55 pages • 1 hour read
It is midnight. Tyrone plays solitaire alone, and he is visibly drunk. Edmund arrives, also drunk. Tyrone tells Edmund to turn out the light in the front hall, but Edmund refuses. Tyrone gets angry but remembers Edmund’s illness, becoming sad. Tyrone tells him to leave the light on, saying everyone ends up in the “poor-house” eventually. Tyrone complains about Jamie, noting he is drunk with a sex worker, but Edmund stops him. Edmund says he walked along the beach, stopping at the Inn on the way home, noting the fog. Tyrone mentions Edmund’s health as they pour drinks, but Edmund muses poetically on the fog as a distraction. Tyrone compliments Edmund’s poetry despite its pessimism, but he prefers Shakespeare.
Edmund quotes from Charles Baudelaire, a French Decadent poet encouraging an inebriated appreciation of life. Tyrone appreciates the poem but maintains a preference for Shakespeare. Edmund claims that Baudelaire wrote a poem about Jamie before Jamie was born, quoting another poem regarding the pleasures found in being an outcast. Tyrone calls it “filth” and says Baudelaire was an atheist. Edmund quotes Ernest Dowson’s poem “Cynara,” saying that he can imagine Jamie reciting the poem to a sex worker. Edmund relates to Dowson, noting that he died of tuberculosis and had an alcohol misuse disorder. Tyrone says Edmund has bad taste in literature, praising Shakespeare again. Edmund remembers memorizing the lead role of one of Shakespeare’s plays to win a bet against Tyrone. Tyrone is proud of him but says Edmund’s performance was terrible, even if the lines were correct. Tyrone hears Mary moving upstairs, and they speculate she is intoxicated.
Tyrone claims Mary’s memories of her childhood are exaggerated, mentioning that Mary’s father experienced an addiction to alcohol near the end of his life. Tyrone and Edmund decide to play cards until Jamie comes home to avoid seeing Mary upstairs. Tyrone claims Mary could never have become a pianist or nun, but Edmund is not interested in discussing Mary. Edmund thinks Mary takes morphine to get away from them, but Tyrone says she is not at fault for her addiction.
Edmund blames Tyrone’s frugality for Mary’s addiction, but Tyrone says he has spent a lot trying to cure her. Edmund specifies that a good home and support would improve Mary’s condition, but Tyrone is hopeless. He blames her for isolating herself early in their marriage, and Edmund says Tyrone should have kept them together as a family more. Tyrone says Mary would not have become addicted if Edmund had not been born, and Edmund sadly agrees. Tyrone corrects himself, saying that both he and Mary love Edmund, and Edmund says he loves them, too, despite their issues.
Tyrone tells Edmund not to worry about his illness. Edmund thinks he is going to die, and he thinks Tyrone believes it, too, noting how cheap the hospital is. Tyrone denies it, but Edmund reveals that Jamie met with Dr. Hardy, discovering Tyrone asked for a cheap hospital. Edmund says Tyrone owns about $250,000 worth of property and just bought more from McGuire. Tyrone tries to deny it, noting that he is generous when he is drunk, and he claims Edmund has had an easy life. Edmund confesses that he considered suicide at one point, saying his own thoughts bother him when he is sober.
Tyrone admits his father may have died by suicide, praising his mother for her hard work. Tyrone says his upbringing made him frugal, and he tells Edmund he can go to any hospital within reason. Tyrone admits that his frugality is excessive, and he tells Edmund how he purchased the rights to a play to make a fortune. Playing a part in that play repeatedly ruined his ability to perform other parts. Tyrone recalls how he was once one of the few talented young actors in New York. Another famous actor, Edwin Booth, said Tyrone could play Othello, a character from Shakespeare’s play Othello, better than himself. Tyrone says that he kept Booth’s praise written down but does not know where it is. Edmund notes it might be with Mary’s wedding dress, which she looked for earlier. Edmund tells Tyrone about his travels at sea, describing lying on a ship at night. He becomes poetic, describing himself as a stranger and wishing he were born an animal instead of a human. Tyrone is impressed by his language, but he calls Edmund morbid. They hear Jamie stumbling at the door, and Tyrone leaves the room.
Jamie comes in drunk and stumbling, and he pours himself a drink from the whiskey on the table. Edmund goes for a drink, too, but Jamie stops him, citing Edmund’s illness. Edmund does not believe Jamie cares, and Jamie is offended. Edmund explains that he will stop drinking the next day, but he is too stressed tonight and needs the drink. Jamie criticizes their father’s frugality, but Edmund defends Tyrone. Jamie reveals that he was at a brothel, and he quotes Oscar Wilde to elevate the act artistically. Jamie tells Edmund that he spent the evening with a sex worker of large stature named Violet, whom the operator of the brothel wanted to fire. They talk for a while, and Jamie jokes that he will join a circus as a robust performer’s lover.
Jamie becomes sad, and he notes that he has no future. Edmund tells him to cheer up, and Jamie asks if the “hophead,” meaning Mary, is asleep, which leads to Edmund punching Jamie in the face. Jamie apologizes for what he said, and Edmund apologizes for hitting him. Jamie explains that he believed Mary was improving, and he thought that her beating her morphine addiction would mean that he could beat his own addiction to alcohol. Jamie cries, and he tells Edmund how much he loves him. He notes that he has started thinking of the worst outcomes because everyone expects him to be cynical and pessimistic. For a moment, Jamie criticizes Edmund, saying he has no future as a writer, but he changes his tone and praises Edmund, saying that Edmund’s success reflects positively on how Jamie raised him.
Jamie tells Edmund that he will recover from his illness, but Jamie also affirms Mary and Tyrone’s warning that Jamie is a bad influence on Edmund. Jamie says he was a bad influence on purpose, claiming that he hates Edmund for being Mary and Tyrone’s favorite child and the fact that Edmund’s birth led to Mary’s addiction. Clarifying, Jamie says he loves Edmund more than he hates him, but he says that Edmund needs to be careful. Citing Oscar Wilde again, Jamie says that part of him tries to hurt everyone so that they are as miserable as he is. Edmund tells Jamie to stop talking, and Jamie says that he feels better having confessed his feelings to Edmund. Jamie takes a last drink before passing out at the table.
Tyrone enters and tells Edmund to heed Jamie’s warning, noting that he had high hopes for Jamie, making his failure a disappointment. Jamie wakes up and insults Tyrone with quotes from Rossetti, a poet Tyrone dislikes. Tyrone gets angry, but Edmund breaks them apart and tells Jamie to fall back to sleep. Tyrone wishes he could go to sleep, but he will not so long as Mary is awake. Tyrone falls asleep mid-sentence, and Edmund hears Mary coming downstairs. Tyrone and Jamie both wake up as Mary begins playing the piano in another room. After a moment, she comes into the living room. Jamie calls Mary Ophelia, referencing a tragic character from Hamlet, by Shakespeare, leading Edmund to slap him in the face. Jamie breaks down into sobs, and Tyrone tries to comfort him.
Mary laments her fingers, acting as though she is still in school as a child, and she is carrying her wedding dress, which Tyrone takes from her. Mary is then confused by the gown, saying she wants to be a nun. She is looking for something, but she cannot remember what it is. Jamie tries to stop her, but he gives up and recites Swinburne’s “A Leave-taking.” Edmund tells her that he has tuberculosis, and she is shocked for a moment before returning to her fantasy of being a child destined for a convent. The men resolve to have another drink, but they pause to listen to Mary. She recalls speaking with the Mother Superior at her school as a young woman, and the Mother Superior told her to wait to become a nun until she had a lived a year or two as a normal girl. Mary says she was shocked by the Mother Superior’s advice, and she says that she knew no harm would come to her so long as she kept her faith in the Blessed Virgin Mary, who is the mother of Jesus in Christian tradition. Then she struggles to remember what happened next, and she remembers that she married Tyrone and “was so happy for a time” (169).
Mary is largely absent from Act IV, as this Act presents the male characters opening and discussing their perspectives with one another, often rising to violence as they attempt to overcome Deflection and the Challenge of Confronting Problems. Their concerns do not significantly differ from Mary’s, with Tyrone opening the Act with an admission of how “damned lonely” he has been, which echoes Mary’s complaint in the previous three Acts. Each of the characters seems to be lonely, though they are lonely in different ways, performing different methods of coping with the uncertainty and distance they feel in the family.
While Tyrone buys up property, despite his familial frugality, he is really trying to reclaim control over himself and his life. Tyrone notes that his generosity with McGuire, the man who brokers his property dealings, is “in barrooms” when he is “full of whiskey” (139). His drunkenness is proposed as a contrast to being sober at home, where Tyrone “first learned the value of a dollar and the fear of the poorhouse” (139). In Tyrone’s mind, providing even the bare minimum, keeping them out of the “poorhouse,” for his family is sufficient to fulfill his role in the family as a breadwinner, failing to realize that his own loneliness, and the loneliness of his wife and children, is due to his own absenteeism. With Edmund, Tyrone falls back on his own childhood, noting that he “was the man of the family” (140) at only 10 years old. However, he fails to realize that, while his hard work as a child managed to support the family, it was his mother’s love and generosity that enabled him and his siblings to live happily.
For Edmund and Jamie, they have both emulated their father’s dependence on alcohol for relief from despair, showing Inebriation as a Form of Escape and Denial. Just as Tyrone drinks to be friendly and generous at the Club, Edmund drinks to mask his own feelings and thoughts, noting that he once attempted suicide while sober because he “stopped to think too long” (140). The concept of self-reflection and mutual reflection in the play has been established thus far in deflection, as the family members all avoid addressing their concerns upfront, and Edmund explicitly states this issue in his acknowledgement that sobriety and reflection can be painful. Edmund comments early in the Act that he “loved the fog” (122) because it allowed him to fantasize that he was alone and that his family and illness did not exist. The fog is a representation of inebriation, as all the members of the family self-medicate, with alcohol for the men and morphine for Mary. Jamie, though, seems unable to use alcohol in this way, as he is prone in this Act to bursting into tears as he works through his problems with Edmund. Instead, Jamie drinks to fall asleep, drinking more and more as he sits with Edmund, consistently predicting that the next drink may lead him to fall asleep.
Jamie’s mechanism for handling his despair regarding the family is cynicism, as he reveals in noting that he believed Mary was improving this time. In short, Jamie assumes the worst of a given situation so that he is not disappointed when the situation works out poorly. In the present situation with Mary, though, Jamie let that cynicism slip, trusting that his mother would improve. Now that she is taking morphine again, Jamie is suffering the full weight, not just from the present disappointment but of all the disappointments he has inflicted on himself through his pessimism. He tells Edmund that he “[d]id it on purpose to make a bum of you” (159), referring to his influence on Edmund to drink and hire sex workers. Though Jamie says he did this out of jealousy, it seems that, tracking with his cynicism, he led Edmund to these behaviors to avoid the disappointment of Edmund turning to them on his own. Now, Jamie can take the blame and ask forgiveness, trying to assuage the guilt he feels for his own failures through Edmund’s success and forgiveness.
The conclusion of the play, in which Mary finally arrives downstairs, already inebriated, reveals her perspective on her life. Her final comment, that she was “happy for a time” (169), is a fitting summation of the family. Jamie, Edmund, and Tyrone, like Mary, are all only “happy for a time” as they drink and avoid their problems. Mary has no escape other than morphine, which takes her away from herself as much as it takes her away from her family, and she tries to live in her memories of her childhood to avoid confronting the misery of her current situation. She married Tyrone in a whirlwind of romance, but she quickly found herself neglected. After the death of their second child, Eugene, there was no longer any real hope of happiness in her marriage and motherhood, which is why having Edmund seems like a mistake to Mary. Because this unhappiness, reflecting The Importance of Love and Support, has gone on for so long, it does not seem like there is any reasonable solution to the family’s misery, and so they all remain motionless in the living room as Mary delivers the final line. Each of them realizes that the last few decades have been a downward slope to this moment, in which each family member is trying to drown their misery with alcohol or drugs.
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