55 pages • 1 hour read
Long Day’s Journey into Night was a personal project for Eugene O’Neill, and he did not want it to be published or performed during his lifetime. The play itself is autobiographical in the sense that Edmund is O’Neill, who had a brother, James Jr., a father, James, and a mother, Mary Ellen, who are accurately captured in the characters of Jamie, Tyrone, and Mary, with only the last name changed from O’Neill to Tyrone, based on James’s Irish heritage. The child that passed away, Eugene, was Edmund in real life, with O’Neill being the third child of James and Mary. O’Neill did not want the play published until 25 years after his death, but his wife, Carlotta, had it published early in 1956 to fund the Eugene O’Neill Collection at Yale University in New Haven, CT. The play follows O’Neill’s real family, as O’Neill himself went to Princeton University for a year before traveling, as Edmund has in the play, while James, O’Neill’s father, was a successful actor who worked alongside Edwin Booth, as did Tyrone. O’Neill’s brother, Jamie, or James Jr., did have an alcohol addiction and died from alcohol-related complications in the early 1920s, along with James and Mary. When O’Neill was born, his mother was given morphine as a sedative during the birth, which lead to an addiction to morphine that lasted most of the rest of her life. The real Mary recovered from her addiction in 1914, though she died of a brain tumor in the early 1920s.
Like Tyrone, James O’Neill purchased the rights to The Count of Monte Cristo by Alexander Dumas and adapted it to the stage, with Charles Fechter taking on the role of Edmond Dantes, the lead role. He performed this role thousands of times, and he became bored and accustomed to the role, making it difficult for him to take on new roles. Though he made a good deal of money on the play, many felt that it compromised his talent as an actor. It is possible that the name Edmund corresponds to the lead role in The Count of Monte Cristo, and this is the source of the name of O’Neill’s summer home in New London, CT, The Monte Cristo Cottage. The Eugene O’Neill Theater Center maintains the Cottage, and it is located along the coast of Connecticut. This home is where Long Day’s Journey into Night takes place, and the Theater Center has maintained the home to look as it would have in 1912 when the play occurs. In the play, when Mary and the family reference the town they are in, they refer to New London, CT, in the early 1900s.
Substance misuse takes a dominant role in Long Day’s Journey into Night, and it is important to consider what the common perception of substance misuse, alcohol, and morphine was in the early 20th century. Morphine was a new drug, having been introduced in convenient forms in the latter half of the 19th century, and opioid, or painkiller, addiction was common. The predominant demographic that experienced opioid addiction was middle-class and upper-class white women such as Mary, which was, in part, due to male doctors prescribing painkillers to deal with “feminine issues,” which, at the time, included menstrual cramps and pregnancy-related discomfort but also ranged into anxiety and stress (Trickey, Eric. “Inside the Story of America’s 19th-Century Opiate Addiction,” Smithsonian Magazine, Jan 4, 2018). Unfortunately for Mary, the perception of addiction to painkillers as a uniquely feminine and higher-class struggle shifted in the 1910s, during which time public perception started to view substance misuse as a problem facing the youth. This may help to explain why the family is ashamed rather than supportive of Mary’s addiction, especially when combined with confusion and prejudice in the medical community over women’s health and mental health conditions.
Though little was known or understood about opioids during this time, alcohol was already a social staple in the United States. Over the course of the 19th century and into the 20th, leading to Prohibition in the 1920s, during which America banned alcohol sales across the country, alcohol was undergoing a shift in public perception from a quality pastime to a dangerous addictive substance. However, popular opinion remained that alcohol consumption was normal, and in the play, both Cathleen, the servant, and Tyrone note that addiction to alcohol is the failing of a “good man.” Unlike opioid addiction, addiction to alcohol was viewed as normal, and those who experienced alcohol dependence were not viewed in the same shameful light as those with opioid addictions. In the play, all three men are addicted to alcohol, and yet only Jamie seems to struggle with functioning in daily life. Still, Mary’s addiction is highlighted as the main problem of the family, even though all four family members experience similar addictions. This is likely because of the normalization of addiction to alcohol and the new phenomenon of morphine addiction.
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