**"A Long Day and Night Journey: A Compelling and Troubling Tale"**

Have you ever read a book that made you feel pain? A long day and night journey was one of those handwritten works that was extremely painful for me. Most of the time, after reading every five or ten pages, due to the intense pain I felt (not just emotional pain but even physical pain!), I would put the book aside and then come back to it later. I really don't know what to say in describing this work: whether it is amazing that a writer can vividly depict a chaotic, desperate, and highly intertwined family that is so painful for me, worthy of praise and admiration or criticism and condemnation?

A long day and night journey is a very beautiful and masterful story of the Tyrone family consisting of a father, a mother, and two sons. At the beginning of the book (in the morning), it seems that everything is okay and a very good family is portrayed. But soon, the dark shadow gradually emerges in this family, revealing the complexity, pain, and suffering of the whole family (until the end of the night). The life of this family is a story of a cycle of destruction, the reproduction of misfortune and failure by the members themselves for each other, forming a very toxic ecosystem.

How can a writer so beautifully envision the minds of all the members of a family in relation to each other? How can he so realistically describe the chaotic environment within the family where love and hate, desire and suppression, loss and self-indulgence, humor and bitterness, cruelty and kindness, envy and forgiveness, compatibility and incompatibility, and so on coexist? And not in the form of separate characters and events, but even within the lines of each one, these changes and conflicts encounter each other (especially in the dialogues of the mother of the family).

A long day and night journey is one of those works that those who have experienced the root problems of a dysfunctional family will surely feel pain, but perhaps like me, they cannot put it down. The psychological story that the author reflects from his own life in this play is a touching story of life that perhaps many of us cannot even express the tiniest aspect of our pain and sadness in words; let alone write about this beauty.

This text is a story of people who caused loss and desire in others and, willingly or unwillingly, applied any kind of suppression model they could to themselves or others. The Tyrone family, in my opinion, is reminiscent of many Iranian families where love and affection (often blind) coexist with the ignorance and stupidity of the father and mother, creating children who, with hatred of themselves and others, give up all their positions in society, as well as self-destruction, addiction, and escape to forgetfulness to the point of degradation. As if a veil of hypocrisy, modesty, shyness, and the pursuit of false honor and blind love makes this sick ecosystem even more toxic. These families, although all are in pain until the bone marrow, do not admit and feel remorse until it is very late, and when they do, it is very late...

A "reached but not broken" that is permanent and eternal is the best description I can give you of the chaotic and very tragic situation of this family. Reaching but not breaking is supposed to arouse hope (although in my opinion, a toxic and frustrating hope), but when things progress and this description becomes the eternal state of a family, even the most fragile hopes fade.

In chemistry, there is a term called "equilibrium distance" between the atoms of a molecular bond, which means that the distance between two atoms is constantly changing, becoming smaller and larger. This distance cannot be less or more than a certain point because when they get too close, they repel each other, and when they get too far apart, the attraction between them keeps them within this distance. The relationships between such families are also like this: a unique blend of constant rotation between love and hate.

At the end of the book, there was an analytical text by the translator for analyzing the narrative of the book based on Lacanian's three-order theories, which was really interesting and captivating for me to read.

Such a powerful work of drama, no wonder it makes up the American Theatre Holy Trinity with Death of a Salesman and A Streetcar Named Desire. It is truly incredible.

O'Neill delves deep into some of the most profound and moving human emotions through the troubled family dynamics in this play. Long Day's Journey into Night is a vivid tale of four broken people trying to hold a broken family together. It follows the tormented Tyrones - James, Mary, James Jr., and Edmund - and their intense struggles. As the play progresses, the seemingly harmonious family fractures, and ugly truths are unveiled one by one, until all hell breaks loose and everything is exposed. Although it was intended as an autobiographical work reflecting O'Neill's own family history, it is undoubtedly also a poignant examination of the darker, pathetic, and hopelessly touching aspects of human life.

Out of all the brilliant elements of this work, what amazes me the most is the sincere humanity within all of these characters. The Tyrones are all full of reprehensible flaws, and at heart, they are vile and debauched. However, the reader cannot help but feel a degree of pity for each one. O'Neill does not hide their faults from us; instead, he exposes them wholeheartedly, stripping them down to the bare bones, making his characters astonishingly vulnerable as the reader becomes their judge. Throughout the play, the reader is presented with various versions of events by the different characters, each account punctuated with personal biases. The members of the Tyrone family blame each other for misfortunes, both deliberately and inadvertently.

Another praiseworthy aspect of this play is the continuous and effective generation of tension. Even in the beautiful sunny setting of Act One, the reader can already sense the turbulent undercurrents that threaten to (and eventually do) shatter the Tyrone family. The manipulation of the weather and the use of pathetic fallacy are age-old tricks in the playwrights' arsenal to reflect the moods of the characters, yet it is still a delight to witness when executed well, as it was in this play.

On top of that, there is also the underlying thread of Edmund's illness, right until the very end when Edmund himself finally confronts Mary at the play's climax. Throughout the entire play, the tension hinges on the truth about Edmund's illness and Mary's deep denial of this painful reality. As both factors escalate in their respective directions, the tension intensifies correspondingly. Consequently, the tragic nature of the work becomes all the more apparent at the very end.

Personally, I have always been fascinated by family dramas, and this one was no exception. The Tyrone family, despite their dysfunction, resonated deeply with me on a personal level. I cannot say that I liked any of them, but the heartfelt pity I feel for these characters is as real as their substance addictions. Such a play is entirely worthy of its renown, and I am truly shocked that I did not read this earlier. It has only served to strengthen my love for American theatre, and I hope to read more of O'Neill's works in the future. I will remember this play vividly for a long time to come.

4,5

Ova drama jeste tragedija.

However, this tragedy occurred long before the events presented in this work. All that is shown to us in the book is what emerged from Pandora's box of that tragedy and what happens every day and will not cease to happen, leaving the family trapped in their grief from which they can only escape temporarily - by forgetting. As Meri says, "We are all powerless against what life has made of us."

Speaking of Meri, she is definitely the most tragic character I have encountered in the world of drama. One might think that the death of her son would have triggered her depression and morphine addiction, but in fact, the cause of her grief lies in her first encounter with her future husband, when she never even considered that she would give up her friends, the way of life she loved, and her ambitions because of that love.

It is wonderful how O'Neill integrates symbolism into his work, in a somewhat subtle way. The work begins with a story about the fog that descended the previous night, as well as the siren that followed it. The fog represents the entire false image that the characters build every day about their lives and families so as not to face their shortcomings, while the siren is the one that warns them of the mere existence of that fog. As Meri again says, "The fog doesn't bother me. It hides you from the world, and the world from you." That siren slowly reveals the truth about everything.

Some people have said about this drama that it has a Freudian character, and it can be said that as the night falls more and more, more and more truths are revealed about family feelings and needs, as well as about their relationships.

Years ago, I had a professor who used to tell me that you can't say you read plays if you haven't read Eugene O'Neill's ones yet! He was right. What a genius can write such a beautiful piece of art? What a shattered dramatist can use the sorrow, "the tears, and the blood" to write this wonderful play full of pitiless honesty? Another great work that talks about the importance of the past, past memories, past dreams, and past as it is.

Yes, in the play, the unbearable past haunts everything, even a past that long ago seemed fleetingly full of innocent potential, like Mary Tyrone’s. “The past is the present, isn’t it?” goes Mary’s renowned question, to which she knows the answer: “It’s the future, too. We all try to lie out of that, but life won’t let us.”

This is a family drama. A drama about hate and love and how they can mean sometimes the same thing. Love in the play is naked from all illusions. Hate also is naked from all flowery descriptions that tend to make it look acceptable. The play is about the four Tyrones and how their addictions are putting barriers in front of them to lead a sincere life, where no one has to hide his own flaws and blame the others for his misery.

Eugene O'Neill's works are truly masterpieces that explore the depths of human nature and the complexity of family relationships. His plays are not only entertaining but also thought-provoking, making us reflect on our own lives and the choices we make.

This play, with all the alcoholic and morphinic tendencies of its characters, appears to be O'Neill's attempt at reconciling with his dysfunctional family.

It is also his eulogy for the American Dream.

Once the mythic mist known as the American Dream is dispelled, what remains is an all-too-human need.

This need is to cast a veil of artificial fog to the border of our eyes.

By doing so, we can cope with the reality that what we thought was the American Dream never truly was.

O'Neill's exploration of these themes in the play offers a profound and thought-provoking look at the human condition and the illusions we create to survive.

It forces us to confront the harsh truths about our families, our dreams, and ourselves.

Perhaps through this confrontation, we can begin to find a way to come to terms with our past and move forward with a more realistic and fulfilling future.

An excellent portrayal of a perfectly screwed-up family, which culminates one day in an orgy of expelling the filthy linen that has been accumulated over the years. This vivid description brings to life the complex and often dysfunctional dynamics within the family. The use of the term "screwed-up" emphasizes the chaos and disorder that prevail. The idea of an "orgy of expelling" further intensifies the image, suggesting a sudden and intense outburst. The mention of "filthy linen" symbolizes the hidden secrets and dirty laundry that the family has been keeping. Overall, this description creates a powerful and engaging picture of a family in turmoil.

The epigraph of Eugene O'Neill's semi-autobiographical play reveals a profound sentiment. It was a 12th anniversary gift to his wife, stating, "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 transitions into night, the four characters in the Tyrone family disclose more and more about their past. The main issue lies in the addiction to alcohol of the father and two sons, and the addiction to morphine of the mother. Drugs distort reality, much like the fog that enshrouds their home, reducing visibility. Mary remarks, "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 family member has endured repeated failures in life and harbors guilt. However, they have also confronted challenging times that have shaped them into who they are today. Although they care about their family, they shift the blame onto each other for the problems they encounter. Mary, in particular, looks back nostalgically to her youth when life was uncomplicated. The troubles of their past seem to be dictating their future in an unending cycle.
This is an extremely powerful play that was awarded the 1957 Pulitzer Prize for Drama. It is especially tragic as it reflects the lives of Eugene O'Neill's own dysfunctional family.

It serves as a poignant exploration of human nature, addiction, and the complex dynamics within a family. The play's ability to evoke strong emotions and make us reflect on our own lives and relationships is a testament to O'Neill's genius as a playwright.

We are drawn into the world of the Tyrones, sharing their joys and sorrows, and ultimately, learning from their experiences.

This play is a timeless classic that continues to resonate with audiences today.

Undoubtedly, it is the purest five-star rating I have given.

I'm not much of a drama reader, and perhaps I "didn't exist" before. But this drama interested me so much that I can predict that I will become a customer from now on.

The story, which spans one day and consists of 4 acts, is about the life of a second-generation Irish-American family. It is said to be a portrayal of the difficult and painful times of Eugene O'Neill himself. A story full of pain, suffering, dreams, disappointments, hatred, love, lies, and truth. The pains that O'Neill himself has understood and fought against in life, and which have shaped his character.

So, dear reader of these lines, if after reading this drama, you don't feel much touched, be glad. Enjoy your life.

The story "A Long Day's Journey into Night" is the narrator of the Tyrone family. James Tyrone, the father of the family, is an aging theater actor. Mary, his wife, has physical and mental problems. Jamie, the eldest son of the family, and Edmund, the younger son.

All the characters start to interact with each other during the play, and gradually, the problems of each one slowly emerge from beneath the water. Each member of the family is constantly and continuously in the process of self-healing and blaming others. The listener quickly realizes the huge iceberg that has remained underwater.

The pains of this family and the human relationships within it are described so accurately and precisely that I'm far from believing that a reader can understand each and every cell of their characters. Characters who, with a sweet memory from the past (mixed with deep wounds), move forward with hopelessness towards a gray and black destiny. And every moment, this glass house is on the verge of collapse.

The past is the present, isn't it? Indeed, it is also the future. We all try to get rid of it with lies, but life doesn't allow us to do so.

The past has a profound impact on our present and shapes our future. Every experience, every decision we made in the past, has led us to where we are now. It is like a shadow that follows us wherever we go.

We may try to rewrite history, to cover up our mistakes, or to create a more favorable narrative. However, the truth always has a way of surfacing. Life has its own way of teaching us lessons and making us face the consequences of our actions.

Instead of trying to escape the past, we should embrace it. We should learn from our mistakes, cherish our memories, and use the past as a stepping stone to build a better future. Only by doing so can we truly move forward and find peace within ourselves.

Eugene O'Neill completed this play in 1941. He sealed the manuscript and delivered it to the publisher with instructions that it should only be opened 25 years after his death. O'Neill passed away in 1943, and the play was first performed in 1956, winning the Pulitzer Prize in 1957. "Journey to the Night" is considered his masterpiece and his Testament, as Jorge de Sena, the translator of this edition, states.

Eugene O'Neill dedicated this play to his wife on their 12th wedding anniversary, writing: "Dear: I offer you the original of this piece of old bitterness, written with tears and blood (...) with the deep pity and understanding and forgiveness that I feel for the unfortunate Tyrones, all four."

The Tyrones are the O'Neill family (the names in the play are the same as those of the playwright's family, except for O'Neill, which is the name of his younger brother who died as a baby, Edmund). The father, a theater actor, is selfish, sleepy, and obsessed with ensuring his livelihood in old age. The mother is addicted to heroin and tormented by the remorse of the death of her second son. The elder brother is an alcoholic, womanizer, and divided between love and jealousy for his younger brother. And Eugene, at the age of 23, is about to be hospitalized in a tuberculosis sanatorium.

The play takes place over one day in a vacation house in August 1912. Four characters in suffering; the parents tortured by the mistakes and memories of the past, and emotionally destroyed, drag their children into a spiral of guilt, revolt, and madness. They attack and caress each other. In a moment of selfishness, they seem to hate each other and wound each other with words, but the love they have soon breaks them.

The four O'Neill are dead. The four Tyrones will live as long as there are readers or spectators who take this "journey to the night"...

"Tears and laughter do not last long,
Love, desire, and hate:
I think nothing of them remains in us
After passing through the Gates.

Wine and roses are brief for us:
From a hazy dream,
Life emerges and soon disappears
Into another dream." (Ernest Christopher Dowson)

It almost feels cliched when discussing this kind of thing to mention the personal relations you can have to a story like this. But hey, it’s my Goodreads and I’ll do as I please.

The last act, in particular, has been haunting me since I finished it earlier this week. The strained connection between father and son comes to the forefront, yet allows a real tenderness to escape in certain moments.

In a world that’s constantly moving in a seemingly downward trajectory, it’s nice to find those. With the gnawing of regret and addiction hidden in every shadow, O’Neil writes with such poignant honesty.

I’m not one to cry at media (I wish I could), but this almost got me because of how closely so much of it resembled my interactions with my father in the months before addiction took him from me.

How he was both James and Mary in that moment. How I myself am an amalgamation of all the characters and their tendencies, as much as one would hate to admit that about oneself, and how that would shape my own wants for my future.

One of the great American plays about the destruction America has done to its own psyche in the 20th century. I try not to be bitter these days. I hope people notice.