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毕业论文The Analysis of Dual Personality ofLong Days Journey into Night崔天凤吉林建筑工程学院外国语学院2009年06月 29 日毕业论文 THE ANALYSIS OF DUAL PERSONALITY OF LONG DAY S JOURNEY INTO NIGHT学 生：崔天凤指导教师：王晶蕊 专 业：英 语所在单位：外国语学院答辩日期：2009年07月 02 日CONTENTSABSTRACTIV摘 要VI. INTRODUCTION1II. THEORETICAL FRAMEWORK22.1 Definitions and Manifestations of Dual Personality22.2 Freuds Three Dimensional Personality Theory2III. THE ANALYSIS OF DUAL PERSONALITY IN LONG DAYSJOURNEY INTO NIGHT53.1 The Dual Personality Analysis of Mary Tyrone53.1.1 Mary Tyrones Split Personality as a Wife53.1.2 Mary Tyrones Split Personality as a Mother63.1.3 Mary Tyrones Split Personality as a Social Being83.2 The Dual Personality Analysis of James Tyrone83.2.1 James Tyrones Split Personality as a Husband83.2.2 James Tyrones Split Personality as a Father93.2.3 James Tyrones Split Personality as an Actor103.3 The Dual Analysis of Dual Personality of Jamie Tyrone113.3.1 Jamie Tyrones Split Personality as a Son113.3.2 Jamie Tyrones Split Personality as a Brother12. CONCLUSION14NOTES15REFERENCES16ACKNOLEDGEMENTS18ABSTRACTFreuds psychoanalysis and especially his three-dimensional personality theory greatly influenced Eugene ONeills biographical creation of Long Days Journey into Night. This paper explores the definitions and manifestations of dual personality, illustrates Freuds three-dimensional personality theory. A detailed analysis of the three main characters, Mary Tyrone, James Tyrone and James Tyrone will be presented, so as to show how the spilt personality comes up and how they are accurately displayed in each character. Finally, the paper points out that peoples inner conflicts and split personality are the source of tragedy. Key words: three-dimensional personality theory; Long Days Journey into Night; dual personality.摘 要弗洛伊德的心理分析理论，尤其是他的三重性格理论极大地影响了尤金奥尼尔的自传体戏剧长日入夜行的创作。本论文探讨了双重性格的定义和表现形式，阐述了弗洛伊德的三重性格理论，并具体分析了玛丽蒂隆, 詹姆斯蒂隆以及杰米蒂隆这三个主要人物，以说明其分裂性格是如何出现的及其在人物中的具体表现。本文最后指出人的内心的冲突和分裂性格是剧中人物悲剧的根源。关键词：三重性格理论；长日入夜行； 双重性格 吉林建筑工程学院外国语学院毕业论文I. INTRODUCTIONEugene ONeill was born in New York into an Irish-Catholic theatrical family. His early life was restless. His father, an actor, spent most of his career touring in the lead role of the popular melodrama The Count of Monte Cristo. Eugene ONeill is one of the greatest American playwrights, restless and bold experimenter, and winner of the Nobel Prize for literature in 1936. ONeills plays range in style from satire to tragedy. They often depict people who have no hope of controlling their destinies. Long Days Journey into Night is unanimously regarded as ONeills masterpiece. Although his written instructions had stipulated that it was not made public until 25 years after his death, in 1956 Carlotta arranged for his autobiographical masterpiece Long Days Journey Into Night to be published, and produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. Extending from the sunny morning into the fog-enveloped midnight, the whole play covers about eighteen hours on a summer day in 1912 in a narrow, shabby living-room of the shabby, poorly furnished summer house of the Tyrones. The four Tyrones engage in a series of discussions, arguments and disputes. Mary Tyrone, the mother, a once beautiful Irish woman, gives up her original intention of serving God to marry a popular Irish actor and gets addicted to drugs. James Tyrone, the father, a promising Shakespearean actor, sacrifices his artistic talent for the so called “easy money”. Jamie Tyrone, the elder son, a ghost of Oedipus complex, is deserted spiritually by his mother and fritters himself away among whores and on drinking. Edmund Tyrone, the younger son, has been suffering from a severe cold, the deadly tuberculosis.The play focuses on the Tyrone family, whose once-close family has deteriorated over the years, for a number of reasons: Marys drug addiction, Tyrone Jamie, and Edmunds alcoholism, Tyrones stinginess, the boys lax attitude toward work and money, and a variety of other factors. The play is all the more tragic because it leaves little hope for the future; indeed, the future for the Tyrones can only be seen as one long cycle of a repeated past bound in by alcohol and morphine. This paper will explores the definitions and manifestations of dual personality, traces the influence of Freuds psychoanalysis on Eugene ONeills creation, and presents detailed analysis of the three main characters, Mary, Tyrone and James, so as to show how the spilt personality comes up and how they are accurately displayed in each character.II. THEORETICAL FRAMEWORK1. 2.1 Definitions and Manifestations of Dual PersonalityDual personality is originally defined as a mental disease, namely, a mental disturbance in which a person assumes alternately two different identities without either personality being consciously aware of the other. In medical terms, a state of dissociation in which the individual presents personas to others at different times as two different persons, each with a different name and different personality traits. The two personalities are generally independent, contrasting and unaware of the existence of the other. In The Dual Personality, Chen Caiyi shows us that how the dual personality is specifically presented in different context and that what causes the dual personality of the characters. The manifestations of dual personality are mainly displayed in the following three aspects: illusion, nightmare, and stream of consciousness. The illusion is both a physiological and psychological phenomenon, usually accompanied by lonely feelings. Therefore, it acts as a medium to cause the dual personality. As a special psychological process, nightmare comes followed by the subconscious activities, mainly used to stress the anxious, disordered psychological activities caused by dual personality. As an important aspect in subconscious activity, stream of consciousness has a clear characteristic of unreason ability and is one of psychological ways to release the disordered emotions, the unreasonable, illogical intuitive experience; the emergences of subconscious psychology are all rooted in the reality soil of reality. 2.2 Freuds Three Dimensional Personality TheorySigmund Freud founded the psychoanalytic school of psychology. He is best known for his theories of the unconscious mind and the defense mechanism of repression. His psychoanalysis and especially his three-dimensional personality theory greatly influenced Eugene ONeills creation of Long Days Journey into Night. In his later work, Freud proposed that the psyche could be divided into three parts: ego, super-ego, and id. Freud discussed this model in the 1920 essay Beyond the Pleasure Principle, and fully elaborated upon it in The Ego and the Id.According to Freuds psychoanalytic theory, id, ego, and super-ego are the three parts of the “psychic apparatus” defined in Sigmund Freuds structural model of the psyche. The three theoretical constructs are described in terms of their activities and interaction. According to this model, the uncoordinated instinctual trend is “id”, the organized realistic part of the psyche is “ego” and the critical and moralizing function is “super-ego”.Id comprises the unorganized part of the personality structure that contains the basic drives. Id acts as a pleasure principle. If not compelled by reality, it seeks immediate enjoyment. It is focused on selfishness and instant self-gratification. Personality, as Freud saw it, was produced by the conflict between biological impulses and social restraints that were internalized. Id is unconscious by definition. The mind of a newborn child is regarded as completely “id-ridden”, in the sense that it is a mass of instinctive drives and impulses, and demands immediate satisfaction. Id is responsible for our basic drives such as food, water, sex, and basic impulses. It is amoral and egocentric, ruled by the pleasure-pain principle. It is without a sense of time, completely illogical, primarily sexual, and infantile in its emotional development. Ego comprises that organized part of the personality structure which includes defensive, perceptual, intellectual-cognitive, and executive functions. Ego acts according to the reality principle, i.e., it seeks to please the ids drive in realistic ways that will benefit in the long term rather than bringing grief. According to Freud, ego is that part of the id which has been modified by the direct influence of the external world. Ego represents what may be called reason and common sense, in contrast to the id, which contains the passions. Super-ego aims for perfection. It comprises that organized part of the personality structure, mainly but not entirely unconscious, that includes the individuals ego ideals, spiritual goals, and the psychic agency (commonly called “conscience”) that criticizes and prohibits his or her drives, fantasies, feelings, and actions. Super-ego works in contradiction to the id. It strives to act in a socially appropriate manner, whereas the id just wants instant self-gratification. Super-ego controls our sense of right and wrong and guilt. It helps us fit into society by getting us to act in socially acceptable ways. Superego tends to stand in opposition to the desires of the id because of their conflicting objectives, and its aggressiveness towards the ego. Super-ego acts as the conscience, maintaining our sense of morality and proscription from taboos. In Freuds theory, id stands in direct opposition to the super-ego. Developmentally, the id is anterior to the ego, i.e., the psychic apparatus begins, at birth, as an undifferentiated id, part of which then develops into a structured ego. Ego mediates among the id, the super-ego and the external world. Its task is to find a balance between primitive drives and reality (the ego devoid of morality at this level) while satisfying the id and super-ego. Its main concern is with the individuals safety and allows some of the ids desires to be expressed, but only when consequences of these actions are marginal. Ego defense mechanisms are often used by the ego when id behavior conflicts with reality and either societys morals, norms, and taboos or the individuals expectations as a result of the internalization of these morals, norms, and their taboos. Super-ego works in contradiction to the id. It strives to act in a socially appropriate manner, whereas the id just wants instant self-gratification. Super-ego controls our sense of right and wrong and guilt. It helps us fit into society by getting us to act in socially acceptable ways. Superego tends to stand in opposition to the desires of the id because of their conflicting objectives, and its aggressiveness towards the ego. Super-ego acts as the conscience, maintaining our sense of morality and proscription from taboos. Generally speaking, id, ego, and superego are in a state of coordination and balance, confirming the normal development of personality; otherwise, once the imbalance of id and ego comes up, certain tragedy will follow, for example, the split personality shown in the play of Long Days Journey into Night contributes much to the tragic consequences of the characters. What an individual wants or does, his essential disposition and behaviors, with no exception, will be decided by the specific distribution of power in the personality structure system. In the following sections, the analysis of the dual personality of Mary, James and Edmund will be presented. THE ANALYSIS OF DUAL PERSONALITY IN LONG DAYS JOURNEY INTO NIGHT3.1 The Dual Personality Analysis of Mary TyroneModeled on Eugene ONeills mother Ella Quinlan ONeill, Mary Tyrone is the most complex and ambivalent female character the playwright has ever created. Whats more, her split personality in this play is the most striking among the four characters. Mary Tyrones dual personality will be analyzed from her different social identities, being a wife, a mother and a social individual. 3.1.1 Mary Tyrones Split Personality as a WifeAs a wife, Mary Tyrone suffers a lot from the inner conflicts which derive from her love and hate for her husband James Tyrone. The conflict reflects her split id and ego and contributes to her dual personality.On one hand, Mary performs her duty as a wife. She is very considerate to her husband, James Tyrone. In their 35 years marriage life, she always loves James, for example, when she reminisces about meeting Tyrone, her tone changes, and Tyrone then begins to cry as he thinks back on the memories, and he tells his wife that he loves her. Mary responds, “I love you, dear, in spite of everything”. When she mentions James Tyrone, happy emotions will unconsciously exuded from her both eyes, “her eyes are strangely bright, just as daydreaming, with kind of charming, gentle, maiden smile in the corner of her mouth”. 1 Even when her two sons criticize their father, she also defends for her husband, when Jamie makes a snide comment about his father, Mary tells him to respect Tyrone more. She understands her husbands stinginess and tells Edmund of how Tyrone was abandoned by his father and reduced to poverty and forced to work at the age of ten. Whats more, when James Tyrone traveled all over the country with his plays, she goes on the road to keep Tyrone company, instead of staying with her baby son Eugene, while the latter caught measles from Jamie and died untimely.However, what we learn more between the lines is that Mary is dissatisfied with her husband, which is revealed very clearly. Tyrone stays out for his plays all year around, so she has to travel with from one place to another. They usually change a place after a show, and she is often left alone in a hotel, tortured by loneliness. She leads such an unstable life, for example, Mary tells Edmund that she hates the house in which they live because, “I have never felt it was my house”, And when Tyrone argues with his two sons about the whiskey, Mary has an outburst about Tyrones inability to understand what a home is. Mary has a distinct vision of a home, one that Tyrone has never able to provide for her. At the same time, Mary is not able to tolerate Tyrones stinginess, they took the cheapest train, stayed in the filthy hotel, ate the cheapest food. Mary had to give birth to Edmund in the dirty hotel. After Edmunds birth, she was terribly sick. Because of her husbands stinginess, her illness was delayed by a quack and she got addicted to morphine. She condemns Tyrone for his spending a large amount of money on estate, not giving her a well furnished, real home. She even complains that Tyrone never hires any good servants; she blames her unhappiness on Tyrones refusal to hire a top-rate maid.3.1.2 Mary Tyrones Split Personality as a MotherGenerally speaking, the image of mother symbolizes tenderness, caring, considerateness and kindness. When it comes to the specific person, Mary Tyrone, we will find something new. Marys love and hate to her two sons also reflect her dual personality. Throughout the play, Mary loves her two sons. At the same time, she also throws lots of accusations to them. Mary seems to be a perfect mother at the very beginning and she is also trying her best to pretend to be, because she has sacrificed her dreams for the whole family and has acted as a gentle mother for a long time. However, as a matter of fact, Mary turns out to be a mad mother soon after she is addicted into morphine or drugs. That is to say, when Mary is faced with reality (her ego), she will withdraws her own world (her id), leading to the imbalance of her ego and id.As the mother of two grown-up sons, she shows her motherly love to them. As for her elder son, Jamie, Mary had rejected him long before morphine triggered her into drugged isolation. Mary constantly accuses Jamie of intentionally infecting measles to his baby brother Eugene, thereby causing Eugenes death. Whats more, Mary says that Jamie is a “hopeless failure” and warns that he will drag down her beloved child, Edmund, with him out of jealousy. However, when Mary hears her husband arguing with Jamie, she even defends Jamie, her elder son, against her husband, “I knew from experience by then that children should have homes to be born in, if they are to be good children. He is not to blame. If he has been brought up in a real home, I am sure he would have been different”. 2In Marys eyes, Jamies frequenting Broadway brothels and indulging in liquor can find their essential cause from lack of a real home, Jamie is not to blame. Meanwhile, Mary waxes about Jamie, who she thinks was very smart until he started drinking. Mary blames Jamies drinking on Tyrone. As for her second son, Edmund, Mary also shows him much love. She criticizes Tyrone for letting Edmund drink, saying that it will kill him. However, she reminds Edmund that his birth initiated her drug-addiction and introduced the rheumatism that now has crippled her once beautiful hands. And when Edmund tells Mary that he has tuberculosis, Mary immediately begins discrediting Doc Hardy. She will not believe it, and she does not want Edmund to go to a sanatorium. She thinks that Edmund is just blowing things out of the water in an effort to get more attention. Edmund reminds Mary that her own father died of tuberculosis. However, Edmund receives only rebuke and rebuff from Mary in the following conversation: Edmund: All this talk about loving me and you will not even listen when I try to tell you how sickMary: with an abrupt transformation into a detached bullying motherliness Now, now. That is enough! I do not care to hear because I know it is nothing but Hardys the doctor ignorant lies. He shrinks back into himself. She keeps on in a forced, teasing tone but with an increasing undercurrent of resentment. You are so like your father, dear. You love to make a scene out of nothing so you can be dramatic and tragic. With a belittling laugh If I gave you the slightest encouragement, you would tell me next you were going to dieEdmund: People do die of it. You own father 3The anguish and brutality of this scene shows that Mary can not accept what Edmund tries to tell her, although it is clear that she knows that he is very sick. Despite Marys assertions on her part that Edmund has just caught a cold, the more she repeats the lines, the more apparent it is that she resists a growing awareness that he has contracted the very disease that killed her father. Marys stubborn denial demonstrates her inability and refusal to cope effectively with or even acknowledge what is happening at present. Mary never accepts the truth of the situation. And when Edmunds illness develops into definite diagnosis, Mary shrinks from the family. Through the analysis of Marys attitude towards Edmund, we come to realize that her motherly love, hate and guilty are compounded tighter in her heart, all torturing her soul. The guilt she feels is more clearly shown in her behavior for the death of Eugene. Mary blames herself for breaking her vow never to have another baby after Eugene, her second baby who died at two years old from measles he caught from Jamie when Jamie went into the babys room. Tyrone tells Mary to let the baby rest in peace, but Mary only blames herself more for not staying with Eugene (her mother was babysitting when Jamie gave Eugene measles) and instead going on the road to keep Tyrone Company as he traveled the cou
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