Eugene O'Neill의 內的自我 描寫技法 = Eugene O'Neill's Methods of Characterizing the Inner Self
저자
曺文鎬 (慶北大學校 人文大學 英語英文學科)
발행기관
학술지명
권호사항
발행연도
1984
작성언어
Korean
KDC
843.000
자료형태
학술저널
수록면
1-17(17쪽)
제공처
소장기관
Throughout his career, O'Neill was interested in the inner man and the duality of human character. To portray the inner selves of the main characters in two most expressionistic and experimental plays, the Great God Brown and Strange Interlude, O'Neill mainly used masks in the former and thought aside in the latter.
In the Great God Brown, O'Neill used masks to reveal the inner selves. Margaret, the eternal girl-woman, wears a mask which is an exact reproduction of a pretty and dreamy face. The original harmony of her mask and face suggests she is the most superficial person in the play. Cybel, the whore and Earth Mother, wears a mask of the countenance of "hardened prostitute", a means of protecting her spiritual nature, but when she finds a kindred spirit (Dion) or one who needs love (the dying Brown), she reveals her mythical inner self of love and peace. Dion Anthony, Dionysus and St. Anthony, is an imaginative artist. Dion wears a cynical Pan mask (his outer self) to protect against and hide from the hostile material world. As the play progresses, the mocking, restless, defiant mask of Pan grows wicked and transformed into the Mephistophelean mask while the Anthony face(Dion's inner self) under the mask becomes more saintly, starting with the expression of "childlike religious faith in life" to the Christian martyr's face". When Dion unmasks, he expresses his fear of life and feeling of alienation. William Brown, the visionless demigod of a success, assumes a complacent face of conventional conformist. As he has always envied the creative life in Dion which he lacks, he steals Dion's mask of Mephistopheles but the mocking doubt enters and tortures him until Brown is forced to wear a mask of his Success, Brown (outer-self) as well as Dion's mask (Dion's anguish). Brown's face becomes Dion's Anthony face (Brown's inner self). Brown eventually perceives his hollowness and lacks of creativeness. Finally he discards Brown mask and depends on Dion's and his soul is born with the comfort of Cybel.
The use of masks in The Great God Brown presents technical and functional difficulties. We are aware that the reproduction of the subtle changes O'Neill calls for in Dion's Pan mask and the Anthony face will be vey difficult and these changes could not be readily discerned in the theatre. But the masks are successful in suggesting the alienation of the character because all the characters are lost behind their masks.
Marsden, Darrell and Nina in Strange Interlude are all self-centered; all are torn bo inner conflicts; all suffer guilt. Outwardly Marsden is a serene, mother-dominated bachelor who maintains a fatherly relationship with Nina. Inwardly he is in love with Nina but a sexual cripple as a result of an early repulsive sex experience. Darrell is a cool, scientific doctor on the outside, but underneath he fights against his consuming passion for her. Outwardly, Nina is at first the tragic heroine for the death of her romantic hero. She then becomes Sam's ideal wife. Inwardly she has a compulsive desire to possess and to gratify a demanding self.
To reveal these inner selves, O'Neill used a device of thought asides. The essence of Marsden's inner self appears repeatedly in his thought asides in each succeeding act. Almost all of Darrell's thoughts reflect the struggle between his passion and his bitter resentment of it.
Nina's audible thoughts expressing her passions are scattered from the beginning of Act Ⅲ to the end of the play. No other scene presents the essence of Nina more forcefully than the famous tableau scene of the end of Act Ⅵ.
The weakness of thought asides, however, is their repetition. The same thing is said over and over again such as Marsden's attachment to his mother. Even duller are the duplication of spoken word to thought. Some of the thought asides repeat what dialogue and action have already expressed. Sometimes, dialogue and action repeat what has been revealed in soliloquy.
O'Neill continued his efforts to reveal the inner selves in his following realistic plays. He discarded, however, such artifical devices as masks or thought asides and adopted more realistic ones such as "pipedream" in the Iceman cometh, or fog and dope in the Long Day's Journey into Night, or liqour in A Moon for the Misbegotten.
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