Greed and passion in Eugene O'Neill's Desire under the ELMS - Widya Mandala Catholic University Surabaya Repository

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DESIRE UNDER THE ELMS PIay Notes

BIOGRAPHY

Born in a goddam hotel room and dying in a hotel room!

l-ast words of Eugene O'tr|eill- From Louis Shaeffer, O,Neilt: Son and Artist

Eugene o Neill remains, years after his death, one of America's greatest playr,vrights. He won

four Pulitzer prizes for literature, _{and also a Nobel prize. His work has provecl highly influential}

in developing _{the great literary legacy of twentieth century American theatre. O'Neill often used}

his wide and varied experiences among many classes of Americans as the inspiration for his

plays. His biography is that of an artist tortured by his profound emotional attachment to his

family and burdened by an e)'.tremely perceptive psycfrologicat insight into other people.

The Eady Years

On October 16, '1888 in New York City, Ella Quinlain and James O'Neill had their third son,

Eugene O'Neill. James O'Neill was one of the nineteenth centurys foremost American actors.

He spent the best years of his acting ereer touring in an adaptation of Alexandre Dumas, Ihe

Count of Monte Chisto. The O'Neill family had been having troubles-their second son,

Edmund, died in 1885 after being infected with the measles by their oldest son, James Jr.-and

Eugene's birth brought more problems. Having had a painful childbirth, Ella was prescribed

morphine and soon became addicted. After Eugene's birth, James Jr. went to a boarding

school in South Bend, Indiana, and Ella and Eugene went on tour with James. A nanny \flas hired to take care of O'Neill until he was seven and sent to Mount Saint Vincent Academy, a Catholic boarding school in upstate New York.

ln the summer of 1902 when Ella attempted to drown hersell O'Neill leamed about his

motheds morphine addiction and its origin. This discovery set off a decade{ong bange of

setf-destructive behavior. O'Neill (fourteen) convinced his father to transfer him from Mount Saint

Vincent Academy to the less stricl, secular Betts Academy in Stamford, Connecticut. Atthough

O'Neill maintained a good academic standing, he began drinking heavily and was suspected to

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most of his classes and dropped out before the end of the spring term. For the next two years, he spent his time having casual afiairs and drinking with his brother, James (wtro also had

alcoholic tendencies), and other wild friends.

ln 1909, O'Neilf became involved with Kathleen Jenkins, the daughter of a prominent family.

Kathleen soon became pregnant. James O'Neill, fearing Kathleen's family would sue him,

ananged for o'Neill to leave the country on a gold prospecting expedition to Honduras. Although he never planned on being an active husband or fether, o'Neill secre y manied Kathleen before leaving. sailing to Buenos Aires as a member of the ship's crew after leaving

Honduras, o'Neill did not retum to the united states until '1911. At this time, Kathleen sued

o'Neill for a divorce, requesting _{neither chitd support for Eugene, Jr. or alimony. ovenrhelmed}

by guilt for disregarding the institution of maniage and for his role in his mothe/s drug addiction, o'Neill attempted suicide with veronal. A friend found o'Neill unconscious in his room at a Fulton Street flophouse and took him to Bellevue Hospital where his stomacn was pumped and where he remained several days for observation.

In 1912, O'Neill developed tuberculosis and entered Gaylord Farm Sanitarium for six months of

treatrnent. Here, he began writing one-act plays. Within a year, he had finished at least ten,

induding Bound East for Cardiff, Whicn is still frequently revived. ln 1914, O'Neill persuaded his

father to send him to Harvard where he attended George Pierce Bakefs playwriting course.

Thirst, and Other One-Act Plays was published. Before his second year at Harvard, O'Neill had

a falling out with his father and moved to New York where he supported himsetf with odd jobs and charity from friends. When O'Neill wasn't drinking, he was writing.

In 1916, O Neill joined The Provincetown Players, theatre group that defined themselves as

"anticomercial" in Provincetown, Massachusetts. The Provincetown Players was led by George

Cook and attracled the leading pla),wrights and intellec{uals of their generation, induding

O'Neill, Jack Reed, Louise Bryant, Susan Glaspell and many others. On July 28, Bound East

for Cardiff was produced on a makeshift theatre on the end of a pier in Provincetoum. For the

next ten years, O'Neill worked with the Players in Massachusetts and in New York. The

Pfayers produced many of his early plays, inctuding The Emperor Jones, The Hairy Ape,

Before Breakfast, ln the Zone, and The Long Voyage Home. As O'Neill's professional life took

off, so did his personal life. ln 1917, he met Agnes Boulton and manied her on April 12. On

October 30, 1919, their son Shane was bom. Shortly after, on February 2, 1920, came the

premiere ol Beyond the Horizon. This was O'Neill's first major ptay and his first performance at

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Puliuer Prize.

Although o'Neill succeeded in establishing himsetf as a playwright, his personal life began to

unravel in 1920 when his father died. ONeill became estranged from his brother after James Jr. moved with their mother to Los Angeles and attempted to swindle O'Neill out of his part of their fathe/s estate. Besides the attempted swindle, James Jr- proved unable to care for EIla especially as her health deteriorated and James' drinking increased- O'Neill's mother died suddenly from a brain tumor a year and a half afier her husband and James Jr. drank himself

to death twenty months later. ovenivhelmed with grief, o'Neill began drinking as heavily as he

did before he met Agnes. His maniage never re@vered. Five years after having another child, Oona, O'Neill divorced Agnes in 1931 and manied the actress Cadotta Monterey, his mrstress since 1926.

Writing became an outlet for O'Neill's grief. After 1920, nearly every O'Neill play is about death, loss, and mouming. In 1921, Anna Chis.F- was produced and won O'Neiil his second puliber Prize- Although O'Neill wrote when he was sober, his writing became enatic. Realizing that his

writing was suffering, he made several attempts to quit drinking and saw doctors, psycfriatrists,

and analysts for his depression. His most successful play during the mid-1920's was Des/re Under the E/ms, which he wrote just after his brother's death. DesrTe received its Broadrvay premiere in 1924. lt proved an immediate and lasting success, and moved O'Neill from the expressionist and theatrical experimental plays of his early career into psychological and characler driven work.

The Middle Years

As O'Neill stopped drinking and tried to accept his losses, he focused intensely on his writing. His plays presented a view of the world influenced by the German nineteenth century

philosopher Friedrich Nietzsche, psychoanalysis, and the ancient Greeks. O'Neill read about

mythologies, ancient cultures, and pre-Pythagorean philosophies. Plays in the late 1920's like

Stnnge lnterlude, Lazarus Laughed, and Dynamo refleoted these interests. ln 1928, Stnnge lntelude won O'Neill his third Pulitzer Prize.

Mourning Secomes E eclra, which O'Neill began in 1929 and finished in 1931 _{, began a tuming}

point in his Miting and his state of mind. Although Mouming Eecomes Elecln was another

play about bereavement, it was the first O'Neill play to end with a character accepting the

permanen@ of foss and surviving. After Mouming Becomes ElecIn, O'Neill experimented with

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religious drama. Days without End was an artistic failure. At the same time, o'Neill's mental

health collapsed. Under his doctois orders, O'Neill stopped writing for six months.

ln 1935, o'Neill began writing again. His project was an epic of lrish immigrant life in America

from the mid-eighteenth _{century through 1931. He planned to write eleven plays and c€lled his}

project, 'A Tale of Possessors, Self-Disposed", which is often refened to as the ,'Cycle,,.

struggling with various illnesses, depression, and an attack of appendicitis, o'Neill worked erratically on the "Cycle" until 1939. But he was in and out of hospitals or sometimes transient. \lVhen he won the Nobel Prize in 1936, it was brought to his hospitat bed. Only one play from

the Cycle, A Touch of the Poet, was finished to the point of being performable. A draft of Morc

Stately Mansions has survived, but most other material from the "Cycle,, was destroyed_

The Late Years

In 1937, O'Neill moved with Carlotta to Dansville, Califomia where he stopped working on the "Cycfe" and wrote his last four plays-The l@man Cometh (1939), tong Day's Journey into

Nght (1940), A Moon for the Misbegotten (1943), and Hughie (1943). For these last plays, he

looked to his life for inspiration. The characters in Long Dals Joumey into A/t7tt represent the

O'Neill family. Only two of thes€ plays were produced in O Neill's lifetime-Ihe tceman Cometh

in 1946 and A Moon for the Misbegoften in 1947 in Columbus, Ohio. After O'Neiil's death in

1956, Carlotta allowed Long Days Journey into Ntght to be produced in Stockholm, Sweden

and then in New York. ONeill won his fourth PuliEer Prize posthumously.

After the breakdown of 1937 _{, O'Neill's heatth gradually dedined. He suffered from a rare,}

hereditary, neurological condition that afiected his motor coordination. As O'Neill's health and

ability to write disintegrated, so did his maniage with Carlotta. There were dreadful fights and

separations. On November 27, 1953, O'Neilt diect alone in a Boston hotel room.

LIST OF MAJOR WORKS

1914

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1 9 1 9

The Moon of the Caibbees, BouN East for Cadiff, ln the Zone, The Long Voyage Home, tte, Where The Cross is Made, The Rope

1920

Beyond the Horizon, The Emreror Jones, Diff rent

1921

Gold, The Straw

1922

The Hairy AcF-, Anna Christie, The First Man

1924

Ail God's Chillun Got Wings, Wekled, The Dreamy Kd, Desire tJnder the EIms

1925

The Fountain

1926

The Great God Brown

1927

Screenplays for The Hairy AN and Desire Under the EIms

1928

Macro Millions, Sfrarge Intedude, Lazarus Laughed

1929

Dynamo

1 9 3 1

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1933

Ah, Wtldemess!

1934

Days Without End

1946

The lceman Cometh

1947

A Moon for the Misbgotten

1956

Long Day's Joumey lnto Night

1959

Hughte

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SYNOPStS

The following synopsis fot Desire tJnder the E/rns reflects the play, as it will be produced at court rheatre and Freedom Theatre. The setting, time period, and intenacial casting of the Cabot family have been adapted for this produdion.

Characters

Ephraim Cabot, tall, gaunt, 75

Simeon Cabot, a son from Ephraim's _{first maniage, plain, robust, and 39 years old}

Peter Cabot, a son from Ephraim's first maniage, plain, robust, and 37 years old

Eben Cabot, a son from Ephraim's secrnd marriage, tall, goodJooking, sinewy. and 2g years

old

Abbie Putnam, Ephraims's new wife, buxom, full of vitality, and 35 years old

Young Girl, Two Farmers, The Fiddler, and other folk from the neighboring farms and of various races

The action of the entire play takes place in, and immediately outside of, the cabot farmnouse in Milner, Georyia in the year 1935. Two enotmous elms are on each side of the housF-. They appear to protect and at the same time subdue. There is a sinisler maternity in theh aspect, a crushing, jealous aDsorpfion. They are like exhauged wonen resting their sagging breasts and

hands and hair on its roof, and when it rains their tears trickle down monotonouslv and rot on

the shingles.

Ephraim Cabot left the farm two months earlier telling his sons he was on a "spiritual joumey.,,

As the play opens, it is the end of a long workday, and Cabofs three sons discuss the

possibility _{of their fatheis retum. Simeon and Peter hope their father will never return slnce}

they are ready to make the farm that they have worked on for years their orvn. They argue over the ownership of the farm with Eben, who believes the farm is his alone. The farm came Into Ephraim's hands through Eben's mother and ownership of the land remains under contention.

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Simeon and Peter object to Eben's accusation against their father. They insist that everyone has slaved over the farm. All three sons wish their father dead. Tired of waiting and doubtful that the farm will ever be theirs, Simeon and Peter dream of a better life in Califomia with its promise of gold and fteedom. Eben leaves to go see Minnie, the village prostitute, who, his

brothers tease him, has entertained his whole family. But Eben, a romantic, claims her as ,,his"

and embarks on his visit with lustful joy.

Just before dawn, Eben retums to the farm. cursing and upset, he wakes up his brothers to tell them that their father has remanied and will soon retum to the farm with his new wife. Simeon and Peter wony that their father will give the farm to his new wife instead of his sons; Eben views the new wife as an insult to his mother and is more determined than ever to regarn

possession _{of the farm. He offers Simeon and Peter $300 each for their shares of the farm.}

Realizing their fathe/s remaniage eliminates their cfances of inheriting the farm, Simeon anct

Peter accept Eben's offer and cease to work on a farm they will never own. Relaxed, and free from the burdens of work, Simeon and Peter drink "likkef'and dream of their lives in Califomia. The also watch Eben, who is proud and excited to be working tlrs farm, struggle alone with the moming chores.

while working, Eben notices his fathe/s buggy coming down the road and announces his fatheis anival. simeon and Peter grab their bags and wish Ephraim and his new bride, Abbie, a rude farewell as they leave for Califomia. While Ephraim watches his older sons leave the

farm, Abbie sedudively introduces herself to Eben. He remains immune (at first) to her charms.

Both Eben and Ephraim are both uneasy by Abbie's constant refenal to the farm as rers.

Two months later on a Sunday aftemoon, Abbie catcfies Eben sneaking ofi to town. She teases him, hinting at his attraction for her. Unsettled and angry by Abbie's suggestion, Eben compares her to Minnie, the town whore-+xcept that Abbie is selling herself to an old man in

order to steal hrs farm. Insulted, Abbie threatens to kick Eben oft herf€,rm and screams at him

to leave. Eben walks away toward town and to a night with Minnie. Hearing the shouting,

Ephraim approaches Abbie. She tells Ephraim that Eben is attracted to her. Ephraim explodes

with anger, threatening to physically harm Eben and to throrv him off the farm. Fearful of her

husband's violence, Abbie regrets her scheming. She tells Ephraim that she wants to bear him

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That evening in bed, Ephraim opens up to Abbie, explaining how the importance of both the farm and hard work tie into his conception of a hard and demanding God. However, Abbie is

distrac;ted and ignores Ephraim's _{speech. Hurt by Abbie's disinterest, Ephraim leaves to sleep}

in the bam with the cows_

with Ephraim _{gone, Abbie rushes to Eben's room. He hears her and opens his bedroom ooor}

when she anives. she kisses him, and although he initially responds to her caresses, he breaks away. Abbie offers herself and her love to Eben, but he rejecls her with insults. Hurt,

Abbie mocks Eben's desire for her and refers to him as the hr'red help. Abbie then dares Eben

to act on his desire, and strengthens the dare by going downstairs to open the parlor which has

been closed off since Eben's mothe/s death. Eben follows her.

In the parlor, the mood changes to one of ghosfly intensity tinged with deep sexual passion.

Both Abbie and Eben belaeve _{the spirit of Eben's mother haunts the parlor. Eben blames}

Ephraim for working his mother to death and breaks down into sobs. Abbie comforts Eben,

empathizing _{with him and his mother. she promises to be a mother and much more to him.}

She kisses him agaln. This time Eben succumbs to his desire and declares his love for Abbie.

He feels his mothefs complicity in has aci and realizes that having an affair with Abbie will prove to be his motheds revenge! The next morning, the lovers separate with kisses and promises. They retum to the normal routine of the farm before Ephraim comes up from the bam. Eben joins his father for work and surprises Ephraim with his cheerful attitude and friendly overtures.

In the spring of the following year, Ephraim has a party to celebrate the birth of Abbie's son. At

the party, Ephraim's neighbors make innuendoes to each other about Abbie and Eben's affair

and about the patemity of the newest Cabot. Eben is boycotting the party, and Abbie can only think of him and struggles to find him. Drunk and happy, Ephraim is oblivious to his neighbors frequent wisecracks and to Abbie's search for Eben. when Abbie goes upstairs to check on the baby, she finds Eben huncfted over the cradte admiring the baby he knows is his son.

Eben tells Abbie that he is uncomfortable allowing his father to have what is his. Abbie

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A half an hour later near the bam, Ephraim stumbles across Eben. He tells Eben to join the

party-all the ladies have been asking for him and its about time he found a wife and a farm of his own. Eben is not interested in his fatheds suggestions-he already is entifled a farm, this farm. Ephraim laughs at Eben's anogance and tells him that he made a deal with Abbie. He

promised to cut Eben out of his inheritance _{and leave the farm to Abbie if she gave him a son.}

Believing Abbie has double-crossed _{him, Eben threatens to kill her and tums toward the}

house. Ephraim knocks Eben to the ground. Abbie finds them fighting and gets between them. Proud of being a worthy opponent to his son and no longer fearful of Eben's threat, Ephraim retums to the party leaving Abbie and Eben alone. Eben accuses Abbie of having stept with him only in order to become pregnant with a son to steal the farm out from under him. Despite Abbie's explanation and much protest, Eben remains convinced of her betrayal and wishes

their son dead. Abbie promises _{to prove to Eben that she doesn't want the farF{ntv him.}

Just before dawn, Abbie rushes to Eben's room and throws herself at him. She explains that they can be together again-there is nothing between them now-the baby is dead-murdered by

his own mother as an expression _{of her love for Eben. Eben is appalled by Abbie's confession_}

He accuses Abbie of stealing ffom him yet again, and leaves to get the sherifi. while Eben is

gone, Abbie tells Ephraim the baby is dead and that he was Eben's son. Now bitterly lonely

and leaming that Eben has already gone for the Sheffi, Ephraim retums to work.

Eben retums to run away with Abbie before the Sheriffs men anive, and Ephraim threatens to kill him if he does not leave. Ephraim then tries to leave for Califomia, releasing the cattle and

abandoning _{the farm. However, Ephraim discovers that his two oldest sons stole his savings.}

He is moored, alone and betrayed, to the land.

lgnoring _{his father, Eben rushes to Abbie and begs her to forgive him. Abbie does, but insists}

on staying to face her punishment- _{Eben tells her that he loves her and that he is going to}

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