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저널정보: 21세기영어영문학회 영어영문학21 영어영문학21 제19권 제2호

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Death of the Mask: A Moon for the Misbegotten Kim, Sekeun (Chonnam National University) In order to understand Eugene O'Neill as a man and a playwright it is indispensible to clarify the character and symbolism of the mask as he used in his drama. The mask represents the main theme and technical experiments which he tried to express in his plays. In A Moon for the Misbegotten, his last-written paly, the mask is not actually employed but its symbolism plays an essential role in the plot structure and characters' relations. Outwardly the play is a trick game. In fact it becomes an exercise in the unmasking of hidden truth. Jamie and Jocey, the two main characters, masking their true characters, try to trick each other, and neither is ever quite sure what the true intention of the other is. For that matter, neither is quite sure what his/her own intention is. Each pretends to be something different from what he/she really is, and only at the end is the truth revealed. In this process the conflict between the mask and the face becomes the main action of the play. Inwardly it shows a fierce struggle of Jamie the hero, who is desperately kept in despair and guilty-consciousness caused mainly by his Oedipus complex. He is a victim of the Dionysus-Mephistopheles dynamics. His mask shows the influence of the Mephistophelian side of the dynamics. Under the mask he is suffering from his hopeless hope to be freed from the mask. With the plot proceeding in the moonlight Jamie and Jocey find their true faces and realize their love for each other. Jamie's mask is taken off by Jocey who turns from a pretended prostitute to a virgin Earth Mother. But his mask, governed by Mephistopheles, has already changed his face to a mask of death. Jocey tries to free him from death but fails because she, as a virgin, has not any Dionysian life force. Man can be freed from the mask only to death. A Moon for the Misbegotten is O'Neill's final answer to his life-long quest for the root of existence and the significance of life.

Death of the Mask: A Moon for the Misbegotten Kim, Sekeun (Chonnam National University) In order to understand Eugene O'Neill as a man and a playwright it is indispensible to clarify the character and symbolism of the mask as he used in his drama. The mask represents the main theme and technical experiments which he tried to express in his plays. In A Moon for the Misbegotten, his last-written paly, the mask is not actually employed but its symbolism plays an essential role in the plot structure and characters' relations. Outwardly the play is a trick game. In fact it becomes an exercise in the unmasking of hidden truth. Jamie and Jocey, the two main characters, masking their true characters, try to trick each other, and neither is ever quite sure what the true intention of the other is. For that matter, neither is quite sure what his/her own intention is. Each pretends to be something different from what he/she really is, and only at the end is the truth revealed. In this process the conflict between the mask and the face becomes the main action of the play. Inwardly it shows a fierce struggle of Jamie the hero, who is desperately kept in despair and guilty-consciousness caused mainly by his Oedipus complex. He is a victim of the Dionysus-Mephistopheles dynamics. His mask shows the influence of the Mephistophelian side of the dynamics. Under the mask he is suffering from his hopeless hope to be freed from the mask. With the plot proceeding in the moonlight Jamie and Jocey find their true faces and realize their love for each other. Jamie's mask is taken off by Jocey who turns from a pretended prostitute to a virgin Earth Mother. But his mask, governed by Mephistopheles, has already changed his face to a mask of death. Jocey tries to free him from death but fails because she, as a virgin, has not any Dionysian life force. Man can be freed from the mask only to death. A Moon for the Misbegotten is O'Neill's final answer to his life-long quest for the root of existence and the significance of life.

#mask #face #moon #virgin #Dionysus #Mephistopheles #death #hopeless hope #the Force behind

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참고문헌 신청

Berlin, Norman / 1993 / O'Neill's Shakespeare / Ann Arbor: U of Michigan P,

Biedermann, Hans / 1999 / Dictionary of Symbolism / New York: Merridan

Bugelski, B. R / 1998 / An Introduction to the Principles of Psychology / Indianapolis: The Bobbs-Merril

Cargill, Oscar / 1961 / O'Neill and His Plays: Four Decades of Criticism / New York: New York UP

Carpenter, Frederic F / 1964 / Eugene O'Neill / Boston: Twayne

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