Study Guide to Strange Interlude by Eugene O'Neill

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645421238
• Edition: 1
• Topic: Manuali di studio
• Subtopic: Guide di studio

A comprehensive study guide offering in-depth explanation, essay, and test prep for Eugene O’Neill’s Strange Interlude, a literary classic that challenged social norms of the US in the 1920s. As a romance of the mid-twentieth century, Strange Interlude describes the many hollow and unhealthy relationships Nina had in order to cope with her grieving. Moreover, the theme of contentment and happiness versus morality is very present throughout the novel, as sometimes the most therapeutic solution for Nina was not necessarily the most morally right. This Bright Notes Study Guide explores the context and history of O’Neill’s classic work, helping students to thoroughly explore the reasons it has stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

INTRODUCTION TO EUGENE O’NEILL

 

EARLY LIFE

Eugene O’Neill was born in a Broadway hotel on October 16, 1888. His father was a popular actor of romantic melodrama and Eugene’s first seven years were spent in the larger towns all over the United States. The success of the Count of Monte Cristo, in which his father played the lead, kept the family engaged in almost continuous road tours. From the age of seven to thirteen he attended boarding schools. In 1902 he was sent to Betts Academy at Stamford and the autumn after his graduation he entered Princeton. Although his parents were Catholic, and he had been in and out of parochial schools from an early age, by the time he entered Princeton he had left the Church and never returned to it.

DISCONTENT WITH COLLEGE

In June of 1903 he was dismissed from Princeton, supposedly for throwing a beer bottle through a window of President Wilson’s house. He could have returned the following year, but he had become bored with college and left to become a secretary in a New York mail-order house, the first in a long series of jobs he held before settling down to write.

YEARS OF WANDERING

In 1909 he married Kathleen Jenkins, a union that ended in divorce in 1912. In the same year he went on a gold-prospecting trip to Honduras. He had been reading Jack London, Kipling and Conrad, and we can see in the many journeys of his youth a desire to lead the rugged life of adventure that those writers took as their central theme. In 1910 he shipped on a Norwegian barque for Buenos Aires where he worked at some odds jobs, but ended up, in his own words, “a bum on the docks.” In 1911, after a trip to Africa on a cattle steamer, he returned to New York where he lived at “Jimmy the Priest’s,” a waterfront dive which provided the setting for the first act of Anna Christie. After a last voyage to England he found himself on a train to New Orleans following a wild party. His father was playing there in the perennially popular Monte Cristo. He refused to give his son a handout, but did give him a part in the play. At the close of the season the O’Neills returned to their summer home in New London, Connecticut, where Eugene worked as a cub reporter on the Telegraph.

HIS DESIRE TO WRITE

In December of 1912 O’Neill entered a tuberculosis sanatorium. Weakened by years of irregular living, his health had broken down. During his fifteen month convalescence he first felt the urge to write. When he left the sanatorium he was a man with a purpose. To rebuild his health he disciplined himself to a life of exercise and hard work. In the next sixteen months he wrote eleven one-act plays, two long plays, and some poetry. He read omnivorously, in his own words “the Greeks and Elizabethans-practically all the classics - and of course all the moderns.”

FIRST PLAYS

In the fall of 1914 he went to Harvard to take Professor George Baker’s famous course in playwriting. In the same year his father financed the publication of his first book, Thirst and Other One-act Plays. Several plays in Thirst take men against the sea as their theme. O’Neill’s classic statement of his theme is in the so-called Glencairn group, a sequence of one-act plays dealing with the tramp steamer Glencairn. The group consists of The Moon of the Caribbees, Bound East for Cardiff, The Long Voyage Home and In the Zone. In these plays man is shown in conflict with nature, which is indifferent to his suffering and inevitable doom. In his early naturalism O’Neill was deeply indebted to Jack London.

FIRST SUCCESS

In 1916 the Provincetown Players put on Bound East for Cardiff. It was O’Neill’s first play to be acted. The Players were a group of Greenwich Village journalists, writers and painters who were interested in rejuvenating the American theater. In 1917-18 he had three plays published in Smart Set, a magazine of protest against the self-satisfied middle class, whose editors, H. L. Mencken and George Jean Nathan, were already known as literary critics. The production of Beyond the Horizon in 1920 brought O’Neill his first Pulitzer Prize, and from then until his death no one seriously questioned that he was the leading American playwright of his generation. In 1918 he had married Agnes Boulton Burton, and now, riding the wave of success, he had great faith in the future. However, he resolved he would never sell out to success. His father had felt that the temptation of easy money to be had from a play such as Monte Cristo had ruined his chances of becoming a fine actor. O’Neill resolved he would remain true to his dream and work to express the truth he had in him.

DISILLUSIONMENT

In spite of his remarkable success, O’Neill was convinced that bad fortune was hounding him. Throughout his life, except for brief periods, he had the feeling that man is at the mercy of mysterious forces beyond his control. He began to look back with nostalgia upon his seafaring days, and longed to be on the move again.

FINANCIAL SUCCESS

In the fall of 1920 The Emperor Jones was staged in London, Paris, Berlin, Tokyo and Buenos Aires, laying the foundation for O’Neill’s international reputation. One year later Anna Christie opened in New York and brought him his second Pulitzer Prize. In 1922 The Hairy Ape was a success. It dramatized the idea that man has lost his old harmony with nature and is out of place in the modern, technological world. Late in 1922 O’Neill was making $850 a week in royalties. He bought a farm at Ridgefield, Connecticut, and settled down to live in landed elegance as his father had always desired to do.

HIS PESSIMISM

However, O’Neill could not settle down and two years later he was living in Bermuda and working on the idea for Mourning Becomes Electra. His idea of man at the mercy of mysterious forces had broadened through his reading of Freud, a German psychologist (1856-1939), Nietzsche, a German ethical writer who detested Christianity (1844-19000), and Schopenhauer, a German philosopher of the romantic period (1788-1860). From Freud he took the idea of man trapped by his unconscious sexual desires. Schopenhauer’s pessimistic philosophy reinforced the naturalistic determinism that had been fostered by his reading of London and Conrad, and his own erratic life. From Nietzsche he took a joyous acceptance of despair as the only sane attitude for a man faced with an indifferent universe.

HONORED FOR HIS WORK

In 1926 he received the degree of Doctor of Literature from Yale University. Although at the height of his career, his personal life was a shambles. The following year he left his wife and two children to court Carlotta Monterey, the actress who had starred in The Hairy Ape. In 1928 Strange Interlude won a third Pulitzer Prize for him. Eugene and Carlotta took a whirlwind trip around the world and settled in a French chateau where he finished Mourning Becomes Electra. The play was presented in New York in October of 1931 and was immediately hailed as his masterpiece. Joseph Wood Krutch wrote that “it may turn out to be the only permanent contribution yet made by the twentieth century to dramatic literature.”

AWARDED NOBEL PRIZE

From 1932 to 1936 O’Neill lived on an island off the coast of Georgia. The only successful play he wrote during this period was Ah, Wilderness!, the only comedy he ever composed. The play ran for 289 performances and brought O’Neill $75,000. In November of 1936 he moved to Oregon with plans to write a cycle of plays designed to tell the story of the United States from the early 1700s. In the same month he became the first American playwright to receive the Nobel Prize.

HIS LAST WORK

During the latter part of his life only a few O’Neill plays were produced. In 1941 he completed the autobiographical Long Day’s Journey Into Night which was first staged in 1956, three years after his death. It won his fourth Pulitzer Prize. His vision of life had not changed and the characters are unable to control the dark forces that shape their destinies. The Iceman Cometh was staged in 1946. It was an enormous success, but the play is uncompromisingly nihilistic in its philosophy. He suggests that man’s urge toward the unattainable is his only justification, but what the unattainable is he can never know. O’Neill died in 1953 at the age of sixty-five. No one doubted that he was the greatest playwright America had produced.

STRANGE INTERLUDE

INTRODUCTION

Eugene O’Neill, the brooding, lonely artist whose memory haunts the contemporary theater, represents to many America’s only major playwright, the only dramatist we have produced who can be ranked among the great figures of the European theater. There are, to be sure, eloquent and powerful voices who will deny such stature to O’Neill. Aware of O’Neill’s high seriousness and artistic integrity, many of these same voices, while arguing vigorously against the greatness of the man’s achievement, admit, sometimes grudgingly, his influence upon the American theater, since, as a result of his efforts, he has earned for the American playwright, in the words of one critic, “the right to be as serious as he wants to be and to aim as high as he can.” One fact, in any case, seems certain at this point in time. Eugene O’Neill, whose prolific and uneven pen produced scores of plays, many of which have been produced all over the world, is a figure who cannot be ignored.

It seems natural to ask who this man was, this man whose life and works continue to be the center of heated controversy. It is, of course, a delicate, risky business to attempt a correlation between the life and the artistic work of any author. Although there is an inevitable relationship, a mutual influence, existing between the artist and his art, the nature of the relationship varies from person to person and remains, in the final analysis, mysterious and unapproachable. In the case of a man like Eugene O’Neill, however, it is especially tempting to try to see the man through his works, and vice versa, since so many of his plays drew so openly and unashamedly upon the materials of the author’s life. O’Neill himself once remarked, “I have never written anything which did not come directly or indirectly from some event or impression of my own. …” It is precisely for this reason, however, that we must be cautious about naively reading any of the plays as simple autobiographical statements. Art, after all, remains distinct from life, and between the lived experience and the play the shaping, transforming hand of the artist must always intervene.

Without pretending, then, to shed any special light on any of the plays, we might proceed to an examination of Eugene O’Neill’s life, a life that was in its own way as elusive and as tragic as any of his plays. The facts of O’Neill’s life - or at least most of them - are easily come by and are a matter of record, and even though the meaning of a man’s life is much more than the sum of its factual parts, the data should be noted.

Life: Eugene Gladstone O’Neill was born on October 16, 1888, in New York City. He was the second son of Ella Quinlan O’Neill and James O’Neill, both of whom were devout and loyal Roman Catholics. The elder O’Neill was also an actor, one of the best known and most successful of his day. James O’Neill’s chief contribution to the American theater, aside from his son Eugene, was to travel the length of the land giving endless performances as the star in that swashbuckling melodrama, The Count of Monte Cristo. Towards the end of his life he is reported to have been bitter over his own rejection of artistic creativity and growth for the sake of financial reward.

Early Influences: To those interested in charting the forces “that shape our lives, rough hew them how we will,” Eugene O’Neill’s parentage and childhood environment are obviously of great significance. Nursed in the stage wings of countless theaters and living almost literally in dressing rooms during much of his childhood, the man who was to become America’s major playwright breathed the air of the American theater from infancy onward. The theater was a part of his being, his “normal” surroundings, virtually from the moment of his conception. This by no means implies that he was determined or destined to become a playwright, but his early parental environment does suggest a possible source of his choice of the theater for his life’s work.

O’Neill’s crucially important decision to write for the stage cannot, of course, be explained quite so simply. The fact is that James O’Neill’s son disliked what he saw of the American theater at that time, had contempt for its frivolity and superficiality, and strongly disapproved of the play which brought his father fame and profit. It is possible, in any event, that Eugene O’Neill’s assault upon the American stage was to some extent a response to the shoddiness of that stage. To carry this speculation a step further, one might even see O’Neill’s rebellion against the theatrical traditions embodied in his father as a rebellion against the father himself. It is well known that the relationship between father and son was characterized by misu...