Variations on a Theme: A Study of Exiles by James Joyce and The Great God Brown by Eugene O'Neill

VARIATIONS ON A THEME: A STUDY OF EXILES BY JAMES JOYCE AND THE GREAT GOD BROIPN BY EUGENE O'NEILL. THERE IS A SURPRISING RELATIONSHIP BETWEEN The Great God Brown by Eugene O'Neill (19~5) and Exiles by James Joyce (1914) which bears investigation. An analysis of their themes and plots reveals them to be parallel developments despite their seeming irreconcilability . Their disparity is an illusion based on the conception of each within the framework of a very different philosophic and aesthetic perspective. Joyce's philosophic pO/lition demands the use of the dramatic emotion of stasis and the illuminating technique of "epiphany." O'Neill's position accords with the aesthetic of traditional theater and depends upon ecstasy and catharsis. These are polar positions resulting in the production of two singularly different plays representing significant variations on one theme of overwhelming contemporary pertinence. One of Exiles' concerns is the problem of establishing and maintaining the integrity of the individual. This self-realization depends upon the renunciation of conventional modes of action and thought for a terrible freedom which will permit the individual to commit himself consciously to a desired mode of behavior. Richard Rowan, a writer, returns to Ireland from exile. He is accompanied by his son and his common-law wife, Bertha. He encounters Robert Hand, a former friend and disciple. Hand was previously engaged to Beatrice Justice, the fourth member of this moral cosmos. Upon returning, Bertha is confronted with the fact of Robert 's love for her. He attempts to seduce her, an amusing and flattering act which does not immediately affect her. Bertha informs Richard of this occurrence, but he refuses to counsel her, creating thereby the pivotal tension of the play. Rowan has already fought his moral battles. He has freed himself from conventional thought and dares to act in utter honesty. This act is symbolized by his exile--a voluntary alienation from his home in order to commit himself utterly to art. But Rowan, who cultivates freedom, finds he cannot accept the possibility of Bertha's infidelity. His instincts challenge his principled behavior. Yet, simple as it might be, he cannot check Bertha either. He must extend to her the (174) 1965 VARIATIONS ON A THEME 175 liberty he believes in. It is not freedom for its own sake which Rowan thrusts upon Bertha, but the freedom which allows her to "give herself freely and wholly."l It is his hope that she give herself in this manner to him. But he would rather reject all love than believe that the love and fidelity she offers are not of her own will. This play, then, is also concerned with freedom, but as a corollary to the larger problem of the relation of people to one another and the nature of love. This same relation of man to woman is explored by O'Neill in The Great God Brown. As in Exiles, a major theme is the problem of the honest confrontation of the sexes. Dion Anthony, an artist, returns home from a spiritual exile accompanied by his sons and his wife, Margaret. He encounters Billy Brown, his former friend and disciple. Brown also loves Margaret and attempts to win her from Dion. He also tries to separate Dion from Cybel, an archetypal earth figure. The parallelism of plot ends here, but that relation is superficial compared with the similarity of characterization and theme. We can assume Richard Rowan to be a mature Stephen Dedalus. As such, his name indicates that he incorporates the irreconcilable qualities of a martyred saint and pagan genius2 as does O'Neill's protagonist who is named for Dionysus and Saint Anthony.s In each the pagan element represents pride and creativity while the Christian element indicates martyrdom and spirituality. In both Dion and "Dedalus" Rowan, the pagan element challenges the low level of established religion while the Christian in both these men challenges pagan pride and earthly love. Dion and Rowan manipulate their pagan personality into a cynical veneer which acts to mask their inner torment and to protect them from others and themselves. O'Neill dramatizes this by the use of the mask, while Joyce chooses to...