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류해근 동아대학교 1999 동아영어영문학 Vol.15 No.-
O'Neill read several books on Chinese poetry and art and James Legge's translation of the Tao Te Ching around 1922 and 1923 while undertaking research for Marco Millions. He also indicated that the mysticism of Lao-Tse and Chuang-Tzu interested him more than any other Oriental writings. In Taoism, he not only found confirmation of his own mystical intuition that a dynamic universal force which is called Tao by Lao-Tse united man and universe but also discovered an encouraging variant of his own dualistic tragic vision as well. Taoism finds the world a constant process of transformation and sees these transformations operating according to the polar opposites yin and yang. The relevance of Marco Millions to the Taoistic thought of Lao-tzu and Chuang-tzu is quite apparent in theme and structure. The central characters subtly demonstrate in their personalities and relationships the reconciling rhythms of the Tao. The Oriental Kukachin, who is feminine, passive, and spiritual, corresponds to the yin principle in Chinese thought. Marco, the personification of the Westers civilization, corresponds to yang, the masculine, rational and active Principle. While Marco's insensitivity blinds him to Kukachin's passion, her love suggests an attraction corresponding to the bonds between yin and yang. The two figures also interpenetrate. Marco remains alive and successful after Kukachin perishes, but Kukachin finds life after death due to love. The prologue subtly underscores the secret unity of the two characters: the soul's immortality was the very thing Marco had promised to prove. Therefore they may be united by larger cosmic cycles. Kublai himself harmonizes opposing tendencies within his own nature. Kublai, called son of Heaven, Lord of the Earth, harmonizes not only these realms but also the masculine rationality and aggressiveness of the West, and the feminine intuition and passivity of the East. In structure there is the Taoistic motif of the return both of Marco and Kukachin.
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이상한 막간극 : 남성과 여성 Male & Female
류해근 동아대학교 인문과학대학 영어영문학과 2001 동아영어영문학 Vol.17 No.-
This is a study on the influences of Taoism on O'Neill's plays. O'neill's mysticism is connected with his idea of the "Force behind life." His mystical nature was nurtured by his selective reading of and developing understanding of Taoism. Therefore Taoism had a great effect on his life and works. In his texts of Taoism, O'Neill not only found confirmation of his own mystical intuition that a dynamic universal force called Tao by Lao Tzu united man and universe but also discovered an encouraging variant of his own dualistic oppositions as ones of complementary polarity, in which the polar principles called yin and yang alternate and interpenetrate in the dynamic rhythm of the Tao. These Taoistic influences permeate almost every aspect of O'Neill's plays: theme, structure, characterization, and setting, etc. O'Neill's use of the female as center in Strange Interlude concurs with Taoist philosophy of femininity. The Taoist feminine is the valley of all things under heaven, the mother of all things, and the source of all life. Therefore Nina draws all males to her like the valley and the low ground that gather water in one place. The image of the feminine as the center of life in this play is Taoistic. And the pattern of return in the sense that all return to the original place is also characteristically Taoistic. Nina returns to Marsden and her childhood garden. In completing the pattern of return to source, this cyclic concept of change and return corresponds with the Taoistic concept of the universe.
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The Iceman Cometh에 나타난 삶과 죽음의 대극성
류해근 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-
O'Neill's mysticism, it seems, is connected with his idea of the "Forces behind life." O'Neill's mystical nature was nurtured by his selective reading of and developing understanding of Taoism. In his search to replace a lost faith, he turned to the mysticism of the East. In particular it was Taoism that fascinated him. Therefore Taoism had a great effect on his life and works. In Taoism, he not only found confirmation of his own mystical intuition that a dynamic universal force which is called Tao by Lao Tzu united man and the universe but also discovered an encouraging variant of his own dualistic tragic vision as well Taoism presents dualistic oppositions as ones of complementary polarity, in which the polar principles-called yin and yang-alternate and interpenetrate in the dynamic rhythm of the Tao. In The Iceman Cometh, O'Neill struggles to harmonize their thematic oppositions between life and death in the same way the Tao reconciles yin and yang. This play structures its larger oppositions in this manner The play begins, for example, in a scene of life though it is minimal. In opening scene, the derelicts in Hope's saloon fall in their pipe dreams and wait for Hickey as a bringer of life. Yet when Hickey arrives and pitilessly divests all of their pipe dreams, it is death that Hickey, "iceman" of the title, brings to them, as all eventually recognize him as the agent of death. Therefore the derelicts shift toward death and only return to life after Hickey's departure. Similarly, life and death alternate and interpenetrate : the illusions, life to them, dominate the first two acts, death in acts three and four, but the conclusion finds the derelicts immersed again in happy illusion except for Larry, who grimly faces the horrid truths about himself revealed by Hickey and Parritt. Larry claims to have discovered serenity through transcendence of illusion, but he realizes that it is the very his illusion due to Parritt's suicide. So he has to lapse into a state of 'living death', staring into both aspects of life until he dies.
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