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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.8
- 수록면
- 169 - 195 (27page)
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This paper is to explore how and what Eugene O’Neill thought on the Afro-Americans in his negro plays: The Dreamy Kid, The Emperor Jones, and All God’s Chillun Got Wings, The Iceman Cometh. A few critics say it has often been overlooked that O’Neill is one of the great white playwrights on the subject of the black Americans. They have estimated O’Neill probed deep into the racial problems and helped the minor group achieve the status of genuine equality in America. But I think O’Neill, generalizing their subordinate situation too simply, sought for the racial problems just from the white people’s eyes, not the black’s. This is the starting point of this paper.
O’Neill’s black characters like Dreamy, Jones, Jim, and Joe are obsessed with the white. The white color is meant to represent their beliefs in the superiority of modern white civilization. Dreamy and Jones attempt to achieve it by means of violence, deception, and machination, and Jim and Joe gain it through assimilating into the white American ways of living, giving up their own identity. However, as their endeavors can’t be accepted by the white society, this leads to failure. Therefore, O’Neill urged to restore the black’s own tradition and integrity. Only after that, they could be the true human beings.
Although O’Neill’s attempts are meaningful, his characterization of the Afro-Americans, nevertheless, focused upon the perspective of the white people. The white characters in other works, such as Beyond the Horizon, or The Hairy Ape, could realize the true humanity from their failure, but the black characters couldn’t. The blacks were forced to obey the dominating society’s rules, and, if not, choose self-exile, or death. They could have no choice but to expect the white people are merciful and kind. O’Neill’s blacks are obviously different from his whites. O’Neill himself exposes the limitations to superficially analyse the Afro-Americans’ identity this way. He doesn’t give a deep insight into the racial problems to us and to the blacks.
O’Neill’s black characters like Dreamy, Jones, Jim, and Joe are obsessed with the white. The white color is meant to represent their beliefs in the superiority of modern white civilization. Dreamy and Jones attempt to achieve it by means of violence, deception, and machination, and Jim and Joe gain it through assimilating into the white American ways of living, giving up their own identity. However, as their endeavors can’t be accepted by the white society, this leads to failure. Therefore, O’Neill urged to restore the black’s own tradition and integrity. Only after that, they could be the true human beings.
Although O’Neill’s attempts are meaningful, his characterization of the Afro-Americans, nevertheless, focused upon the perspective of the white people. The white characters in other works, such as Beyond the Horizon, or The Hairy Ape, could realize the true humanity from their failure, but the black characters couldn’t. The blacks were forced to obey the dominating society’s rules, and, if not, choose self-exile, or death. They could have no choice but to expect the white people are merciful and kind. O’Neill’s blacks are obviously different from his whites. O’Neill himself exposes the limitations to superficially analyse the Afro-Americans’ identity this way. He doesn’t give a deep insight into the racial problems to us and to the blacks.
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