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In his first full-length play, Beyond the Horizon, a man marries the former lover of his brother, who has gone to sea, while in The Emperor Jones, former car porter and murderer Brutus Jones sets himself up as the ruler of a West Indies island. Reissue.
- Sales Rank: #3799503 in Books
- Brand: Brand: Bantam Classics
- Published on: 1996-05-01
- Released on: 1996-05-01
- Original language: English
- Number of items: 1
- Dimensions: 7.00" h x 4.50" w x .50" l,
- Binding: Mass Market Paperback
- Used Book in Good Condition
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Two of O'Neill's Earliest Works
By Gary F. Taylor
Eugene O'Neill (1888-1953) is generally considered the greatest American playwright of the 20th Century. Today casual readers and playgoers are most likely to know his work through two plays written in the early 1940s: the celebrated The Iceman Cometh and the Pulitzer Prize-winning Long Day's Journey Into Night. But the great bulk of O'Neill's work was done between about 1914 and 1933--and although the power of his later work is undeniable, it was actually his earlier work that led to his 1936 Nobel Prize for Literature.
BEYOND THE HORIZON was the first full-length O'Neill drama to reach the stage, opening first as a matinee-only show in February 1920. Notices were extremely good, and the show quickly moved to a regular-schedule venue, where it enjoyed considerable critical and popular support and became the first of four O'Neill scripts to win the Pulitzer Prize.
The story concerns two farming brothers. Robert is physically delicate, something of a dreamer, and longs to visit distant lands "beyond the horizon;" Andrew, robust and outgoing, is content to remain on the farm. When Robert receives the opportunity to take a long ocean voyage that may restore his health, he jumps at the chance--but fate intervenes in the form of Andrew's girlfriend Ruth, whom Robert secretly loves. Ruth confesses to Robert that she prefers him, and so the brothers switch plans and destinies: Robert will remain on the farm with Ruth; Andrew will go "beyond the horizon." But the decision proves costly. Robert remains unsuited to farm life, his marriage turns sour, and Andrew's return sparks unpleasant personal revelations that lead to tragedy.
At the time it debuted, critics applauded O'Neill's power--but they also condemned the play's final act, which seemed miscalculated and overwrought, and which failed to reach the note of grand tragedy for which the play strove. This criticism remains as valid today as it did in 1920, and read today the play also seems very much of its time and therefore distinctly dated. It is rarely revived. Still, for all its flaws, BEYOND THE HORIZON has moments of tremendous power, and when compared with other dramas of the era it is easy to see what all the fuss was about. It also begins the sure consolidation of the basic theme that O'Neill will mine for much of his career: the belief that each person is his own prisoner, and that the prison can be escaped in but one way.
THE EMPEROR JONES reached the stage the same year in November, and of the two it is clearly the more significant play and flatly stunned audiences with its unexpected content and style. In this instance, the story concerns "Emperor Jones," an American black man of great physical presence but limited insight. After enduring repressive racism in his own nation, he makes his way to a remote island, where he bluffs his way to the throne--but instead of benefiting from his own experiences and working to create a just society, he recreates the oppression he himself has known.
The play actually begins with Jones facing a rebellion. Jones has anticipated this: with considerable hidden wealth, he will make his escape through the jungle and leave the island by sea. But he has miscalculated. The jungle is strange to him at night, and as he flees his own past rises up in ghostly images before him, leading him to gradually divest himself of all the false grandeur to which he has aspired. In a very real sense, his dash to freedom becomes a descent into a hell he has made for himself--and with each scene the pursuing drums grow louder, driving him on to destruction.
Unlike BEYOND THE HORIZON, THE EMPEROR JONES is frequently revived--but like many O'Neill scripts it is a difficult read. On the page, O'Neill's construction seems mechanical in a way that it does not when you actually see it, and although O'Neill provides a great deal of descriptive stage direction it is extremely difficult to imagine how the show actually plays out before an audience. Given the flaws of BEYOND THE HORIZON and the challenges of THE EMPEROR JONES, I do not really recommend them for the casual reader--but for any one interested in O'Neill BEYOND THE HORIZON is an essential--and for any one interested in 20th Century theatre THE EMPEROR JONES is required reading, pure and simple. I give three stars to the former, five stars to the latter, and split the difference.
GFT, Amazon Reviewer
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