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Long Day's Journey into Night Long Day's Journey into Night by Eugene O'Neill
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“None of us can help the things life has done to us. They’re done before you realize it, and once they’re done they make you do other things until at last everything comes between you and what you’d like to be, and you’ve lost your true self forever.”
Eugene O'Neill, Long Day's Journey into Night
“Be always drunken. Nothing else matters: that is the only question. If you would not feel the horrible burden of Time weighing on your shoulders and crushing you to the earth, be drunken continually.

Drunken with what? With wine, with poetry, or with virtue, as you will. But be drunken.”
Eugene O'Neill, Long Day's Journey into Night
“The fog was where I wanted to be. Halfway down the path you can’t see this house. You’d never know it was here. Or any of the other places down the avenue. I couldn’t see but a few feet ahead. I didn’t meet a soul. 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. Out beyond the harbor, where the road runs along the beach, I even lost the feeling of being on land. The fog and the sea seemed part of each other. It was like walking on the bottom of the sea. As if I had drowned long ago. As if I was the ghost belonging to the fog, and the fog was the ghost of the sea. It felt damned peaceful to be nothing more than a ghost within a ghost.”
Eugene O'Neill, Long Day's Journey into Night
“EDMUND
*Then with alcoholic talkativeness
You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one. When I was on the Squarehead square rigger, bound for Buenos Aires. Full moon in the Trades. The old hooker driving fourteen knots. I lay on the bowsprit, facing astern, with the water foaming into spume under me, the masts with every sail white in the moonlight, towering high above me. I became drunk with the beauty and signing rhythm of it, and for a moment I lost myself -- actually lost my life. I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged, without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself! To God, if you want to put it that way. Then another time, on the American Line, when I was lookout on the crow's nest in the dawn watch. A calm sea, that time. Only a lazy ground swell and a slow drowsy roll of the ship. The passengers asleep and none of the crew in sight. No sound of man. Black smoke pouring from the funnels behind and beneath me. Dreaming, not keeping looking, feeling alone, and above, and apart, watching the dawn creep like a painted dream over the sky and sea which slept together. Then the moment of ecstatic freedom came. the peace, the end of the quest, the last harbor, the joy of belonging to a fulfillment beyond men's lousy, pitiful, greedy fears and hopes and dreams! And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience. Became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like a veil of things as they seem drawn back by an unseen hand. For a second you see -- and seeing the secret, are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on toward nowhere, for no good reason!
*He grins wryly.
It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a a little in love with death!

TYRONE
*Stares at him -- impressed.
Yes, there's the makings of a poet in you all right.
*Then protesting uneasily.
But that's morbid craziness about not being wanted and loving death.

EDMUND
*Sardonically
The *makings of a poet. No, I'm afraid I'm like the guy who is always panhandling for a smoke. He hasn't even got the makings. He's got only the habit. I couldn't touch what I tried to tell you just now. I just stammered. That's the best I'll ever do, I mean, if I live. Well, it will be faithful realism, at least. Stammering is the native eloquence of us fog people.”
Eugene O'Neill, Long Day's Journey into Night
“We are such things as rubbish is made of, so let's drink up and forget it.”
Eugene O'Neill, Long Day's Journey into Night
“I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged, without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself!.. And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience, became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like the veil of things as they seem drawn back by an unseen hand. For a second you see, and seeing the secret, you are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on towards nowhere for no good reason.”
Eugene O'Neill, Long Day's Journey into Night
“The past is the present, isn't it? It's the future, too. We all try to lie out of that but life won't let us.”
Eugene O'Neill, Long Day's Journey into Night
“It wasn't the fog I minded, Cathleen. I really love fog. [...] It hides you from the world and the world from you. You feel that everything has changed, and nothing is what it seemed to be. No one can find or touch you any more.”
Eugene O'Neill, Long Day's Journey into Night
“Like a saint's vision of beatitude. Like the veil of things as they seem drawn back by an unseen hand. For a second you see—and seeing the secret, are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on toward nowhere, for no good reason! ”
Eugene O'Neill, Long Day's Journey into Night
“And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience, became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like the veil of things as they seem drawn back by an unseen hand. For a second you see, and seeing the secret, you are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on towards nowhere for no good reason.”
Eugene O'Neill, Long Day's Journey into Night
“The Mad Scene. Enter Ophelia!”
Eugene O'Neill, Long Day's Journey into Night
“Why can’t you remember your Shakespeare and forget the third-raters. You’ll find what you’re trying to say in him- as you’ll find everything else worth saying. 'We are such stuff as dreams are made on, and our little life is rounded with sleep.''

- 'Fine! That’s beautiful. But I wasn’t trying to say that. We are such stuff as manure is made on, so let’s drink up and forget it. That’s more my idea.”
Eugene O'Neill, Long Day's Journey into Night
“EDMUND (with alcoholic talkativeness): You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one. When I was on the Squarehead square rigger, bound for Buenos Aires. Full moon in the Trades. The old hooker driving fourteen knots. I lay on the bowsprit, facing astern, with the water foaming into spume under me, the masts with every sail white in the moonlight, towering high above me. I became drunk with the beauty and singing rhythm of it, and for a moment I lost myself -- actually lost my life. I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged, without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself! To God, if you want to put it that way. Then another time, on the American Line, when I was lookout on the crow's nest in the dawn watch. A calm sea, that time. Only a lazy ground swell and a slow drowsy roll of the ship. The passengers asleep and none of the crew in sight. No sound of man. Black smoke pouring from the funnels behind and beneath me. Dreaming, not keeping lookout, feeling alone, and above, and apart, watching the dawn creep like a painted dream over the sky and sea which slept together. Then the moment of ecstatic freedom came. The peace, the end of the quest, the last harbor, the joy of belonging to a fulfillment beyond men's lousy, pitiful, greedy fears and hopes and dreams! And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience. Became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like the veil of things as they seem drawn back by an unseen hand. For a second you see -- and seeing the secret, are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on toward nowhere, for no good reason!”
Eugene O'Neill, Long Day's Journey into Night
“TYRONE

[Stares at him -- impressed.]
Yes, there's the makings of a poet in you all right.

[Then protesting uneasily]
But that's morbid craziness about not being wanted and loving death.

EDMUND

[Sardonically]

The makings of a poet. No, I'm afraid I'm like the guy who is always panhandling for a smoke. He hasn't even got the makings. He's got only the habit. I couldn't touch what I tried to tell you just now. I just stammered. That's the best I'll ever do, I mean, if I live. Well, it will be faithful realism, at least. Stammering is the native eloquence of us fog people.”
Eugene O'Neill, Long Day's Journey into Night
“He thinks money spent on a home is money wasted. He's lived too much in hotels. Never the best hotels, of course. Second-rate hotels. He doesn't understand a home. He doesn't feel at home in it. And yet, he wants a home. He's even proud of having this shabby place. He loves it here.”
Eugene O'Neill, Long Day's Journey into Night
“But land is land, and it's safer than the stocks and bonds of Wall Street swindlers.”
Eugene O'Neill, Long Day's Journey into Night
“it will be faithful realism, at least. Stammering is the native eloquence of us fog people.”
Eugene O'Neill, Long Day's Journey into Night
“Happy roads is bunk. Weary roads is right. Get you nowhere fast. That's where I've got—nowhere. Where everyone lands in the end, even if most of the suckers won't admit it.”
Eugene O'Neill, Long Day's Journey into Night
“On my solemn oath, Edmund, I'd gladly face not having an acre of land to call my own, nor a penny in the bank, I'd be willing to have no home but the poorhouse in my old age, if I could look back now on having been the fine artist I might have been.”
Eugene O'Neill, Long Day's Journey into Night
“The past is the present, isn't it? It's the future too.”
Eugene O'Neill, Long Day's Journey into Night
“EDMUND: It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a little in love with death!”
Eugene O'Neill, Long Day's Journey into Night
“Then in the spring something happened to me. Yes, I remember. I fell in love with James Tyrone and was so happy for time.”
Eugene O'Neill, Long Day's Journey into Night
“And if sometimes, on the stairs of a palace, or on the green side of a ditch, or in the dreary solitude of your own room, you should awaken and the drunkenness be half or wholly slipped away from you, ask of the wind, or of the wave, or of the star, or of the bird, or of the clock, of whatever flies, or sighs, or rocks, or sings, or speaks, ask what hour it is; and the wind, wave star, bird, clock, will answer you: 'it is the hour to be drunken! Be drunken, if you would not be martyred slaves of Time; be drunken continually! With wine, with poetry, or with virtue, as you will."" (He grins at his father provocatively.)”
Eugene O'Neill, Long Day's Journey into Night
“I know it's useless to talk. But sometimes I feel so lonely.”
Eugene O'Neill, Long Day's Journey into Night
“- Who wants to see life as it is, if they can help it? It's the three Gorgons in one. You look in their faces and turn to stone. Or it's Pan. You see him and you die - that is, inside you - and have to go on living as a ghost.
- You have a poet in you but it's a damned morbid one!”
Eugene O'Neill, Long Day's Journey into Night
“Your father goes out. He meets his friends in barrooms or at the Club. You and Jamie have the boys you know. You go out. But I’m alone. I’ve always been alone.”
Eugene O'Neill, Long Day's Journey into Night
“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.”
Eugene O'Neill, Long Day's Journey into Night
“Yes, facts don't mean a thing, do they? What you want to believe, that's the only truth!”
Eugene O'Neill, Long Day's Journey into Night
“You're lying to yourself again. You wanted to get rid of them. Their contempt and disgust aren't pleasant company. You're glad they're gone.”
Eugene O'Neill, Long Day's Journey into Night
“What I wanted to say is, I'd like to see you become the greatest success in the world. But you'd better be on your guard. Because I'll do my damnedest to make you fail. Can't help it. I hate myself. Got to take revenge. On everyone else. Especially you. Oscar Wilde's "Reading Gaol" has the dope twisted. The man was dead and so he had to kill the thing he loved. That's what it ought to be. The dead part of me hopes you won't get well. Maybe he's even glad the same has got Mama again! He wants company, he doesn't want to be the only corpse around the house!”
Eugene O'Neill, Long Day's Journey into Night

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