irish level drinkers an analysis composition
Excerpt via Essay:
It is the framework of Catholic Ireland (and not so much the Hays Development Code) that enables Ford’s characters to enjoy the light-heartedness with the whole scenario.
Such context is gone in O’Neill’s dramas. O’Neill’s Irish-American drinkers have left the Emerald green Isle and traded it over for a country where religious liberty forbids the right of any religion to state itself while true and everything others because false. The Constitution, actually has been corrected to keep govt from proclaiming the truth of any religious beliefs. If zero religion is valid, how can the Tyrone’s be expected to know the between Baudelaire’s “spiritual drunkenness” and “physical drunkenness”?
O’Neill has Edmund quote Baudelaire in Long Day’s Journey in Night while an attempt to rationalize his characters’ drunkenness: “Be often drunken. Nothing else matters: this provides the only issue. If you may not feel the horrible burden of Period weighing with your shoulders and crushing you to the earth, end up being drunken constantly. Drunken using what? With wine beverage, with poems, or with virtue, because you will. Yet be drunken” (4. 1). However , Baudelaire’s poem in fact advocates (or emphasizes) a transcendental kind of drunkenness – drunkenness that is steeped in poetry or perhaps virtue – a kind of zealous, religious, magical drunkenness; put simply, rapturous sanctity that supersedes time – not depresses one underneath it since O’Neill does in Long Day’s Journey.
This kind of rapturous sanctity, of course , is usually lost in the usa. In Artist it is sappy and sentimentalized, as viewed by Crosby in Heading My Way. The priest’s piety and holiness is a kind of Hays Code Production parody of the middle ages sanctity of your scholastic like St . Thomas, who, may be, merely needed to meditate in Heaven to achieve a state of ecstasy. Heading My Method offers not any satisfactory, realistic alternative to the dark fortune of the Tyrone’s. Likewise, the Philadelphia Tale is a slapstick comedy that has more related to the American Dream compared to the religious fervor that underpins Ford’s the Quiet Man. Ford, like Hitchcock, was an American Catholic, whose simply two Catholic films weren’t made in America. Something about the land of religious liberty does not allow for severe religious opinion. Religion in the usa is a kind of con: a performing, lounge work that Ask Crosby could bring to your life – or a Billy Graham for that matter (without the music, of course).
O’Neill’s Irishman, however , is in America and is also lost in the fog. “I really love fogit hides you from the universe and the globe from youNo one can find or touch you any more, inches says Jane (100). In that case she says, “It’s the foghorn I hate. It won’t let you alone. That keeps reminding you, and warning you, and dialling you back” (101). The foghorn in O’Neill may be the spiritual Mary – the essence of Ireland’s values. That values, lost inside the fog of yankee religious freedom, is changed by the negative stereotype of Irish-American drinking – ingesting to escape, to get rid of oneself in the fog.
The theme of ingesting is a respond to the concept of the the loss of faith based foundation and self-restraint in O’Neill’s works. However , in the Hollywood movies under the Hays Code, the theme of consuming is often cured with light-hearted care. The affects of both therapies on the picture of Irish-America, consequently , helps perpetuate the contradiction at the heart from the Irish – one side light and carefree, and one area dark, obstinate and darned. Neither eyesight is wholly true or perhaps accurate; the fact is that both together are more representative of the plight of the Irish-American. What O’Neill failed to fine detail in Long Day’s Journey in to Night is the fact that that Jane ended her days within a convent and beat her addiction to morphine and that her son Jamie accompanied her there, tending to her and beating his alcoholism (at least to get as long as she lived to beat her addiction).
In conclusion, though drinking has long been linked to a negative Irish ethnic belief, that stereotype has seen different representations in catalogs, plays and films. The main cause of the belief is related to the drunkenness of characters like Cornelius Tune in a Contact of the Poet person or the devil-may-care attitude of Jamie Tyrone in Long Day’s Journey in to Night. Yet, their drunkenness is due to the larger problem of rootlessness – which is not a problem for Ford’s Quiet Guy.
Works Cited
O’Neill, Eugene. Long Day’s Journey in to Night. Yale University Press, 2002.
