"I am climbing up the high mountain,
Oh mother, my dear mother!
I know who will remain in love and remember me..."


The play "A Long Day's Journey into Night" was one of the most beautiful and powerful things I have read.
It was the story of a day in the life of a family, written behind four curtains.


Eugene O'Neill in this play dealt with various themes such as love, family, addiction, poverty, illness, work, sadness, and regret, which depicted the complex emotions of the family members in the deep layers.
In my opinion, the fourth curtain and the family members' conversation without masks was the climax of the story, and with the end of the play, the pain present in this book accompanies the reader for a while.

I read the translation by Yadollah Aqaabasi published by Bidgol and was satisfied.

Shattering as ever.

Just like rereading Oedipus Rex for the nth time.

I always think, "This time I'll be objective, I'll be able to analyze it just as a work of art."

But no, I'm purged and limp by the ending as always.

The power of this tragic tale never fails to move me.

Each time I encounter it, I am drawn into the web of命运 that surrounds Oedipus.

His hubris and the cruel irony of his actions lead to a conclusion that is both devastating and cathartic.

Despite my attempts to approach it analytically, the emotional impact is simply too great.

I find myself empathizing with Oedipus, sharing in his pain and his downfall.

It is a testament to the enduring power of great literature that it can have such a profound effect on us, time and time again.

I really liked the play, although I thought the acts were unequal in value - I didn't like Act IV almost at all.

The play is very good at the beginning and I think it also represents an offer role for actors.

I really liked how O'Neill managed to capture the family moments and the dynamics between each member of the family. There are intense scenes in which each brings out the flaws of the other in the open, only to then regret it and the other to forgive. It is an inductive attitude because it expresses exactly the way a family reacts and behaves. They all have problems: the mother is a morphine addict, and the father and the two sons are alcoholics. They all know their problems. They all blame each other, apologize and forgive each other, but none of them manages to escape from their own addiction. And maybe they don't even want to.

Anyway, a very good play. It would be interesting to see it staged.

You won't like this book unless you have some stodgy English professor explain all the allegorical motifs that come at certain times.

However, I found this to be a masterpiece. It's not a spoiler to say that the wife is addicted to Morphine and her sons are alcoholics.

It's not an uplifting story, but the way it is crafted and acted out was way ahead of its time.

This might be the one time you can watch the video and then read it.

Either way, this was one of Eugene's best, including "The Ice Man Cometh".

The complex characters and their struggles make for a deeply engaging read or viewing experience.

The themes explored, such as addiction, family dysfunction, and the human condition, are timeless and still relevant today.

Despite its dark subject matter, there are also moments of beauty and hope that shine through.

Overall, I highly recommend this work to anyone who appreciates great literature or drama.

3.5 stars

Long Day's Journey into Night is truly one of the most challenging plays to rate. It is dysfunctional in a rather grating manner, and not a single character is likable. However, this is Eugene O'Neill's magnum opus, the story he had to tell to come to terms with his family situation.

The play is essentially O'Neill's exploration of his immediate family and their flaws. In a letter to his third wife, Carlotta, he wrote this play "with deep pity and understanding and forgiveness for all the four haunted Tyrones" (Library of America edition, page 714). O'Neill portrays himself as Edmund Tyrone, who is ill and receives excessive sympathy from his family.

Apart from changing his name with that of his older brother who died as a baby before O'Neill was born, every other family member has the same first name. His father was James, his mother Mary Ellen, and his brother James Jr. This play offers a peek into a day in the life of this family, starting in the morning, progressing through the afternoon, and concluding in the evening.

I admire O'Neill's skill in providing a clear understanding of everything happening within the text. He is excellent at describing the characters and their setting, giving a vivid idea of what he would envision if the play were to be produced. O'Neill initially didn't want this play to be released until 25 years after his death, but Carlotta published it three years later.

It's evident that this play was written mainly for O'Neill himself, without a specific lesson or message in mind. None of the characters are likable, but perhaps this was O'Neill's intention, to address the issues he had with his immediate family. Some may find it entertaining like a grating, dysfunctional, and intriguing reality show, while others will find it aggravating and be turned off by studying such material in an English or drama class.

The best way to approach this play is in the autobiographical sense and as a character study. It also allows us to see Eugene O'Neill as he sees himself. Given his family situation and the circumstances surrounding his three children, the reflection of his character can be seen beyond what he has written.

One's thoughts on this play depend on the approach they take while reading it. It's only "fun" in its extreme dysfunctionality, but overall, it has a depressing tone. As an autobiographical study, O'Neill's approach to his own life is fascinating. Maybe he could have been more creative in making it stand alone if his intention was to base it on his life rather than making it so obviously about his life by changing the names. The way the names were presented makes it a bit odd.

Ultimately, those who love dramatic reality shows and those who like to analyze the material will enjoy this play the most. Everyone else will probably not be too enthusiastic about it.

Devastating;

It is a word that can strike fear and awe into the hearts of many. When something is described as devastating, it implies a level of destruction and impact that is truly overwhelming. It can refer to a natural disaster, a war, or a personal tragedy that leaves a lasting mark on those affected.

Brilliant;

This word, on the other hand, evokes a sense of excellence and outstanding quality. A brilliant idea, a brilliant performance, or a brilliant work of art is one that stands out from the rest, captivating and inspiring all who encounter it. It is a word that connotes intelligence, creativity, and innovation.

Together, these two words form a powerful combination that can be used to describe a masterpiece. A masterpiece is a work that is both devastating in its impact and brilliant in its execution. It is a creation that has the ability to move us, to make us think, and to change our perspective on the world. Whether it is a painting, a novel, a piece of music, or a film, a masterpiece is a testament to the power of human creativity and the ability to create something truly extraordinary.

It's truly arduous to wholeheartedly "like" this play. Given its excruciating nature, especially when one is aware of what transpires and reads it again, observing how truly happy things are (or at least seem to be) on the very first page. Literature isn't always as "courageous" as people claim it to be. However, O'Neill's play is an exceptionally courageous act. I highly doubt that I would be willing to immortalize my most harrowing memories and experiences for all eternity and for everyone to witness. Not that my experiences were anywhere close to being as tragic as his... which makes his eagerness to do this all the more astonishing. Fortunately, it didn't get staged until after his own demise. I know nothing more about O'Neill than this, but I simply can't fathom his willingness to see this performed. No wonder Tennessee Williams didn't desire to see The Glass Menagerie ever again. Is it a "good" play? Artistically speaking, it presents its ideas and message superbly. So, in an aesthetic sense, yes, it is a "good" play. I just don't know if I would want to see it, considering how challenging it is to read. Then why do I have students read it? Because it accomplishes what it sets out to do and is a landmark of American literature, that's precisely why. No one has ever said, "Gee, American literature is enjoyable and makes me happy." At least, not that I'm aware of.

Everything seemed and sounded completely unreal. Nothing was as it actually was. This was precisely what I desired - to be by myself in another world where truth was false and life could hide from itself.

Everything looked and sounded unreal. Nothing was what it is. That's what I wanted—to be alone with myself in another world where truth is untrue and life can hide from itself.

Okay, that was truly excellent. However, it was also extremely depressing. It was a bit challenging to read at times because it was so realistic and, of course, tended to be painful. This is a story of a family that gradually descends into ruin; a domestic tragedy that will truly resonate in the hearts of the readers.

Enter Mary, the mother of two sons, an innocent woman suffering from rheumatism. This condition mirrors the constant anxiety that lingers in her heart as she frets about every little thing, especially an event from the past and how it relates to the present. Then there's Tyrone, the husband, a charming former actor. He is a miser who, despite the family's prosperity, fails to provide a true "home" for them. And their two sons: Jamie, a 34-year-old who doesn't take life seriously and isn't overly liked by his father, and Edmund, a sickly 23-year-old who resembles his mother.

The past is the present, isn't it? It's future, too. We all try to lie out of that but life won't let us.

Indeed, each of their pasts is crucial in shaping the people they ultimately became. It is also a key to our better understanding of them, to see where they are coming from.

It makes it so much harder, living in this atmosphere of constant suspicion, knowing everyone is spying on me, and none of you believe in me, or trust me.

The dialogues, of course, disclose a great deal about the characters. Beneath the surface, there is an underlying theme in the way they interact with each other: there is a breakdown in communication between them. Their conversations are filled with denial and an overwhelming fear of directly addressing their ordeal. They constantly go in circles, and this cyclical pattern recurs throughout the play. The way Mary expresses her fear and then reverts to her defensive, elusive self, forcibly wearing a mask full of flaws. And then there is the idea of assigning blame: how did all this begin? Who is really at fault? But the readers will come to realize that asking such questions is absurd. There is no single person to blame. As I mentioned, it all goes around in circles, and as one progresses through the story, it will be understood that they all have a role to play, that none of them is innocent; that, in the end, there is a "sin" that keeps being passed among them.

*4.75

5 stars...that's kind of rare. And decently unexpected. I didn't know what I was getting into. [Though Blatz had called him America's greatest playwright].

On a side note, for class, I plan to reenact the final scene, starting from Mary's entrance - it should be interesting.

When I think about it, I'm not altogether sure why I chose to give this five stars. A good many times, I tend to say it'd be better onstage, and leave it at that. But while this would be, indeed, amazing onstage, it was also an amazing book. The language was elegant without being overly flowery; it moved at a perfect pace, and I found myself closely following along with every line.

I didn't find myself identifying with any character, but at the same time, didn't find them to be the boring broken-American-dream, or pathetic alcoholics. I saw them as people, with their own hopes and dreams and failures, each with justified reasons for their pain, each struggling and fighting his or her own demons. I didn't intend to analyze it as I read, but I still saw the obvious-yet-not-too-in-your-face fog motif, and how this long day was like life, compressed into a mere ~18 hours.

It is the story that begins so happily, so content, with laughter and sunshine, clarity and love and warmth and affection, a family so connected, so seemingly together. Then slowly, problems surface until things disintegrate, from day into night, from love to accusation, from joking to morbid seriousness. But through all the drama shines a little bit of hope, a deeper understanding of one another, a foghorn blasting through, a promise of tomorrow - a better tomorrow? perhaps not - but at least another day.

Seven days - seven shows. The fourth show.

This fourth show is expected to be another exciting event. It will likely feature a variety of performances that will captivate the audience.

The performers have been working hard to prepare for this show, rehearsing their acts to perfection.

The stage is set, and the lights are ready to shine. The audience is eagerly waiting to be entertained.

Whether it's a musical performance, a dance routine, or a theatrical play, the fourth show is sure to have something for everyone.

So come and join us for this amazing event and experience the magic of live entertainment.

Don't miss out on the fourth show - it's going to be a night to remember!

**"Long Day's Journey Into Night: A Masterpiece of American Theatre"**

Eugene O'Neill's "Long Day's Journey Into Night" is not just a play; it's a profound exploration of the human condition. I firmly believe it to be the greatest American play ever written and the crowning achievement of the 20th century. What's truly remarkable is that while most playwrights see their talents decline with age, O'Neill's grew stronger. In the twilight of his life, he produced a series of masterpieces including "Long Day's Journey Into Night", "THE ICEMAN COMETH", "A MOON FOR THE MISBEGOTTEN", and "HUGHIE", despite suffering from a severe Parkinson-like tremor that made writing in longhand excruciatingly painful.

The play centers around the Tyrone family - James, an aging actor; Mary, his morphine-addicted wife; and their two adult sons, Edmund and Jamie, both alcoholics. As the day progresses from dawn to dusk, the family members are forced to confront their past mistakes, addictions, and the web of lies and deceit that has torn them apart. The dialogue, fueled by whiskey and morphine, becomes increasingly vicious and accusatory, as the past repeats itself over and over again.

Each character in the play is complex, real, and utterly fascinating. Mary, in particular, is a tour de force. She is a master of deceit, yet is also barely in control of herself. Her addiction to morphine isolates her from her family, making her both a victim and a perpetrator of cruelty. O'Neill's language is simple yet powerful, painting a vivid picture of the Tyrone family's dysfunction and despair. At the close of the play, all four characters are left on stage, lost in the past, with Mary's final words - "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." - serving as a poignant reminder of the fleeting nature of happiness and the power of memory.

“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, \\n  "The past is the present, isn't it? It's the future, too." (IIii)\\n


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.
\\n  "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)\\n It is one of the most beautiful moments in the history of theatre.

Finally, a classic that truly lives up to its reputation!

This work has endured the test of time and continues to captivate audiences with its charm and substance.

It has become a beloved piece of literature, art, or music that has left an indelible mark on the cultural landscape.

Whether it's a novel that transports you to another world, a painting that evokes powerful emotions, or a song that gets stuck in your head, this classic has it all.

And let's not forget to keep our language clean, especially when it comes to respecting other cultures like Ireland.

Kids, it's important to be mindful of the words we use and the impact they can have.

So, enjoy this classic and spread the love and respect!