Long Days Journey Into Night Essays - Long Days Journey Into Night

Long Days Journey Into Night It is understandable that so many people in our class did not find the last act of Eugene O'Neill's Long Day's Journey Into Night a satisfying one; there is no tidy ending, no goodbye kisses or murder confessions; none of the charaters leave the stage with flowers in their hands or with smiles on their faces and none of the characters give explanatory monologues after the curtain falls, as we've become accustomed to by reading so much Shakespeare. O'Neill, though, isn't Shakespeare and Long Days Journey Into Night is as different from, say, A Midsummer's Night Dream or Twelfth Night than a pint of stout ale is from a glass of light chardonney. It is because of the uniqueness of the play that the final act is so fitting a conclusion, and it is because of the essence of the play that there is closure in the final scene and it is because of hte nature of hte play that the final act carries upon its shoulders as powerful an impact as any other ending put upon an American stage. The reason that many people did not find the end of hte play a real conclusion is because of the fact that Long Day's Jounrey Into Night is not a play of action, like almost all other plays are. It is set within a single room during the course of a single day, and it consists mainly of long monologue and bitter banter rather than movement or plot development, but there is a reason that O'Neill does this; his play is not one where characters move from place to place and experience various dilemnas and need to work their way out through the course of a beginning, middle and end. LDJIN is a play of introspection, a play of confession, understanding and ultimately, a play of understanding, and it is in the final act of the play that all of these elements are worked out. The Tyrone family is, as Edmund describes them, a family of fog people; through the first three acts of hte play we see them hiding their true feelings and emotions from each other from not each other but from themselves through a stammering which has developed from many years of holding things back. Even Jamie, who is berated time and time again for his loose tongue, stammers, as he has things that he has left unsaid and that no one is really aware. In many ways, the first three acts of the play are little more than just this - four characters stammering, letting emotions build themselves up inside of them; the first three acts are a prelude to the drama that unfolds in the final act of the play. In the beginnings of the play we are given the extreme circumstances surrounding the family that day: Edmund is to be diagnosed with consumption, Mary is to fall deeper and deeper into an addiction from which she supposedly recovered, and each of the characters is to unravel under the strai n that all the stammering has placed upon them. We are given the impression that the events of the fourth act has never happened before; for example, even though he has lived with his father for more than twenty years, Edmund has never heard him speak the way he speaks to him in his final act, when his father tells him of how miserable he is now and how he was so muh happier as a struggling, young actor than as a commerial success. Up until the final act, Edmund has gone with Jamie and fancied Tyrone as little more than a crabby old miser. It is in his saying, I'm glad you told me that papa. I understand you much better now. that the essence of the final act, and of the play, is best illustrated. This is a family of people once filled with promise, ambition and hope but who now move along the stage like the emaciated phantoms of hteir former selves. And none of them really understands why. Part of the reason that Edmund has never heard his father speak of this is because his father himelf never really realized the

Joes Monologue From Great Expectations

Joe's Monologue From Great Expectations The novel Great Expectations by Charles Dickens is filled with memorable characters from all sorts of economic classes. Joe Gargery is a blacksmith and the brother-in-law of the novels main character, Pip. Pips life begins humbly, but due to some amazing circumstances, he acquires a fortune from a mysterious benefactor. Pips young life changes from that of an apprentice blacksmith to a gentleman, one who can afford to idly spend his time (and money) in Londons high society. Context of Joes Monologue In the monologue below, Joe has just paid a brief visit to see Pip in London. However, he plans to return to the country because the city life and its social complications do not suit him. In his touching farewell speech, he shows a keen self-awareness and an understanding of societys expectations. Although this monologue is taken from the actual novel, there have been many stage adaptations of ​Great Expectations. The following speech is ideal for actors playing an age range between early 30s and late 50s. Joe Gargerys Monologue From Great Expectations Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one mans a blacksmith, and ones a whitesmith, and ones a goldsmith, and ones a coppersmith. Diwisions among such must come, and must be met as they come. If theres been any fault at all to-day, its mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It aint that I am proud, but that I want to be right, as you shall never see me no more in these clothes. Im wrong in these clothes. Im wrong out of the forge, the kitchen, or off th meshes. You wont find half so much fault in me if you think of me in my forge dress, with my hammer in my hand, or even my pipe. You wont find half so much fault in me if, supposing as you should ever wish to see me, you come and put your head in at the forge window and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. Im aw ful dull, but I hope Ive beat out something nigh the rights of this at last. And so GOD bless you, dear old Pip, old chap, GOD bless you!

Immigration law Essay Example | Topics and Well Written Essays - 4000 words - 1

Immigration law - Essay Example However, the blurring of the distinction between the need to legislate for immigration on the one hand and protection from terrorism on the other is further perpetuated by the patchwork of piecemeal immigration legislation in the UK, which is further compounded by the legal rights of asylum seekers. On the other side of the legal spectrum, the implementation of the Human Rights Act in 1998 (HRA) enshrines the fundamental rights and freedoms of the European Convention on Human Rights into UK law. From an immigration policy perspective, the most important rights relied on in immigration cases have been the Article 5 right, which prohibits detention without trial and the right not to be subjected to degrading treatment under Article 3. Additionally, Article 14 guarantees rights under the ECHR. On the one hand, these fundamental freedoms are essential to the function of the UK as a democracy. On the other hand, the reliance on the ECHR rights through the HRA 1998 arguably undermines immigration rules and legislation, which enables the UK immigration system to be exploited1. However, it is precisely this paradox within the law that enables the changing Governmental policy from circumventing both entrenched immigration and asylum rules and human rights protection on grounds of â€Å"national security†2. This is particularly evidenced by the implementation of the controversial Anti-Terrorism, Crime and Security Act 2003 (ACTSA), which permits derogation from the ECHR. The contradictory nature of UK immigration policy and compliance with human rights highlights the inherent flaw in enacting knee jerk legislative responses to socio-economic issues. This further highlighted by the dichotomy in protection afforded by the European Convention on Human Rights (ECHR) 1950 and the Convention on the Status of Refugees 1951