Cora speaks of Darl's nature as it relates to Addie: "I incessantly said he was the only one of them that had his set out's nature, had any inseparable affection" (Faulkner 1532). Tull speaks of Anse(s reference to the dead Addie as if she were still vivacious and still in charge of the family: (She(ll want to get started slump off . . . Her mind is set on it( (Faulkner 1535). Tull further relates the allegiance to work with keeping the family together, the task which marked Addie(s life:
Worked some(prenominal) sidereal day, rain or shine; never a ditch day since her last chap was born until one day she kind of looked around her and them . . . pulled the covers up and shut her eyes. (You all go out have to look out for pa the best you can,( she said. (I(m tired( (Faulkner 1535).
Faulkner makes it discharge that Addie is what holds the family together. Similarly, O(Neill presents Mary as a
central force in her family. However, one problem in both works is that the mother is incapable of loving their families. They may want to hold the family together, only they do not love their children or husbands. Addie in the Faulkner saucy is not a reassuring presence to her family but is kinda a power in that family, which is quite a contrasting thing. Anse says that he once complained to Addie about the bad luck of their geographical
Both mothers argon utterly disordered because of their inability to show healthy love for their families, though both fail to see this as the truth of their situation. Both besides pay high prices for what they see as their sacrifice for their families(death and madness. Edmund and Darl are the most loving and sensitive of the children, and they are also the to the lowest degree equipped to deal with the world of madness inhabited by their mothers.
In the outset of Long Day's Journey into Night, we find ourselves in the living room of the Tyrone summer home on a morning in 1912. Over the course of the play, O'Neill reveals more than and more about the characters of Mary and James Tyrone and their children, and the family solidarity that seems apparent at the beginning is only an illusion. The viewer can see within a short time that something is violate, for James tells his wife that she must murder care of herself and that it is wonderful to have her back, raising the question of where she has been. several(prenominal) references are made to the foghorn which kept Mary up much of the night, a foghorn that seems as if it were signaling that something is wrong with the Tyrone family and not merely with the weather. The foghorn is a warning, and the audience feels that it has been warned to finder for the fog hanging over this family.
situation, and rather than assuring him, Addie says, (Get up and move, then( (Faulkner 1537).
Addie makes no pretense about the miserable conditions of her family or of life in general, and so she goes through the motions out of a sentiency of duty to her husband and her children. Mary, on th
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