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Eugene ONeills Long Days Journey into Night Essay -- Long Days Jou

Eugene O'Neill's Difficult Day's Journey into Night As the mist plunges around the Tyrone’s summer home, another haze falls on the family inside. This mist is that of substance misuse, in which every one of the four primary characters of Eugene O’Neill’s play, Long Day’s Journey into Night face before the finish of Act IV. Difficult Day's Journey into Night is an allegorical portrayal of the way from regularity to destruction by demonstrating the general impacts of substance maltreatment on human brain research and family dysfunctions through the characters Mary, Jamie, Edmund and Tyrone. Mary Tyrone makes the change most obviously all through the whole play. In Act I, her hands move eagerly, and she is by all accounts very apprehensive. At the point when she shows up in Act II â€Å"one sees no change aside from that she has all the earmarks of being less apprehensive, †¦ yet then one becomes mindful that her eyes are more brilliant and there is an impossible to miss separation in her voice and manner† (O’Neill 58). These inconspicuous indications of her backslide back to concoction reliance proceed until the last scene, where she is most clearly under the impacts of a compound substance. The morphine appears to make her suggestive of the past. In Act III, she discussed her two youth fantasies about turning into a professional piano player or a pious devotee. By Act IV, she has hauled her old wedding dress from the upper room and endeavored to play the piano once more. This presents a mental thinking for her backslides. She believes herself to be d eveloping old and monstrous, and frequently alludes to the how she was one after another youthful and excellent. â€Å"To her, the grotesqueness of the hands is the offensiveness of what she has become in the course of the last a quarter century, which is the reason she utilizes the torment of the ailment in them as her purpose behind the morphine† (Chabrowe 181). Along these lines, it tends to be corresponded that at one time she utilized the morphine to get away from torment, and when she understood that it caused her to feel young again she got dependent. Her inability to stop is likewise associated with her interfamily connections. At the point when she was blamed for backsliding she stated, â€Å"It would teach every one of you a lesson in the event that it was true† (O’Neill 47)! This proposes she is looking for defense to proceed with her illicit drug use by utilizing her family’s doubts as motivation to backslide (Bloom 163). Not exclusively are her activities affected by her family, yet they likewise impact the men, to be specific Edmund. He is very mindful of his lessening wellbeing, and suspects that he ... ...with a feeling of what's on the horizon for the Tyrone family, the book will in general be monotonous. In this manner, one can expect that the play marks one day, one backslide for Mary, one outing for Jamie to the whorehouse, one more beverage Edmund takes to overlook the past, and one more beverage that Tyrone takes to enable himself to adapt. However, it won't be the first, or the last. It will be only one more. Night will travel into morning and it will all happen once more. Such is disaster. Works Cited American Lung Association. â€Å"Who Get’s It.† Tuberculosis (TB.) On-line. Web. 1 March 2001. Accessible: <a href=http://www.lungusa.org/infections/lungtb.html>http://www.lungusa.org/illnesses/lungtb.html Chabrowe, Leonard. â€Å"Rituals and Pathos: The Theater of O’Neill.† Twentieth-Century Literary Criticism. Blossom, Steven F. â€Å"Empty Bottles, Empty Dreams: O’Neill’s Use of Drinking and Alcoholism in Long Day’s Journey Into Night.† Critical Essays on Eugene O’Neill. 1984 ed. Collins, R. Lorraine, Kenneth E. Leonard, and John S. Searles. Liquor and the Family. New York, London: The Guilford Press, 1974. Hinden, Michael. Long Day’s Journey into Night: Native Eloquence. Boston: Twane Publishers, 1990.