Eugene-Glastone-O'Neill(ppt文档)
Unit 10. Eugene O’Neil
Unit 10. Eugene O’Neill: The Hairy Ape (I)Introduction to the Author :Eugene O’Neill (1888-1953) is unquestionable America’s greatest playwright. He won the Pulitzer Prize four times and was the only dramatist ever to win a Nobel Prize (1936). He is widely acclaimed “founder of the American drama”, and recognized even more as a major figure in world literature.O’Neill was born in New Y ork into a theatrical family. His father, James O’Neill, had been a well-known Shakespearean actor but ended up s a stereotyped mediocrity. Engene grew up in New London, Connecticut, and spent his early years with his parents on theatrical road tours. After a succession of religious boarding schools, he entered Princeton university in 1906,but was suspended a year later after a drunken prank and never resumed his college education. The failure of an early marriage in 1909 drove him to sea and he traveled all over the world. Due to the physical breakdown after a suicide attempt in 1912,he was forced to stay at a sanitarium for several months recovering from tuberculosis, during which time he avidly read up on dramatic literature, and cultivated an interest in play writing. In 1914, he attended Professor George Pierce Baker’s drama workshop at Harvard, where his career as a dramatist began.During all his career as a dramatist, O’Neill wrote and published about 49 plays altogether of various lengths. His true fame as America’s leading and most original dramatist was established in the 1920s with the production of a series of plays:Beyond the Horizon (1920),The Emperor Jones (1920),Anna Cristie (1921),The Hairy Ape (1922), All God’s Chillun Got Wings (1924), Desire Under the Elms (1924), The Great God Brown (1926),and Strange Interlude (1928 ). Though O’Neill was on the whole silent during the thirties and some of his works began to suffer form negative criticisms, he kept working hard and produced the best and greatest plays of the modern American theater.The Iceman Cometh(1946)proves to be a masterpiece in the way it is a complex, ironic, deeply moving exploration of human existence. Long Day’s Journey Into Night (1956)is equally impressive. Some parts of the story are based on O’Neill’s own family.Introduction to the Plays of O’Neill:Most of O’Neill’s plays are t ragedies,dealing with the basic issues of human existense and predicament : life and death, illusion and disillusion, alienation and communication,dream and reality, self and society, desire and frustration, etc. His characters in the plays are described as seeking meaning and purpose in their lives in different ways ,some through love, some through religion, others through revenge,but all meet disappointment and despair.O’Neill’s inventiveness seems limitless.He was constantly experimenting with new styles and forms for his plays,especially during the twenties when Expressionism was in full swing. Once he used just a single actor,alone on the stage,in his one-act play.In those expressionistic plays, abstract and symbolic stage sets are used to set off against the emotional inner selves and subjective states of mind.As to his language,O’Neil frequently write the lines in dialect, or spelled words in ways which indicate a particular accent or manner of speech.Summary of The Hairy Ape :In the cramped forecastle of a transatlantic liner, Y ank -brutal, stupid, and profane - is the recognized leader of thestokers, who are the ultimate products of a society subservient tomachines . When Mildred Douglas , daughter of the ship's owner,makes a slumming visit to the stokehole, she is shocked by thelurid atmosphere and faints at Y ank's brutality . Yank is insultedand hurt . He now discovers that there is a world in which he doesnot belong, and “the Hairy Ape, " as his friend Paddy calls him,becomes sullen and morose . He begins to think of his position . InNew Y ork on Easter Sunday, he swaggers in dirty work clothes up the Fifth Avenue, trying in vain to insult the aristocratic strollers, who politely ignore him. Arrested, he is sent to Blackwell’s Island, where the prisoners, misunderstanding his rebellion, advise him to join the IWW, a militant labor union .Thrown out of the hall where agroup of self'-conscious proletarians is meeting, Y ank goes to the zoo to see the ape, the only creature with whom he can now feel kinship . When he sets the ape free, the beast crushes him to death .General Comments :This is a play that concerns the problem of modern man's identity. Y ank's sense of belonging nowhere, hence homelessness and rootlessness , is typical of the mood of isolation and alienation in the early twentieth century in the United States and the whole world as well.In style, The Hairy Ape is an expressionist play.Expressionism is a movement in art of about the time of World WarI.It involves an expre ssion of the author’s or artist’s state of mind, thoughts, emotions, dreams, by means of projection through a set of external objects, situations, events, etc. It originated in painting, and was most widely used in the theatre, in stage design and dramatic technique.Comprehensive Questions :1.What is Eugene O’Neill’s position in American literature ?2.What is the significance of O’Neill’s tragedies ?3.What are the stylistic features of O’Neill’s plays ?Answers (Main points) :1.Eugene O’Neill is the greate st playwright of America, and is widely acclaimed“founder of the American Drama”.2.His tragedies deal with the basic issues of human existence and predicament.3.His plays show his inventiveness. They have different new styles and forms,especially with strong color of Expressionism.An Excerpt from The Hairy ApeScene VIIITwilight of the next day. The monk ey hou se at the Zo o . One spot of clear gray light falls on the front of one cage so that the interior can be seen . T h e o t h e r c a g e s a r e v a g u e,s h r o u d e d i n s h a d o w fro m which th e w ord "go rilla " stand s out. The gig antic ani mal himself is seen squ atting on his haunches on a bench in much the same attitude as Rodin's “Thinker” . YANK enters from the lelft .i mmediat el y a cho ru s o f a ng ry chatt erin g a nd screechin g b rea k s o ut. Th e go ril la t u rn s hi s eyes but ma kes n o so u nd o r mo ve .YAN K.(wit h a ha rd, bitt er Ia ug h) We lco me to y o ur city, huh? Hail, ha il,de gang's all he re (l)! (,At the sound o f his voice the chattering dies away into an attentive silence . YANK walks up to the go rilla's ca ge and,leaning over the railing,stares in at its occupant , who stares back at him , silent and motionless . There is a pause o f dead stillness . Then YANK begins to talk in a frien dly con fid ential t on e ,h alf-mo ckin gly , but with a d eep u nd ercurrent of sympathy . ) Say, yuh're ha rd-lookin' g uy, ain't yuh? I seen lots of tough nuts(2) dat de gang called gorillas, but yuh're the foist real one I ever seen. Some chest yuh got, and shou lders, and de m a rms and mits! I bet yuh got a punch in eider fist dat'd knock 'em all sil- ly! (This with g enuine ad miration .The gorilla ,as if h e und er- stoo d,stan d s u pri ght , swelling o ut hi s chest and p oun ding on it w it h hi s fi st.YAN K g ri n s symp at h et i call y.) S ure,I ge t y uh. Yuh cha lle nge de who le wo ild, hu h?Yuh go t wha t I was say in' even if yuh muffed de woids. (then bitterness creeping in )And why wo uldn't y uh get me? Ain't we both me mbers of de same club - de Ha iry Apes?(T h ey sta re at ea ch oth er - a p au se - th en YAN K goes on slowl y a nd bitterly.) S o y uh're wha t she seen whe n s he looke d a t me, (3) de white-fa ced ta rt! I was y o u to her, get me? On'y o uta de cage - bro ke o ut - free to mo ide r he r,see? S ure! Dat's wha t she to ug ht. S he wasn't wise dat I was in a cage, too - wo rs e r'n y o u rs- s u re- a da mn s ig h t --'ca us e y o u g o t s o me cha nct to bus t loose - but me-(He g ro ws co n fu sed .) Aw,he ll!It's a ll wro ng, a in't it? (a pa use) I s'pose yuh wa nter k no w what I'm doin' here, huh? I been wa rmin' a bench do wn to de Battery - ever since last night. S ure. I seen de sun co me up. Dat was pretty, too -- all red a nd pink a nd green. I was lookin'at de skyscrapers - steel - a nd all de s hips co min' in, sa ilin' o ut,a ll ove r de oith - and dey was steel, too.De sun was wa rm,dey was n't no clo uds, and dere was a breeze blowin'. Sure, it was great stuff. I got it aw rig ht - wha t Pa ddy(4) said a bo ut da t bein' de rig ht do pe - o n'y I co uldn't get in it,see? I couldn't belo ng in .dat. It was over my hea d. And I ke pt tink in'- a nd den I bea t it up here to see what youse' was like. And I waited till dey was all gone to git yuh alone. Say, how d'yuh feel sittin' in dat pen all de time(5), havin' to stand fo r 'e m co min' a nd sta rin' at y uh - de white-fa ced, sk inny ta rts and de boo bs (6) what ma rry 'em - makin' fun of y uh, la ughin' at y uh,g ittin' s ca re d o f y uh - da mn 'e m! (He p oun d s o n t he rail with his fist . The gorilla rattles the bars of his cage and sna rls . AIl the other monkeys set up an ang ry chattering in the dar kness . YA NK go es o n ex cit ed Iy.) S ure! D a t's de wa y it hits me,to o. On'y y uh're lucky, see? Y o u do n't belong wit 'e m and yuh kno w it. But me, I belo ng wit 'em--but I do n't,see? Dey don't belo ng wit me,da t's wha t.Ge t me? (7) Tink in' is ha rd - (He p a sse s o n e h a n d a cro ss h i s fo reh ea d wi th a p ai n fu l g est u re . T h e g o ri ll a growls impatiently . YANK goes on gropingly .) It's dis way, what I'm drivin' at (8) . Y ouse can sit and do pe dream in de past, green woo ds, de jung le and de rest of it. Den yuh belong a n d dey don't. Den yuh k in la ug h at 'e m, see? Yuh're de cha mp of de wo ild. B ut me - I a in't g ot no past to tink in, no r nothin'dat's co min'! o n'y wha t's no w - a nd dat do n't belo ng.S ure, y o u're de best off! (9) Yo u ca n't tink, ca n y uh? Yuh ca n't ta lk neider.B ut I kin make a bluff a t ta lk in' a nd tink in'- a'mo st g it a wa y wit it - a'mos t! - and dat's where de joker comes in. (He laughs . ) I ain't on oith and I ain't in heaven, get me? I'm in de middle tryin' to separate 'em, takin' all de woist punches from bot' of 'em. M aybe dat's what dey ca ll hell,huh? B ut yo u, y uh're a t de bo tto m. Yo u be lo ng! S ure! Yuh're de on'y one in de woild dat does, yuh lucky stiff! (The gorilla growls p ro u d l y.)A n d d a t's wh y d e y g o t te r p u t y u h i n a c a g e, see? (Th e g orilla ro ars ang rily. ) S ure! Yuh ge t me. It bea ts it when yo u try to tink it o r ta lk it - it's way do wn - deep - behind - y o u 'n' me we fee l it.S ure! B o t' me mbe rs o f dis club! (He laughs - then in a savage tone) What de hell! T' hell wit it! A little action, dat's o u r m e a t!D a t b e l o n g s!K n o c k'e m d o w n a n d k e e p bustin' 'e m till dey croaks y uh with a ga t - wit steel! S ure! Are y uh g a me? (IO) De y've loo ke d a t yo use,ain't de y - in a cage? Wanter get even? Wanter wind up( Il) like a sport 'stead of croakin' slo w in dere? ( Th e g orilla ro ars an emphatic affirmative .YANK goes on with a so rt o f fu rious exaltation . ) S ure! Yuh're reg'la r! Yuh'Il stick to de finish! Me 'n' y o u, huh? - bot' me mbers of dis club! We'II put up o ne last sta r bo ut dat'Il k nock 'e m offen deir seats! Dey'Il have to make de cages stronge r after we're trou! ( The gorilla is straining at his ba rs ,growling,ho ppin g fro m on e fo ot t o th e ot her.YANK tak es a ji mmy(12) fro m u n d er hi s co at a n d forces the lock on the cage door . He throws this open .) Pardon from de gove rno r! Step o ut a nd shake ha nds. I'II take y uh fo r a wa lk do wn Fif' Ave noo(13) .We'Il k no ck 'e m o ffen de o ith a nd croak with de ba nd play in'. Co me o n, B rothe r.( Th e g orilla scra mbles g i n g erl y o ut o f hi s ca g e.Go es t o YAN K an d st a nd s lo o ki n g at him . YANK keeps his mocking tone - holds out his hand .) Shake - de secret g rip o f o ur o rde r. ( So methi ng, the ton e o f mockery p erh ap s, su dd enly enra g es t h e an i mal.Wit h a sp ri ng h e wra p s h i s h u g e a rms a ro u n d YA N K in a mu rd ero u s h u g.T h ere i s a cra c k i n g sn a p o f cru sh ed ri b s - a g a sp i n g cry,st i l l mo ck i n g, fro m YAN K.) Hey, I didn't s ay k iss me! (Th e g o rill a l ets t h e crushed body slip to the floor ; stands over it uncertainly, consider-ing; then picks it up, thro ws it in the cag e, shut s the d oor, an d shu ffles off mena cin gly into the d arkn ess at l eft A great u pro ar o f fri g hg en ed ch att eri n g a n d w hi mp eri n g co mes fro m t he ot h er ca g e s.T h e n YA N K m o v es,g r o a n i n g,o p e n i n g h i s e ye s,a n d there is silence . He mutters painfully .) Say - dey oug hter match him - with Zy bs zk o.He g o t me,a w rig ht.I'm tro u.Ev e n him didn't tink I be lo nge d. ( then,with sud den p assion ate desp air) Chris t(14), whe re do I get o ff at? Whe re do I fit in?(ch ecking h i msel f a s su dd enl y) Aw,wha t de he ll! N o s qua wk i n',see! N o quittin', get me! Croak wit yo ur boo ts o n! (He grabs hold o f the ba rs o f the cag e an d ha uls hi msel f pai nfully to hi s feet -- l oo ks around him b ewilderedly -- forces a mocking laugh . ) In de cage, huh?( i n th e st rid ent t on es o f a circu s ba rk er (15)) La dies a nd gents, step forwa rd a nd take a slant at de one and only - (his voice w eak enin g) - o ne a nd o rig ina l - Ha iry Ape fro m de wilds o f - (He slips in a h eap on the fl oor an d di es. Th e mo nkeys set u p a ch a tt eri ng,w hi mp eri n g w ail.A n d ,p erh a p s, th e Hai ry A p e at last belongs . )( CURTAIN )Notes : '(l) de gang's all here: "de" is a non-standard form of "the. " In this play 0'Neill intentionally wrote the lines of Y ank in dialect to show his social and economicaL status as an uneducated coal stoker. Many other examples could be found in this selection, for instance, "dat" for that, "ain't" for aren't, "tought" for thought, "tryin' "f o r t r y i n g,e t c.(2) lots of tough nuts: lots of hardworking guys who seem brave and interested in what they are doing.(3) So yuh're what she seen when she looked at me: "she" refers to Mildred Douglas in the play, a daughter of a wealthy man. She is frightened by Y ank's brutality and faints at his sight.(4) Paddy : "Yank's friend, a coal stoker also.(5) in dat pen all de time: "pen" is a small piece of enclosed land used for keeping animals. Here it refers to the cage in which the gorillas are imprisoned.(6) skinny tarts and de boobs : "tarts" here is a slang word for a girl or woman regarded as sexually immoral, and "boobs" is used here to mean a foolish man.(7) Get me? : a colloquialism meaning "Did you know what I mean?"(8) what I'm drivin' at : what l am trying to tell you.(9) Sure, you're de best off : “best off" is the superlative of “well off”, meaning "lucky" here. Compared with the gorilla in the cage, Y ank thinks the irrational animal is much luckier than he is.( 10) Are yuh game, Are you here to interest or entertain people? The undertone here is that you are game, aren't you and since you are a kind of game or sport, the purpose of which is to make people play, have fun, then why not just come out of the confinement and play actively, be like a real sport.(11) wind up : cause one to be finished. .(12) jimmy : a short crowbar, which can be used to force open a door or window .(13) Fif' Avenoo : the Fifth Avenue in Manhattan, New Y ork, well known as a residential area of the rich and the celebrities.(14) Christ: Jesus Christ, God in the Bible for Christians. Here it is used the same way as interjections of "My God, " or "Gee, " to express Y ank's surprise .( 15) a circus barker : a person who stands bcfore s theater, a circus, etc. , calling out t o t h e p a s s e r s-b y t o e n t e r o r t o w a t c h t h e s h o w.Comprehension and Appreciation:This is the last scene of the play, in which Y ank wanders to a zoo at night and talks to a gorilla there, as if the beast were his only friend . In his sympathy, he opens the cage and liberates it , only to be killed by the real big hairy ape .Y ank is a name by which the audiences are easily reminded of “Y ankee” that actually refers to any American male. His adaptation and satisfaction exist only when he is confined to the dirty stokehole. Nevertheless, his society is far from being the whole world. No longer in harmony with the world he lives in, Y ank retrogresses to seek kinship with the apes. The tragic end probably suggests that humanity is already in a predicament by creating a world which he does not belong to.Comprehensive Questions :1.Why did Y ank come to the zoo ?2.What di d Y ank mean by “belong” ? Where ,or to what. did he belong ?3.What brought about the tragic end of Y ank ?Answers (Main points):1.Y ank went to the zoo to see the ape, because he felt the ape was the onlycreature with whom he could feel kinship.2.By “belong”Y ank meant the world he should belong to, or a place where hecould be accepted. But, to his despair, he found he belonged to nowhere.3.it seems that the tragic end of Y ank was brought about by his uglyappearance, but actually the deep root lay in the society.。
高一语文生命的礼赞(教学课件201908)
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Eugene Glastone O'Neill(1888-1953) 定稿
Eugene Glastone O’Neill (1888-1953) 尤金·奥尼尔1. Life and CareerA great playwright, a tragic life•Son of a traveling actor•One year at Princeton•Life as a seaman•1912, TB, start of career as a playwright•1920, first full-length play put on Broadway•1936, Nobel Prize, 4 Pulitzer Prizes (1920，1922，1928，1957)•Unhappy marriages, suicide of oldest son, drug addiction & mental illness of younger son, daughter’s marriage, Parkinson’s disease2.General EvaluationEugene O’Neill was America’s greatest playwright.The first American dramatist to ever receive the Nobel Prize for literature (1936).Winning Pulitzer Prizes for four of his plays: Beyond the Horizon (1920); Anne Christie (1922); Strange Interlude (1928); and Long Day’s Journey into Night (1957).“Founder of the American drama,” and “the American Shakespeare” in the history of American drama.3.Three Periods as a Playwright⏹Early realist plays : utilize his own experiences, especially as a seaman⏹expressionistic plays : influenced by the ideas of philosopher Freidrich Nietzsche,psychologists Sigmund Freud and Carl Jung, and Swedish playwright August Strindberg.(rejected realism in this period)⏹Final period :(returned to realism ) depend on his life experiences for their story linesand themes.ment on O’NeillO’Neill was no doubt the greatest American dramatist of the first half of the 20th century and a tireless experimentalist in dramatic art.1.O’Neill was a tireless experimentalist in dramatic art. He took drama away f rom the oldtraditions of the last century and rooted it deeply in life. He successfully introduced the European theatrical trends of realism, naturalism, and expressionism to the American stage as devices to express his comprehensive interest in modern life and humanity. He introduced the realistic or even the naturalistic aspect of life into the American theater.2.He was the first playwright to explore serious themes in the theatre and to carry out hiscontinual, vigorous, courageous experiments with theatrical conventions. His plays have been translated and staged all over the world.3.He won Pulitzer Prize four times (1920, 1922, 1928, 1956) and the Nobel Prize in 1936for his achievements in plays.4.As the nation’s first playwright with 47 published plays, he did a great deal to establishthe modes of the modern theatre in the country.5.O’Neill’s ceaseless experimentation enriched American drama and influenced laterplaywrights as Tennessee Williams and Edward Albee.。
Eugene Glastone ONeill
Eugene Glastone O’Neill（尤金·奥尼尔，1888-1953）作品选读..............................................................................Desire Under the ElmsCharacters: Ephraim Cabot; Simeon, Peter, Eben (Cabot‟s sons); Abbie Putnam (Cabot‟s young wife); A Sheriff.SCENE IV1[About an hour later. Same as Scene III. Shows the kitchen and Cabot’s bedroom. It is after dawn. The sky is brilliant with the sunrise. In the kitchen, Abbie sits at the table, her body limp and exhausted, her head bowed down over her arms, her face hidden. Upstairs, Cabot is still asleep but awakens with a start2. He looks toward the window and gives a snort3of surprise and irritation--throws back the covers and begins hurriedly pulling on his clothes. Without looking behind him, he begins talking to Abbie, whom he supposes beside him.]CABOT: Thunder …n‟ lightnin‟4, Abbie! I hain‟t slept this late in fifty year! Looks‟s if the sun was full riz a‟most. Must‟ve been the dancin‟ an‟ likker. Must be gittin‟ old. I hope Eben‟s t‟ wuk.Ye might‟ve tuk the trouble t‟ rouse me, Abbie. (He turns—sees no one there—surprised) Waal—whar air she? Gittin‟vittles, I calc‟late. (He tiptoes to the cradle and peers down—prou dly) Mornin‟, sonny. Putty‟s a picter! Sleepin‟ sound. He don‟t beller all night like most o‟ ‟em. (He goes quietly out the door in rear—a few moments later enters kitchen—sees Abbie—with satisfaction) So thar ye be. Ye got any vittles5cooked?ABBIE: (without moving) No.CABOT: (coming to her, almost sympathetically) Ye feelin‟ sick?ABBIE: No.CABOT: (pats her on shoulder. She shudders.) Ye‟d best lie down a spell6. (half jocularly) Yer son‟ll be needin‟ ye soon. He‟d ought t‟ wake up with a gnashin‟7appetite, the sound way he‟s sleepin‟.ABBIE: (shudders—then in a dead voice) He hain‟t never goin‟ t‟ wake up.CABOT: (jokingly) Takes after me this mornin‟. I hain‟t slept so late in. . . .ABBIE: He‟s dead.CABOT: (stares at her—bewilderedly8) What. . . .ABBIE: I killed him.CABOT: (stepping back from her—aghast) Air ye drunk—‟r crazy—‟r . . . !ABBIE: (suddenly lifts her head and turns on him—wildly) I killed him, I tell ye! I smothered him.Go up an‟ see if ye don‟t b‟lieve me! (Cabot stares at her a second, then bolts out the rear1scene n.场面；情景；一幕2with a start 吓一跳地；突然一下子3snort vi. 轻蔑或愤怒地发出哼声；喷出4t hunder ‘n’ lightnin’：thunder and lightning 电闪雷鸣5vittles n.食物6spell n. 一段时间7gnash v.（因情绪激动）咬或磨（牙）8bewildered adj. 困惑的；不知所措的；弄糊涂的door, can be heard bounding up the stairs, and rushes into the bedroom and over to the cradle.Abbie has sunk back lifelessly into her former position. Cabot puts his hand down on the body in the crib. An expression of fear and horror comes over his face.)CABOT: (shrinking away—tremblingly) God A‟mighty! God A‟mighty. (He stumbles out the door —in a short while returns to the kitchen—comes to Abbie, the stunned expression still on his face—hoarsely) Why did ye do it? Why? (A s she doesn‟t answer, he grabs her violently by the shoulder and shakes her.) I ax ye why ye done it! Ye‟d better tell me ‟r . . . 9!ABBIE: (gives him a furious push which sends him staggering10back and springs to her feet—with wild rage and hatred) Don‟t ye dare tech me! What right hev ye t‟ question me ‟bout him?He wa‟n‟t yewr son! Think I‟d have a son by yew? I‟d die fust! I hate the sight o‟ ye an‟ allus did! It‟s yew I should‟ve murdered11, if I‟d had good sense! I hate ye! I love Eben. I did from the fust12. An‟ he was Eben‟s son—mine an‟ Eben's—not your‟n!CABOT: (stands looking at her dazedly—a pause—finding his words with an effort—dully) That was it—what I felt—pokin‟ ‟round the corners—while ye lied—holdin‟ yerself from me—sayin‟ ye‟d a‟ready conc eived—(He lapses into13crushed silence—then with a strange emotion) He‟s dead, sart‟n. I felt his heart. Pore little critter14! (He blinks back one tear, wiping his sleeve across his nose.)ABBIE: (hysterically) Don‟t ye! Don‟t ye! (She sobs unrestrainedly.)CABOT: (with a concentrated effort that stiffens his body into a rigid line and hardens his face into a stony mask—through his teeth to himself) I got t‟ be—like a stone—a rock o‟ jedgment!(A pause. He gets complete control over himself—h arshly) If he was Eben‟s, I be glad he airgone! An‟ mebbe I suspicioned it all along. I felt they was somethin‟ onnateral—somewhars —the house got so lonesome—an‟ cold—drivin‟ me down t‟ the barn—t‟ the beasts o‟ the field. . . . Ay-eh. I must‟ve suspicion ed—somethin‟. Ye didn‟t fool me—not altogether, leastways—I'm too old a bird—growin‟ ripe on the bough. . . . (He becomes aware he is wandering, straightens again, looks at Abbie with a cruel grin.) So ye‟d liked t‟ hev murdered me ‟stead o‟ him, would ye?Waal, I‟ll live to a hundred! I‟ll live t‟ see ye hung! I'll deliver ye up t‟ the jedgment o‟ God an‟ the law! I‟ll git the Sheriff now. (starts for the door)ABBIE: (dully) Ye needn‟t. Eben‟s gone fur him.CABOT: (amazed) Eben—gone fur the Sheriff?ABBIE: Ay-eh.CABOT: T‟ inform agen ye?ABBIE: Ay-eh.CABOT: (considers this—a pause—then in a hard voice) Waal, I‟m thankful fur him savin‟ me the trouble. I‟ll git t‟ wuk. (He goes to the door—then turns—in a voice full of strange emotion) He‟d ought t' been my son, Abbie. Ye‟d ought t‟ loved me. I‟m a man. If ye‟d loved me, I‟d never told no Sheriff on ye no matter what ye did, if they was t‟ brile me alive!ABBIE: (defensively) They‟s more to it nor yew know, makes him tell.CABOT: (dryly) Fur yewr sake, I hope they be. (He goes out—comes around to the gate—stares up at the sky. His control relaxes. For a moment he is old and weary. He murmurs9ax: ask; ye: you; ‟r: or10stagger vt. 蹒跚；使交错；使犹豫11murder vt.谋杀，凶杀12fust: first; from the fust: from the first13lapse into陷入14critter n. 人；家畜；马；牛despairingly15) God A‟mighty, I be lonesomer16‟n ever! (He hears running footsteps from the left, immediately is himself again. Eben runs in, panting exhaustedly, wild-eyed and mad looking. He lurches17through the gate. Cabot grabs him by the shoulder. Eben stares at him dumbly.) Did ye tell the Sheriff?EBEN: (nodding stupidly) Ay-eh.CABOT: (gives him a push away that sends him sprawling18—laughing with withering contempt) Good fur ye! A prime chip o‟ yer Maw ye be! (He goes toward the barn, laughing harshly.Eben scrambles19to his feet. Suddenly Cabot turns—grimly threatening) Git off this farm when the Sheriff takes her—or, by God, he‟ll have t‟ come back an‟ git me fur murder, too!(He stalks off. Eben does not appear to have heard him. He runs to the door and comes into the kitchen. Abbie looks up with a cry of anguished joy. Eben stumbles over and throws himself on his knees beside her—sobbing brokenly)EBEN: Fergive20me!ABBIE: (happily) Eben! (She kisses him and pulls his head over against her breast.)EBEN: I love ye! Fergive me!ABBIE: (ecstatically) I‟d fergive ye all the sins in hell fur sayin‟ that! (She kisses h is head, pressing it to her with a fierce passion of possession.)EBEN: (brokenly) But I told the Sheriff. He‟s comin‟ fur ye!ABBIE: I kin b‟ar what happens t‟ me—now!EBEN: I woke him up. I told him. He says, wait till I git dressed. I was waiting. I got to thinkin‟ o‟ yew. I got to thinkin‟ how I‟d loved ye. It hurt like somethin‟ was bustin‟ in my chest an‟ head.I got t‟ cryin‟. I knowed sudden I loved ye yet, an‟ allus would love ye!ABBIE: (caressing21his hair—tenderly) My boy, hain‟t ye?EBEN: I beg un t‟ run back. I cut across the fields an‟ through the woods. I thought ye might have time t‟ run away—with me—an‟. . . .ABBIE: (shaking her head) I got t‟ take my punishment—t‟ pay fur my sin.EBEN: Then I want t‟ share it with ye.ABBIE: Ye didn‟t do nothin‟.EBEN: I put it in yer head. I wisht he was dead! I as much as urged ye t‟ do it!ABBIE: No. It was me alone!EBEN: I‟m as guilty as yew be! He was the child o‟ our sin.ABBIE: (lifting her head as if defying22God) I don‟t repent that sin! I hain‟t askin‟ God t‟ fergive that!EBEN: Nor me—but it led up t‟ the other—an‟ the murder ye did, ye did ‟count o‟ me—an‟ it‟s my murder, too, I‟ll tell the Sheriff—an‟ if ye deny it, I'll say we planned it t‟gether—an‟ they‟ll all b‟lieve me, fur they suspicion everythin‟ we‟ve done, an‟ it‟ll seem likely an‟ true to 'em.An‟ it is true—way down. I did help ye—somehow.ABBIE: (laying her head on his—sobbing) No! I don't want yew t‟ suffer!15despairingly adv. 绝望地；自暴自弃地16lonesomer: lonesome adj. 寂寞的；人迹稀少的17lurch n. 突然倾斜；蹒跚；18sprawl v. 蔓延；伸开手足躺19scramble vt.攀登；爬行20Fergive: forgive vt. 原谅；21caress vt.爱抚，抚抱22defy vt. 藐视；公然反抗EBEN: I got t‟ pay fur my part o‟ the sin! An‟ I'd suffer wuss leavin‟ ye, goin‟ West, thinkin‟ o‟ ye day an‟ night, bein‟ out when yew was in—(lowering his voice) ‟R bein‟ alive when yew was dead. (a pause) I want t‟ share with ye, Abbie—prison ‟r death …r hell ‟r anythin‟! (He looks into her eyes and forces a trembling sm ile.) If I‟m sharin‟ with ye, I won‟t feel lonesome, leastways.ABBIE: (weakly) Eben! I won‟t let ye! I can‟t let ye!EBEN: (kissing her—tenderly) Ye can‟t he‟p yerself. I got ye beat fur once!ABBIE: (forcing a smile—adoringly) I hain‟t beat—s‟long‟s I got ye!EBEN: (hears the sound of feet outside) Ssshh! Listen! They‟ve come t‟ take us!ABBIE: No, it‟s him. Don‟t give him no chance to fight ye, Eben. Don‟t say nothin‟—no matter what he says. An‟ I won‟t, neither. (It is Cabot. He comes up from the b arn in a great state of excitement and strides into the house and then into the kitchen. Eben is kneeling beside Abbie, his arm around her, hers around him. They stare straight ahead.)CABOT: (stares at them, his face hard. A long pause—vindictively23) Ye m ake a slick pair o‟ murderin‟ turtle doves! Ye‟d ought t‟ be both hung on the same limb an‟ left thar t‟ swing in the breeze an' rot—a warnin‟ t‟ old fools like me t‟ b‟ar their lonesomeness alone—an‟ fur young fools like ye t‟ hobble their lust. (A pause. The excitement returns to his face, his eyes snap, he looks a bit crazy.) I couldn‟t work today. I couldn‟t take no interest. T‟ hell with the farm. I‟m leavin‟ it! I‟ve turned the cows an‟ other stock loose. I‟ve druv ‟em into the woods whar they kin be free! By freein‟‟em, I‟m freein‟ myself! I‟m quittin‟ here today! I‟ll set fire t‟ house an‟ barn an‟ watch ‟em burn, an‟ I‟ll leave yer Maw t‟ haunt the ashes, an‟ I'll will the fields back t‟ God, so that nothin‟ human kin never touch ‟em! I‟ll be a-goi n‟ to California—t‟ jine Simeon an‟ Peter—true sons o‟ mine if they be dumb fools—an‟ the Cabots‟ll find Solomon‟s Mines t‟gether! (He suddenly cuts a mad caper.) Whoop! What was the song they sung? “Oh, California! That‟s the land fur me.” (He sings this—then gets on his knees by the floorboard under which the money was hid.) An‟ I‟ll sail thar on one o‟ the finest clippers I kin find! I‟ve got the money! Pity ye didn‟t know whar this was hidden so‟s ye could steal. . . . (He has pulled up the board. He stares—feels—stares again. A pause of dead silence. He slowly turns, slumping into a sitting position on the floor, his eyes like those of a dead fish, his face the sickly green of an attack of nausea. He swallows painfully several times—forces a weak smile at last.) So—ye did steal it!EBEN: (emotionlessly) I swapped it t‟ Sim an‟ Peter fur their share o' the farm—t‟ pay their passage t‟ California.CABOT: (with one sardonic24) Ha! (He begins to recover. Gets slowly to his feet—strangely) I calc‟late God give it to ‟em—not yew! God's hard, not easy! Mebbe they‟s easy gold in the West, but it hain‟t God's gold. It hain‟t fur me. I kin hear His voice warnin‟ me agen t‟ be hard an' stay on my farm. I kin see his hand usin‟ Eben t‟ steal t‟ keep me from weakness. I kin feelI be in the palm o‟ His hand, His fingers guidin‟ me. (A pause—then he mutters sadly) It‟sa-goin‟ t‟ be lonesomer now than ever it war afore—an' I'm gittin‟ old, Lord—ripe on the bough. . . . (then stiffening25) Waal—what d‟ye want? God's lonesome, hain‟t He? God's hard an‟ lonesome! (A pause. The sheriff with two men comes up the road from the left. They move cautiously to the door. The sheriff knocks on it with the butt of his pistol.)23vindictively adv. 恶毒地；报复地24sardonic adj.讽刺的；嘲笑的，冷笑的25stiffen v.变硬；变猛烈SHERIFF: Open in the name o‟ the law! (They start.)CABOT: They‟ve come fur ye. (He goes to the rear door.) Come in, Jim! (The three men enter.Cabot meets them in doorway.) Jest a minit, Jim. I got ‟em safe here. (The sheriff nods. He and his companions remain in the doorway.)EBEN: (suddenly calls) I lied this m ornin‟, Jim. I helped her do it. Ye kin take me, too.ABBIE: (brokenly) No!CABOT: Take 'em both. (He comes forward—stares at Eben with a trace of grudging admiration.) Putty good—fur yew! Waal, I got t' round up the stock. Good-by.EBEN: Good-by.ABBIE: Good-by. (Cabot turns and strides past the men—comes out and around the corner of the house, his shoulders squared, his face stony, and stalks grimly toward the barn. In the meantime the sheriff and men have come into the room.)SHERIFF: (embarrassedly) Waal—we‟d best start.ABBIE: Wait, (turns to Eben) I love ye, Eben.EBEN: I love ye, Abbie. (They kiss. The three men grin and shuffle embarrassedly. Eben takes Abbie‟s hand. They go out the door in rear, the men following, and come from the house, walking h and in hand to the gate. Eben stops there and points to the sunrise sky.) Sun‟s a-rizin‟. Purty26, hain‟t it?ABBIE: Ay-eh. (They both stand for a moment looking up raptly in attitudes strangely aloof and devout.)SHERIFF: (looking around at the farm enviously—to his companion) It‟s a jim-dandy27farm, no denyin‟. Wished I owned it!(The Curtain Falls)参考译文..............................................................................第四场人物：以法莲·凯勃特；西蒙,彼得,埃本(凯勃特的儿子)；爱碧·普特南(凯勃特的年轻妻子)；治安官。
Eugene_(Gladstone)_O’_Neill
Stimulated by the naturalistic, symbolic, and critical
drama of Europe, experimental theatres sprang up in America in the 1910s. In the meantime, modern American dramatists began to attract attention. Among them, Eugene O’ Neill was standing out. These authors wrote for the new theatre. They not only tried to avoid the cliché s of plot, characterization, dialog, acting, and staging which had stultified the older drama, but they experimentation peculiar to the period was expressionism---the mingling of the realistic and the fantastic or symbolic. Experiments of this kind abound in the work of Eugene O’ Neill, the greatest American dramatist of the interwar period.
Long Days Journey into Night (1956)
Setting: the summer home of the Tyrone
family, August 1912 James Tyrone, the father, a famous actor, anxious to become rich at the expense of his own talent; Mary Tyrone, the mother, a drug addict; James Tyrone, their elder son, Edmund Tyrone, their younger son.
Eugene O'Neil
II. His Major Works: Desire Under the Elms (1924) Mourning Becomes Electra (1931)
The Iceman Cometh (1946) 1920’s Pulitzer Prize for Beyond the Horizon 1921’s Pulitzer Prize for Anna Christie 1928’s Pulitzer Prize for Strange Interlude 1956’s fourth Pulitzer Prize posthumously for his autobiographical, and to an extent, darkest play and his apex, Long Day's Journey into Night
III. His masterpiece: Long Day's Journey into Night
1. About the play:
1) Long Day's Journey into Night was never performed during O'Neill's lifetime because this deeply autobiographical play would have been too painful to produce during O'Neill's life. On his twelfth wedding anniversary with his wife Carlotta, O'Neill gave her the script of the play as a gift. The play was first performed in 1956, three years after O'Neill's death. It won a Pulitzer Prize and has often been hailed as O'Neill's greatest play. Certainly, the play is invaluable for scholars seeking to understand O'Neill's work; It reveals the most formative forces of O'Neill's life, as well as the values and virtues he valued most. The play also represents an established artist making peace with his troubled past, forgiving and understanding his family and himself.
Eugene_O'Neill
《大神布朗》 《拉散路笑了》
Strange Interlude (1928)
《奇妙的插曲》
Ah, Wilderness
(1933) 《啊，荒野》 (the only comedy)
Last and Best Phase
The Iceman Cometh (1946) 《卖冰的人来了》 Long Day’s Journey into Night (1956) 《长日入夜行》
《琼斯皇帝》
Anna Christie
《安娜.克里斯蒂》
The Hairy Ape
《毛猿》
Desire under the Elms
《榆树下的欲望》
All God’s Chillum Got Wings (1924)
《上帝的儿女都有翅膀》
The Great God Brown Lazarus Laughed (1926) (1926)
《榆树下的欲望》&《雷雨》
1. 家庭秩序：清教原则与封建伦理 2. 悲剧原因：原欲冲动与文化制约
His Point of View
(1)
O'Neill's great purpose was to try and discover the root of human desires and frustrations. He showed most of the characters in his plays as seeking meaning and purpose in their lives, some through love, some through religion, others through revenge, but all met disappointment.
Eugene O’Neil祥解
U.S. production, in 1967).
Important Position of O’Neil
Eugene's brother, Jamie, older by ten years-clever, cynical, an unsuccessful actor-combined all the weaknesses and none of the strengths of his parents.
first American dramatist to win the Nobel Prize in literature.
O’Neil’s Plays and Concerns
O’Neill’s later plays covered varied ground, leaping from expressionism to comedy, and finally to modern reworkings of classical myth. His best tragic plays reflect his statement that he was “always conscious of the Force behind—Fate, God, our biological past creating our present, whatever one calls it—Mystery certainly—and of the one eternal tragedy of Man in his glorious, self-destructive struggle….”
奔落的雪原- 优秀PPT课件2
品味赏析：
文章中还有很多描写瀑布的句子， 找出你认为写得最好的句子进行赏析。
合作探究
每一个人面对尼亚加拉 大瀑布时都会产生自己独特 的感受，作者多处写到了自 己的独特感受，这些感受又 给了我们怎样的启示呢？
作者从名山大川的欣赏中，赏 到的不仅是景致，更重要的是心致， 是一种积极乐观的人生感悟。气势 磅礴的瀑布给人一种心灵的净化与 震撼，极易引发人们对人生的思考。
急遽奔流 黯淡
将息 绮丽 磅礴
注音
diē
pá o xià o chó ng
jù n
yó u
咆哮
xuán
崇山峻岭
xiè
游荡
bèi
跌落
悬崖
解数
jù
疲惫
jiāng
diān bǒ
颠簸
tiáo àn
急遽奔流
qǐ
将息
páng bó
调养
黯淡
绮丽
磅礴
解释词语Байду номын сангаас
污秽：不干净。
指无数的架势。也泛指手 解数： 段、本事。
1、仿照作者的比喻的写法，对你见过 的“秋雨”进行比喻描写。 2、写一个写景的小片段，运用比喻， 大胆想像。300字左右，下一节课时， 读给你的同学听，看谁写得最生动， 最贴切。
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1、你在希望中享受到的乐趣，比将来实际享受的乐趣要大得多。
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1．天行健，君子以自强不息。 ——《周易》 译：作为君子，应该有坚强的意志，永不止息的奋斗精神，努力加强自我修养，完成并发展自己的学业或事业，能这样做才体现了天的意志，不辜负宇宙给予君子的职责和才能。 2．勿以恶小而为之，勿以善小而不为。 ——《三国志》刘备语 译：对任何一件事，不要因为它是很小的、不显眼的坏事就去做；相反，对于一些微小的。却有益于别人的好事，不要因为它意义不大就不去做它。 3．见善如不及，见不善如探汤。 ——《论语》 译：见到好的人，生怕来不及向他学习，见到好的事，生怕迟了就做不了。看到了恶人、坏事，就像是接触到热得发烫的水一样，要立刻离开，避得远远的。 4．躬自厚而薄责于人，则远怨矣。 ——《论语》 译：干活抢重的，有过失主动承担主要责任是“躬自厚”，对别人多谅解多宽容，是“薄责于人”，这样的话，就不会互相怨恨。 5．君子成人之美，不成人之恶。小人反是。 ——《论语》 译：君子总是从善良的或有利于他人的愿望出发，全心全意促使别人实现良好的意愿和正当的要求，不会用冷酷的眼光看世界。或是唯恐天下不乱，不会在别人有失败、错误或痛 苦时推波助澜。小人却相反，总是“成人之恶，不成人之美”。 6．见贤思齐焉，见不贤而内自省也。 ——《论语》 译：见到有人在某一方面有超过自己的长处和优点，就虚心请教，认真学习，想办法赶上他，和他达到同一水平；见有人存在某种缺点或不足，就要冷静反省，看自己是不是也有 他那样的缺点或不足。 7．己所不欲，勿施于人。 ——《论语》 译：自己不想要的（痛苦、灾难、祸事……），就不要把它强加到别人身上去。 8．当仁，不让于师。 ——《论语》 译：遇到应该做的好事，不能犹豫不决，即使老师在一旁，也应该抢着去做。后发展为成语“当仁不让”。 9．君子欲讷于言而敏于行。 ——《论语》 译：君子不会夸夸其谈，做起事来却敏捷灵巧。 10．二人同心，其利断金；同心之言，其臭如兰。 ——《周易》 译：同心协力的人，他们的力量足以把坚硬的金属弄断；同心同德的人发表一致的意见，说服力强，人们就像嗅到芬芳的兰花香味，容易接受。 11．君子藏器于身，待时而动。 ——《周易》 译：君子就算有卓越的才能超群的技艺，也不会到处炫耀、卖弄。而是在必要的时刻把才能或技艺施展出来。 12．满招损，谦受益。 ——《尚书》 译：自满于已获得的成绩，将会招来损失和灾害；谦逊并时时感到了自己的不足，就能因此而得益。 13．人不知而不愠，不亦君子乎？ ——《论语》 译：如果我有了某些成就，别人并不理解，可我决不会感到气愤、委屈。这不也是一种君子风度的表现吗？知缘斋主人 14．言必信 ，行必果。 ——《论语》 译：说了的话，一定要守信用；确定了要干的事，就一定要坚决果敢地干下去。 15．毋意，毋必，毋固，毋我。 ——《论语》 译：讲事实，不凭空猜测；遇事不专断，不任性，可行则行；行事要灵活，不死板；凡事不以“我”为中心，不自以为是，与周围的人群策群力，共同完成任务。 16．三人行，必有我师焉，择其善者而从之，其不善者而改之。——《论语》 译：三个人在一起，其中必有某人在某方面是值得我学习的，那他就可当我的老师。我选取他的优点来学习，对他的缺点和不足，我会引以为戒，有则改之。 17．君子求诸己，小人求诸人。 ——《论语》 译：君子总是责备自己，从自身找缺点，找问题。小人常常把目光射向别人，找别人的缺点和不足。 18．君子坦荡荡，小人长戚戚。 ——《论语》 译：君子心胸开朗，思想上坦率洁净，外貌动作也显得十分舒畅安定。小人心里欲念太多，心理负担很重，就常忧虑、担心，外貌、动作也显得忐忑不安，常是坐不定，站不稳的 样子。 19．不怨天，不尤人。 ——《论语》 译：遇到挫折与失败，绝不从客观上去找借口，绝不把责任推向别人，后来发展为成语“怨天尤人”。 20．不迁怒，不贰过。 ——《论语》 译：犯了错误，不要迁怒别人，并且不要再犯第二次。）
AmericanDrama
Throughout the play , Yank is struggling to find the place to which he belongs.
The struggle of this kind is the struggle for one’s identity. In this play we can say that in Yank we see modern man desperately in search of his identity within industrial society.
EUGENE O'NEILL
EUGENE O'NEILL(1888-1953)
1936 Nobel Laureate in Literature
“for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy. ”
EUGENE O'NEILL
O’Neill is America’s greatest playwright, the first universally recognized world dramatic American produced. He virtually established the modern American theatre.
Tom Wingfield: Tom is an aspiring poet who works in the Continental Shoemakers warehouse. He is the narrator of the play: the action of the play is framed by Tom's memory. Tom loves his mother and sister, but he feels trapped at home. They are dependent on his wages, and as long as he stays with them he feels he can never have a life of his own. Nightly, he disappears to "go to the movies."
Eugene Glastone O'Neill 美国文学史尤金·奥尼尔课件
伊本：我和你一样有罪！他是咱们的罪恶所生 的孩子。 爱碧：我不忏悔这个罪恶！我不要上帝饶恕我 这个！
Extra Content
伊莉克特拉是希腊联军统帅阿伽门农和王后克 拉得耐斯特拉的女儿。特洛伊战争结束之后， 阿伽门农回国，但被王后和她的姘夫伊吉斯修 斯杀害。伊莉克特拉鼓舞她的弟弟欧莱斯提兹 入宫，杀死她的母亲和姘夫。精神医学家就把 这段女儿为了报父仇杀害母亲的故事，比喻为 女孩在心性发展上的恋父情结。 ELECTRA COMPLEX
Pulitzer Prize & Nobel Prize
Features of O’Neill’s Plays
Thematic
Features (naturalism):
depicting people who have no hope of controlling their destinies dealing with the basic issues of human existence and predicament: life and death, illusion and disillusion, communication and alienation, dream and reality, self and society, etc.
pure belief, simple church service, widespread disciples, disciplined life, wrathful God
The image of Cabot as a puritan
Cabot （ disciplined life ）
你们真是一对杀人害命的好鸳鸯！你们得双双绞死在 树上，吊在风里，烂掉——这对我这样的老傻瓜倒是 个警告，应该独自去忍受孤独——对你们这些年纪轻 轻的色鬼也是个警告。我今天不能干活，我没兴趣。 这田庄见鬼去吧！我要离开它！我去把母牛和其他牲 畜都解了绳子，我去把它们都赶到树林里去，在那儿 它们可以自由了，我让它们自由，我也让自己自由！ 我今天要离开这儿！我要把屋子和饲养场都放火烧了， 还要看着它们烧！我要让你妈在这废墟上出没。我把 这片土地归还上帝，这样任何人都永远别想碰它！
Eugene Gladstone O'Neill 尤金 奥尼尔
American Drama
• Stimulated by the naturalistic, symbolic, and critical drama of Europe, experimental theatres sprang up in America in the 1910s. In the meantime, modern American dramatists began to attract attention. Among them, Eugene O’ Neill was standing out.
American Drama
• Although the theatre was popular in America from colonial times, and although many Americans wrote plays which were produced, American drama of a quality to command respect abroad is the product of the 20th century. It began in rebellion.
Life of Eugene Gladstone O'Neill
The next six years very nearly ended his life. He shipped to sea, submerged himself in alcohol, and attempted suicide. At the age of 24, he held a job for a few months as a reporter and contributor to the poetry column of the New London Telegraph but soon came down with tuberculosis. He began to write plays.
EugeneO’Neil
gallstones ppt课件
Due to shadowing from the duodenum, ductal stones are often not demonstrated with ultrasound without considerable effort. Usually they are accompanied by stones in the gallbladder and a degree of dilatation of the CBD. In these cases the operator can usually persevere and demonstrate the stone at the lower end of the duct. However, the duct may be dilated but empty, the stone having recently passed.
The most commonly and reliably identified gallbladder pathology is that of gallstones . More than 10% of the population of the UK have gallstones. Many of these are asymptomatic, which is an important point to remember. It is not uncommon to find further pathology in the presence of gallstones and a comprehensive upper abdominal survey should always be carried out.
A
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Background Information
Eugene O'Neill was father, James O'Neill, was a successful touring actor.
His mother, Ella, accompanied her husband back and forth across the country, settling down only briefly for the birth of her first son, James, Jr., and of Eugene.
He attended Princeton University for one year (1906-07), after which he left school to begin what he later regarded as his real education in "life experience."
The chance to work steadily at writing set him firmly on his chosen path.
His first appearance as a playwright came in 1916, in the quiet village of Provincetown, Mass., where a group of young writers had launched an experimental theatre. In their tiny playhouse, they produced his play “Bound East for Cardiff”.
He, who was born in a hotel, spent his early childhood in hotel rooms, on trains, and backstage.
O’Neill had the theatre in his blood.
O'Neill was educated at boarding schools.
Look for the answer to these questions:
1. When did Eugene Glastone O’Neill live?
2. What kind of literature did he write?
3. O'Neill received the Nobel Prize for Literature. What made it even more an honor than normal?
Quiz # 14
E. B. White
1. When did Elwyn Brooks White live?
2. In his writing, he liked to advocate what kind of lifestyle?
3. Name three of his most famous children’s books.
Confined to the Gaylord Farm Sanitarium in Wallingford, Conn., for six months (1912-13), he confronted himself soberly for the first time and seized the chance for what he later called his "rebirth."
O’Neill’s talent was immediately evident to the group, which later formed the Playwrights' Theater in Greenwich Village.
O’Neill’s plays produced by the Playwrights' Theater in Greenwich Village helped build the group's reputation.
Read the Chinese introduction to Eugene Glastone O’Neill on pp. 206208, Unit 18.
Next read: “Desire Under The Elms” pp. 208-212.
Eugene Glastone O’Neill 1888-1953
He began to write plays.
O'Neill's first efforts were awkward melodramas, but a theatre critic persuaded his father to send him to Harvard to study with George Pierce Baker in his famous playwriting course.
The next six years very nearly ended his life. He shipped to sea, lived a derelict's existence on the waterfronts of Buenos Aires, Liverpool, and New York City.
He submerged himself in alcohol, and attempted suicide.
Recovering briefly at the age of 24, he held a job for a few months as a reporter and contributor to the poetry column of the New London Telegraph but soon came down with tuberculosis.