این بنده حقیر رو گوش کنید و یوجین اونیل بخونین
کتاب چهارم
همخوانی هفتروزهفتنمایشنامه
فقط میتونم بگم نصیحت این بنده حقیر رو گوش کنید و یوجین اونیل بخونین
کتاب چهارم
همخوانی هفتروزهفتنمایشنامه
October 3, 2021
بی شک خالص ترین 5 ستاره ای است که داده ام.
من چندان آدم نمایشنامه خوانی نیستم و شاید حالا "نبودم". اما این نمایشنامه چندان علاقه مندم کرد که میتونم پیش بینی کنم از این به بعد مشتری بشم.
داستان یک روز-شامل 4 پرده- از زندگی یک خانواده نسل دوم ایرلندی در آمریکا که گفته میشود نمایی از روزگار رنج آور و دردآلود خود یوجین اونیل است. روایتی سراسر درد، رنج، رویا، سرزنش، نفرت، عشق، دروغ و صداقت. دردهایی که خود اونیل در زندگی درک کرده و با آن مبارزه کرده و باعث شده شخصیتش شکل بگیرد.
پس دوست عزیز خواننده این سطور، اگر پس از خواندن این نمایشنامه چندان حسی از تو بر انگیخته نشد، خوشا به حالت. از زندگیت لذت ببر.
داستان سفری طولانی از روز به شب روایتگر خانوادهی تایرن است. جیمز تایرن پدر خانواده، یک بازیگر تئاتر پا به سن گذاشته، مری، همسری با مشکلات جسمی و روحی، جیمی، پسر بزرگ خانواده و ادموند پسر کوچکتر.
تمامی شخصیتها در خلال نمایش شروع به کنایه به هم میکنند و کم کم مشکلات هر یک، آرام آرام از زیر آب بیرون می آید. هر یک از اعضا خانواده به صورت مداوم و مستمر در حال تبرئه خود و سرزنش دیگران است. مخاطب خیلی زود حجم عظیم کوه یخی که زیر آب مانده است را متوجه میشود.
دردهای این خانواده و ارتباطات بین انسانیِ آن چنان دقیق و درست نگاشته شده که بعید میدانم خوانندهای تک تک سلولهای شخصیتهایش را درک نکند. شخصیتهایی که هر یک با خاطره ای شیرین از گذشته(آمیخته به زخمهایی عمیق)، با نا امیدی به سمت کبودی و سیاهی سرنوشت گام بر میدارند. و هر لحظه این خانه شیشه ای در آستانه ی فروپاشی ست.
من چندان آدم نمایشنامه خوانی نیستم و شاید حالا "نبودم". اما این نمایشنامه چندان علاقه مندم کرد که میتونم پیش بینی کنم از این به بعد مشتری بشم.
داستان یک روز-شامل 4 پرده- از زندگی یک خانواده نسل دوم ایرلندی در آمریکا که گفته میشود نمایی از روزگار رنج آور و دردآلود خود یوجین اونیل است. روایتی سراسر درد، رنج، رویا، سرزنش، نفرت، عشق، دروغ و صداقت. دردهایی که خود اونیل در زندگی درک کرده و با آن مبارزه کرده و باعث شده شخصیتش شکل بگیرد.
پس دوست عزیز خواننده این سطور، اگر پس از خواندن این نمایشنامه چندان حسی از تو بر انگیخته نشد، خوشا به حالت. از زندگیت لذت ببر.
داستان سفری طولانی از روز به شب روایتگر خانوادهی تایرن است. جیمز تایرن پدر خانواده، یک بازیگر تئاتر پا به سن گذاشته، مری، همسری با مشکلات جسمی و روحی، جیمی، پسر بزرگ خانواده و ادموند پسر کوچکتر.
تمامی شخصیتها در خلال نمایش شروع به کنایه به هم میکنند و کم کم مشکلات هر یک، آرام آرام از زیر آب بیرون می آید. هر یک از اعضا خانواده به صورت مداوم و مستمر در حال تبرئه خود و سرزنش دیگران است. مخاطب خیلی زود حجم عظیم کوه یخی که زیر آب مانده است را متوجه میشود.
دردهای این خانواده و ارتباطات بین انسانیِ آن چنان دقیق و درست نگاشته شده که بعید میدانم خوانندهای تک تک سلولهای شخصیتهایش را درک نکند. شخصیتهایی که هر یک با خاطره ای شیرین از گذشته(آمیخته به زخمهایی عمیق)، با نا امیدی به سمت کبودی و سیاهی سرنوشت گام بر میدارند. و هر لحظه این خانه شیشه ای در آستانه ی فروپاشی ست.
March 27, 2010
From Act 1 Eugene O'Neill jerks away the patchwork veil from the face of a family to reveal the anatomy of the skin, every pustule, all the carbuncles, discoloration and scars, the embarrassing halitosis, wax and hairs—the attributes that, up close, make us ugly human beings. Long Day's Journey Into Night is a naked insight to the brutal, unyielding properties that trap families into dysfunctional, vengeful, malignant relations.
Guilt, criticism, paranoia, competition, blame, hate, distrust, addiction. This family is like all others! The play exposes a painful calculus between characters, alliances form then change, issues smolder, and rage and reaction to past events is way out of proportion to the origin and manner in which they occurred. The family—like yours or mine—is stuck in a ritual of manuevers around each other's accusations. Truths are distorted; responsibility shrugged; failures are indiscriminately attributed. O'Neill shows us one day, in a single room, the complex lives in a family. Like real life it's hard to uncover single events that started the cascades of destructive family behavior. It's the paradox of the chicken or the egg.
What originally infected the marriage? Was it James's miserliness or Mama's weakness to morphine? Was it James's drinking or Mama's nervousness? Was there, at first, moderation in James's drinking, or did Mama drive him to alcohol? Why did the second child die? Was it a jealous sibling, a frugal father, or a forgetful mother; betrayal, inaction or negligence? Who's the sucker? A tight-wad ninny that repeatedly falls for real estate scams, a neurotic mother that hides from neighbors, or a prodigal son who drops career for drink?
O'Neill uses 4 characters, 16 hours, and a parlor to compress the story. There's rising tension from page 1. The characters are trapped, and with years of pent up emotion and issues that perhaps can never be resolved, they become embroiled in a replay of the most painful and explosive vindiction. I think a normal person would have walked away in a shout. But no, the strength of the play is that O'Neill takes it farther. He explores the human threshhold and tries to discover an end, if there ever was such a thing. It takes the reader past a point of retreat, and plows into unknown places where we would never go in real life. This is more than a family fight. This is the brink. You don't come back from this place unchanged. There are charges that once delivered, can never be unsaid. Distilled to its essence, Long Days Journey Into Night says this: I hate you; I tried to kill you; we're all mucked up because of you and you and you; I no longer love you; you can die; you've destroyed my dreams.
After reading, I could only side with one character, Edmund, the youngest son, the least hateful, the least repugnant, the shortest in this life to really become mean. Yet, ironically, he'll most likely die from consumption. Perhaps the irony was O'Neill's construction. I'm left realizing that the most precious in life is fleeting. The world is hard, life is harsh. And yet, from this 23 year old I get the most beautiful image of life:
James Tyrone-dad
Mary-mom
Jamie-son, 33
Edmund-son, 23
1912
Guilt, criticism, paranoia, competition, blame, hate, distrust, addiction. This family is like all others! The play exposes a painful calculus between characters, alliances form then change, issues smolder, and rage and reaction to past events is way out of proportion to the origin and manner in which they occurred. The family—like yours or mine—is stuck in a ritual of manuevers around each other's accusations. Truths are distorted; responsibility shrugged; failures are indiscriminately attributed. O'Neill shows us one day, in a single room, the complex lives in a family. Like real life it's hard to uncover single events that started the cascades of destructive family behavior. It's the paradox of the chicken or the egg.
What originally infected the marriage? Was it James's miserliness or Mama's weakness to morphine? Was it James's drinking or Mama's nervousness? Was there, at first, moderation in James's drinking, or did Mama drive him to alcohol? Why did the second child die? Was it a jealous sibling, a frugal father, or a forgetful mother; betrayal, inaction or negligence? Who's the sucker? A tight-wad ninny that repeatedly falls for real estate scams, a neurotic mother that hides from neighbors, or a prodigal son who drops career for drink?
O'Neill uses 4 characters, 16 hours, and a parlor to compress the story. There's rising tension from page 1. The characters are trapped, and with years of pent up emotion and issues that perhaps can never be resolved, they become embroiled in a replay of the most painful and explosive vindiction. I think a normal person would have walked away in a shout. But no, the strength of the play is that O'Neill takes it farther. He explores the human threshhold and tries to discover an end, if there ever was such a thing. It takes the reader past a point of retreat, and plows into unknown places where we would never go in real life. This is more than a family fight. This is the brink. You don't come back from this place unchanged. There are charges that once delivered, can never be unsaid. Distilled to its essence, Long Days Journey Into Night says this: I hate you; I tried to kill you; we're all mucked up because of you and you and you; I no longer love you; you can die; you've destroyed my dreams.
After reading, I could only side with one character, Edmund, the youngest son, the least hateful, the least repugnant, the shortest in this life to really become mean. Yet, ironically, he'll most likely die from consumption. Perhaps the irony was O'Neill's construction. I'm left realizing that the most precious in life is fleeting. The world is hard, life is harsh. And yet, from this 23 year old I get the most beautiful image of life:
You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one. When I was on the Squarehead square rigger, bound for Buenos Aires. Full moon of the Trades. The old hooker driving fourteen knots. I lay on the bowsprit, facing astern, with the water foaming into spume under me, the masts with every sail white in the moonlight, towering above me. I became drunk with the beauty and singing rhythm of it, and for a moment I lost myself--actually lost my life. I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself! To God, if you want to put it that way.
James Tyrone-dad
Mary-mom
Jamie-son, 33
Edmund-son, 23
1912
December 5, 2016
Long Day's Journey into Depression.
August 19, 2022
“Be always drunken. Nothing else matters: that is the only question. If you would not feel the horrible burden of Time weighing on your shoulders and crushing you to the earth, be drunken continually. Drunken with what? With wine, with poetry, or with virtue, as you will. But be drunken.”
From about 8:30 to midnight on a day in August 1912 the family Tyrone--Husband and wife Maty and James, adult sons Jamie and Edmund--meets at their Connecticut home: One long day’s journey into night.
This is a semi-autobiographical--call it autodrama, these days?--play that was written in the forties but not published until after playwright Eugene O’Neill’s death, and it won the Pulitzer Prize--his fourth--in 1957, and the Tony Award. O’Neill knew it was personal so didn’t want it public in his lifetime, but most people loved it as soon as they saw it, and most critics think it is his masterpiece. A few years after his death his reputation seemed to decline, and he’s hardly known today, I think.
I think there is a lot of misery in American literature, but this one is a kind of brutally honest expose/confessional about one family’s struggle with miserey, with addiction--alcoholism, morphine--tuberculosis, all of them pushed to the very edge, the moment of truth. Raw, visceral, it’s considered one of the great plays in the annals of American theater.
“Life is a solitary cell whose walls are mirrors.”
It presaged other great moments-of-family crisis plays such as Who’s Afraid of Virginia Woolf, Arthur Miller’s Death of a Salesman, Tracy Letts’s August: Osage County (which I think owes a lot to this play). Powerful theater, which I only listened to this time. I don't like it quite as well as the Miller or the Albee, but it is the really strong to hear or see.
From about 8:30 to midnight on a day in August 1912 the family Tyrone--Husband and wife Maty and James, adult sons Jamie and Edmund--meets at their Connecticut home: One long day’s journey into night.
This is a semi-autobiographical--call it autodrama, these days?--play that was written in the forties but not published until after playwright Eugene O’Neill’s death, and it won the Pulitzer Prize--his fourth--in 1957, and the Tony Award. O’Neill knew it was personal so didn’t want it public in his lifetime, but most people loved it as soon as they saw it, and most critics think it is his masterpiece. A few years after his death his reputation seemed to decline, and he’s hardly known today, I think.
I think there is a lot of misery in American literature, but this one is a kind of brutally honest expose/confessional about one family’s struggle with miserey, with addiction--alcoholism, morphine--tuberculosis, all of them pushed to the very edge, the moment of truth. Raw, visceral, it’s considered one of the great plays in the annals of American theater.
“Life is a solitary cell whose walls are mirrors.”
It presaged other great moments-of-family crisis plays such as Who’s Afraid of Virginia Woolf, Arthur Miller’s Death of a Salesman, Tracy Letts’s August: Osage County (which I think owes a lot to this play). Powerful theater, which I only listened to this time. I don't like it quite as well as the Miller or the Albee, but it is the really strong to hear or see.
May 27, 2017
You know when you're reading something and think, "Damn, this is good," and then you look up the playwright and realize he won 4 Pulitzers and the Nobel Prize? Yeah. O'Neill sort of knows what he's doing. This play is the emotional equivalent of picking a scab. All four characters are seared on my brain, and the detailed, beautiful stage directions make this an especially good reading experience. Recommended if you like family dramas steeped in hopelessness.
August 9, 2024
"گر بر بلندای تپهای بر دارم کنند،
آه مادر، مادر عزیزم!
میدانم چهکس با عشق یاد من خواهد ماند..."
نمایشنامه سیر طولانی روز در شب یکی از قشنگترین و قویترین چیزایی بود که خوندم.
زندگی یک روز یه خانواده، که در چهار پرده نوشته شده بود.
یوجین اونیل تو این نمایشنامه به بهترین شکل ممکن به موضوعات مختلفی مثل عشق، خانواده، اعتیاد، فقر، بیماری، کار، حسادت و پشیمانی پرداخته بود که در لایه های عمیق، احساسات پیچیده افراد خانواده رو به تصویر کشیده بود.
به نظر من پرده چهارم و صحبت کردن بدون ماسک افراد خانواده اوج داستان بود که با پایان نمایشنامه، درد موجود در این کتاب تا یه مدتی خواننده رو همراهی میکنه.
من ترجمه یدالله آقاعباسی از نشر بیدگل رو خوندم و راضی بودم
آه مادر، مادر عزیزم!
میدانم چهکس با عشق یاد من خواهد ماند..."
نمایشنامه سیر طولانی روز در شب یکی از قشنگترین و قویترین چیزایی بود که خوندم.
زندگی یک روز یه خانواده، که در چهار پرده نوشته شده بود.
یوجین اونیل تو این نمایشنامه به بهترین شکل ممکن به موضوعات مختلفی مثل عشق، خانواده، اعتیاد، فقر، بیماری، کار، حسادت و پشیمانی پرداخته بود که در لایه های عمیق، احساسات پیچیده افراد خانواده رو به تصویر کشیده بود.
به نظر من پرده چهارم و صحبت کردن بدون ماسک افراد خانواده اوج داستان بود که با پایان نمایشنامه، درد موجود در این کتاب تا یه مدتی خواننده رو همراهی میکنه.
من ترجمه یدالله آقاعباسی از نشر بیدگل رو خوندم و راضی بودم
April 21, 2022
Reviewing a masterpiece is difficult work, and Long Day’s Journey Into Night is a definitely an American masterpiece. Rather than attempting a comprehensive review, I’m just going to share a few thoughts and impressions that occurred to me upon finishing reading it.
First, this is a play that demands be read. Its stage directions are extensive, precisely detailed, lyrical and brilliant. While the dialogue is intense and powerful, this is a play that is pushed into greatness not by what you hear preformed, but by its transcendent stage direction. If you were to listened to an audiobook of Long Day’s Journey Into Night you would miss more than half the point.
Of course, the play’s dialogue is also painfully powerful. The four members of the Tyrone family with whom we spend this long day’s journey are the walking wounded, flawed and hurting, each trying to find a way to deaden their pain. Though we can see that they have love and affection for each other, that complicates rather than mitigates their conflicts. Each has their pain tied up with the others, and each in turn strikes out at the others, weaponizing the past and wielding it like sharp knives. I couldn’t help thinking of William Faulkner’s famous quote,
“The past is never dead. It’s not even past.”
That could have been the tag line for this play, as the past becomes ever more present as the day of the play drags on.
Another quote occurred to me when thinking about these Tyrones, less serious, but just as apt - actor Jeff Goldblum’s line from The Big Chill,
“Don’t knock rationalization, where would we be without it? I don’t know anyone who’d get through the day without two or three juicy rationalizations - they’re more important than sex.”
For as the Tyrones wield the past against each other, each in turn surrounds themselves with a shield of rationalization, attempting, ultimately in vain, to protect themselves from the too painful realities of their existence.
Harold Bloom says in the introduction to my copy that Long Day’s Journey Into Night is,
“The best play in our more than two centuries as a nation.”
While I’m not sure that I agree (August Wilson’s Fences comes to mind as a worthy competitor for that distinction) It certainly ranks in the top two or three to lay claim to that title. It captures something real and painful in the human experience, and does so with dreadful beauty. If you can’t see a bit of yourself somewhere in this play, you’re not really looking.
First, this is a play that demands be read. Its stage directions are extensive, precisely detailed, lyrical and brilliant. While the dialogue is intense and powerful, this is a play that is pushed into greatness not by what you hear preformed, but by its transcendent stage direction. If you were to listened to an audiobook of Long Day’s Journey Into Night you would miss more than half the point.
Of course, the play’s dialogue is also painfully powerful. The four members of the Tyrone family with whom we spend this long day’s journey are the walking wounded, flawed and hurting, each trying to find a way to deaden their pain. Though we can see that they have love and affection for each other, that complicates rather than mitigates their conflicts. Each has their pain tied up with the others, and each in turn strikes out at the others, weaponizing the past and wielding it like sharp knives. I couldn’t help thinking of William Faulkner’s famous quote,
“The past is never dead. It’s not even past.”
That could have been the tag line for this play, as the past becomes ever more present as the day of the play drags on.
Another quote occurred to me when thinking about these Tyrones, less serious, but just as apt - actor Jeff Goldblum’s line from The Big Chill,
“Don’t knock rationalization, where would we be without it? I don’t know anyone who’d get through the day without two or three juicy rationalizations - they’re more important than sex.”
For as the Tyrones wield the past against each other, each in turn surrounds themselves with a shield of rationalization, attempting, ultimately in vain, to protect themselves from the too painful realities of their existence.
Harold Bloom says in the introduction to my copy that Long Day’s Journey Into Night is,
“The best play in our more than two centuries as a nation.”
While I’m not sure that I agree (August Wilson’s Fences comes to mind as a worthy competitor for that distinction) It certainly ranks in the top two or three to lay claim to that title. It captures something real and painful in the human experience, and does so with dreadful beauty. If you can’t see a bit of yourself somewhere in this play, you’re not really looking.
February 8, 2016
Eugene O`Neill scrie "Lungul drum al zilei către noapte" pentru a se elibera în primul rând pe sine de amintirile chinuitoare, de reproşurile trecute, de lupta morbidă dusă cu boala şi alcoolul în tinereţea sa.
Prin această piesă îşi mărturiseşte iertarea pentru ai săi, încercarea de a se ierta pe sine însuși și pe cei cu care și-a dus viața în chinul viciului, neînţelegerii, minciunii şi indiferenţei din familie.
Drama urmăreşte -pe parcursul unei singure zile, din zori și până la miezul nopţii - distrugerea familiei Tyrone, o familie întemeiată pe premise greşite, ce trăieşte din conflicte, susţinută inerţial de minciuni şi prefăcătorie: mama narcomană, tatăl şi fiii - alcoolici.
Fiecare personaj le învinuiește pe celelalte și îşi justifică decaderea și viciul prin scuza ratării, însingurării, bolii sau neîncrederii celor din jur. Părinți sau copii, nu se simt în siguranţă atunci când sunt ei înşişi şi nu se simt protejaţi decât când trupurile le sunt îmbibate cu alcool sau morfină. Fiecare are şi nu are dreptate, de aceea empatizezi cu ei chiar și fără să îi aprobi.
O drama zguduitoare despre oameni disperaţi, prinşi în ghearele unei sorţi care dă cu o mână şi ia cu cealaltă.
Prin această piesă îşi mărturiseşte iertarea pentru ai săi, încercarea de a se ierta pe sine însuși și pe cei cu care și-a dus viața în chinul viciului, neînţelegerii, minciunii şi indiferenţei din familie.
Drama urmăreşte -pe parcursul unei singure zile, din zori și până la miezul nopţii - distrugerea familiei Tyrone, o familie întemeiată pe premise greşite, ce trăieşte din conflicte, susţinută inerţial de minciuni şi prefăcătorie: mama narcomană, tatăl şi fiii - alcoolici.
Fiecare personaj le învinuiește pe celelalte și îşi justifică decaderea și viciul prin scuza ratării, însingurării, bolii sau neîncrederii celor din jur. Părinți sau copii, nu se simt în siguranţă atunci când sunt ei înşişi şi nu se simt protejaţi decât când trupurile le sunt îmbibate cu alcool sau morfină. Fiecare are şi nu are dreptate, de aceea empatizezi cu ei chiar și fără să îi aprobi.
O drama zguduitoare despre oameni disperaţi, prinşi în ghearele unei sorţi care dă cu o mână şi ia cu cealaltă.
December 21, 2021
I know this is an autobiographical play but to be honest i can't tolerate characters who choose to drink non-stop, take drugs, etc and then make excuses or blame others for their miseries. The events of the story happen in one day and is filled with constant arguments, resentment and fights. And it goes on and on and on.
March 19, 2015
The epigraph of Eugene O'Neill's semi-autobiographical play says it was a 12th anniversary gift to his wife: "I mean it as a tribute to your love and tenderness which gave me the faith in love that enabled me to face my dead at last and write this play--write it with deep pity and understanding and forgiveness for all the four haunted Tyrones." The play was published in 1956, three years after O'Neill's death.
As the day turns into night, the four characters in the Tyrone family reveal more and more about their past. The major problem is addiction to alcohol by the father and two sons, and addiction to morphine by the mother. Drugs erase reality, just as the fog that surrounds their home reduces visibility. Mary says, "I really love fog....It hides you from the world and the world from you. You feel that everything has changed, and nothing is what it seemed to be. No one can find or touch you any more."
Each of the family members has repeatedly failed in life, and is carrying guilt. But they have also faced challenging times that have molded them into the people they are now. Although they care about their family, they blame each other for the problems they face. Mary especially looks back to her youth when life was uncomplicated. The troubles of their past seem to be determining their future in an endless cycle.
This is a very powerful play that won the 1957 Pulitzer Prize for Drama. It is especially tragic since it mirrors the lives of Eugene O'Neill's own dysfunctional family.
As the day turns into night, the four characters in the Tyrone family reveal more and more about their past. The major problem is addiction to alcohol by the father and two sons, and addiction to morphine by the mother. Drugs erase reality, just as the fog that surrounds their home reduces visibility. Mary says, "I really love fog....It hides you from the world and the world from you. You feel that everything has changed, and nothing is what it seemed to be. No one can find or touch you any more."
Each of the family members has repeatedly failed in life, and is carrying guilt. But they have also faced challenging times that have molded them into the people they are now. Although they care about their family, they blame each other for the problems they face. Mary especially looks back to her youth when life was uncomplicated. The troubles of their past seem to be determining their future in an endless cycle.
This is a very powerful play that won the 1957 Pulitzer Prize for Drama. It is especially tragic since it mirrors the lives of Eugene O'Neill's own dysfunctional family.
April 22, 2020
Awesome. Visceral.. Impassioned… Formidable…. Unexpected…..Wow!
November 17, 2017
”The fault, dear Brutus, is not in our stars, but in ourselves that we are underlings.”
Long Day’s Journey into Night was a story about a family, James Tyrone (father), Mary (mother), Jamie (elder son), Edmund (younger son) and Cathlyn (second daughter), and their typical day. I’ve always thought it’d be hard to read a play but it turned out just the opposite! Well, at least for this one, Long Day’s Journey into Night is surprisingly easy to read and grasp its meaning. As short as the story is, I’m amazed by how well-written it is. There are four acts in the play, dividing one of the family’s ordinary days into four time sections. It begins with the family’s ordinary morning at 8:30 and then ends with the family’s approaching bedtime at roughly 23:30.
Before you read the following summary, I’d want to clarify that it’s my personal interpretation of the book so it may or may not be the original idea the author wanted to convey.
James Tyrone is a successful landlord who earns a great amount of money but is so stingy that he’d rather let his sick son, Edmund, go see a quack. Since James is rich and apparently, the family doesn’t seem to need another salary, Jamie doesn’t see the point to keep pursuing his actor career. Therefore, he stays at home in the daytime and goes on drinking spree at night. Obviously, having fun and flirting with girls are way more exciting than working hard.
MARY
Reprovingly.
Your father wasn’t finding fault with you. You don’t have to always take Jamie’s part. You’d think you were the one ten years older.
JAMIE
Boredly.
What’s all the fuss about? Let’s forget it.
TYRONE
Contemptuously.
Yes, forget! Forget everything and face nothing! It’s a convenient philosophy if you’re no ambition in life except to—
MARY
James, do be quiet.
She puts an arm around his shoulder—coaxingly.
As an American middle class, it’s almost intolerable for your kids to idle away their time when they’re supposed to get a job, make both ends meet and take good care of themselves as well as their parents. I can totally imagine the frustration James feels when seeing one of his sons fooling around and the other bedridden with deteriorating health.
We all know that misfortunes never come singly, thus, when Mary finds out she has arthritis, she can’t stop reminiscing about her once young and beautiful self, which bothers James even more. She can no longer stand the ugliness of her (still-prefect) hair, the wrinkles on her face and the severity of her paranoia. However, the negativity is all in her head! James never thinks less of Mary, but somehow she just can’t wrap her mind around his thoughtfulness.
TYRONE
Mary! For God’s sake, forget the past!
MARY
With strange objective calm.
Why? How can I? The past is the present, isn’t it? It’s the future, too. We all try to lie out of that but life won’t let us.
The most special part in this book is that there’s no twist in the story at all. Like I said earlier, this book depicts a very ordinary, run-of-the-mill American lifestyle back in the ‘40s/’50s so I believe it’s the relatability of the story that draws our attention from the first page. At the end of the book, the Tyrone Family appears to be exhausted due to the occasional argument about life, love, job, nothing and everything during the day, so I think James gives up lecturing on Jamie’s unpromising behavior, or further worrying about his paranoid wife. Perhaps he later realizes it’s so much easier to just join his son for a drink and simply “forget” everything.
Who knows? This doesn’t sound like a bad idea, does it?
”Be always drunken. Nothing else matters: that is the only question. If you would not feel the horrible burden of Time weighing on your shoulders and crushing you to the earth, be drunken continually.
Drunken with what? With wine, with poetry, or with virtue, as you will. But be drunken.”
All in all, Long Day’s Journey into Night is a rather interesting read for me because what happens in the Tyrone Family may or may not occur in real life. Again, I’m fascinated by the super-ordinary-yet-original concept this play conveys and would like YOU to read it someday. I hope you’ll find it relatable the way I do and maybe, you’ll get inspired by the characters after reading this because, YOU NEVER KNOW!
April 9, 2025
هفت روز- هفت نمایشنامه. نمایشنامهی چهارم
June 14, 2018
odličan prikaz savršeno sjebane porodice, koji kulminira jednim danom orgija izbacivanja prljavog veša skupljanog godinama.
October 20, 2018
Eugene O'Neill terminou esta peça em 1941. Selou o manuscrito e entregou-o à editora com instruções de que só fosse aberto 25 anos após a sua morte. O'Neill morreu em 1943 e a peça foi representada pela primeira vez em 1956, vencendo o Pulitzer em 1957. Jornada para a Noite é considerada a sua obra-prima, e o seu Testamento, como diz Jorge de Sena — o tradutor desta edição.
da dedicatória do autor à sua mulher, no 12° aniversário de casamento:
"Querida: Ofereço-te o original desta peça de amargura antiga, escrita com lágrimas e sangue (...) com a profunda piedade e compreensão e perdão que sinto pelos desgraçados Tyrones, todos quatro."
Os Tyrones são os O'Neill (os nomes próprios na peça são os mesmos que os da família do dramaturgo excepto o de O'Neill que é o do irmão que morreu em bebé, Edmund).
O pai, actor de teatro, egoísta, somítico e obcecado em assegurar a sua subsistência na velhice; a mãe viciada em heroína e atormentada pelo remorso da morte do segundo filho; o irmão alcoólatra, mulherengo e dividido entre o amor e o ciúme pelo irmão mais novo; e Eugene, com vinte e três anos, que vai ser internado num sanatório de tuberculosos.
A peça decorre durante um dia, numa casa de férias, em Agosto de 1912. Quatro personagens em sofrimento; os pais torturados pelos erros e recordações do passado, e emocionalmente destruídos, arrastam os filhos numa espiral de culpa, revolta e loucura. Agridem-se e acarinham-se. Num momento de egoísmo parecem odiar-se, e ferem com palavras, mas o amor que se têm logo os quebra.
Os quatro O'Neill estão mortos. Os quatro Tyrone viverão enquanto houver leitores, ou espectadores, que façam esta "jornada para a noite"...
"Não duram muito as lágrimas e o riso,
Amor, desejo e ódio:
Acho que deles nada resta em nós,
Passados os Portais.
São breves, para nós, o vinho e as rosas:
De um nevoento sonho,
A vida emerge, e vai sumir-se logo
Dentro de outro sonho."
(Ernest Christopher Dowson)
da dedicatória do autor à sua mulher, no 12° aniversário de casamento:
"Querida: Ofereço-te o original desta peça de amargura antiga, escrita com lágrimas e sangue (...) com a profunda piedade e compreensão e perdão que sinto pelos desgraçados Tyrones, todos quatro."
Os Tyrones são os O'Neill (os nomes próprios na peça são os mesmos que os da família do dramaturgo excepto o de O'Neill que é o do irmão que morreu em bebé, Edmund).
O pai, actor de teatro, egoísta, somítico e obcecado em assegurar a sua subsistência na velhice; a mãe viciada em heroína e atormentada pelo remorso da morte do segundo filho; o irmão alcoólatra, mulherengo e dividido entre o amor e o ciúme pelo irmão mais novo; e Eugene, com vinte e três anos, que vai ser internado num sanatório de tuberculosos.
A peça decorre durante um dia, numa casa de férias, em Agosto de 1912. Quatro personagens em sofrimento; os pais torturados pelos erros e recordações do passado, e emocionalmente destruídos, arrastam os filhos numa espiral de culpa, revolta e loucura. Agridem-se e acarinham-se. Num momento de egoísmo parecem odiar-se, e ferem com palavras, mas o amor que se têm logo os quebra.
Os quatro O'Neill estão mortos. Os quatro Tyrone viverão enquanto houver leitores, ou espectadores, que façam esta "jornada para a noite"...
"Não duram muito as lágrimas e o riso,
Amor, desejo e ódio:
Acho que deles nada resta em nós,
Passados os Portais.
São breves, para nós, o vinho e as rosas:
De um nevoento sonho,
A vida emerge, e vai sumir-se logo
Dentro de outro sonho."
(Ernest Christopher Dowson)
August 10, 2016
I prefer this to "Death of a Salesman." It is complex, conflicting, and although it is depressing and hopeless, it makes you think about life, and how much is out of our hands.
December 17, 2017
Why did this feel like rereading The Glass Menagerie?
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