Going Down: Maksim Gor&soft;kij's The Lower Depths and Eugene O'Neill
Barry P.
Scherr
Ever since Helen Muchnic's pioneering 1951 article, critics have
acknowledged the influence of The Lower Depths on Eugene
O'Neill's The Iceman Cometh (written in 1939; first
staged in 1946). Further explorations of Gor&soft;kij's importance for
O'Neill, however, have occurred only sporadically and have largely
been confined to comparing specific aspects of these two plays
(cf. Behrendt).
My contention is that Gor&soft;kij's
significance for O'Neill is arguably broader than has been recognized
to date. In the first part of this paper I review O'Neill's specific
references to Gor&soft;kij, noting in particular that O'Neill mentions
The Lower Depths in a letter near the beginning of his
playwriting career and that his acquaintance with Gor&soft;kij's work
may go back even further. Here too I touch (very briefly) on
Gor&soft;kij's comments about O'Neill, whom he knew by reputation by
the early 1920s. Part Two contains a reexamination and an extension of
Muchnic's comparison between the two plays. Her focus was almost
exclusively on character and theme; my discussion also begins with
thematic comparisons and goes into two or three topics not examined by
Muchnic, but then moves on to setting and, especially, to certain
aspects of dramatic structure: Hickey's long monologue (cf. Satin's
speech in Gor&soft;kij), the use of characters who express opposing
ideas but who barely intersect within the plot of the drama, the
tendency for dramatic intrigue, as such, to recede into the
background. In the third and final part I suggest that certain
qualities evident in O'Neill's plays virtually from the start may in
fact stem from his early acquaintance with Gor&soft;kij. I acknowledge
that it is difficult to judge the precise extent of Gor&soft;kij's
influence; for instance, even in The Iceman Cometh, where
both the setting and individual characters seem to owe much to
The Lower Depths, there are likely biographical sources
for many of the figures and, quite certainly, for Harry Hope's
bar. Yet several of O'Neill's plays from his earlier periods also
employ settings in a way reminiscent of Gor&soft;kij, indicating that
the use of a tightly enclosed and low
(in more than one
sense) atmosphere was of importance to O'Neill; similarly, the
dramatic structures of several O'Neill plays recall features of
The Lower Depths and suggest that O'Neill may have
absorbed much from his early reading of Gor&soft;kij.
Muchnic,
Helen. Circe's Swine; Plays by Gor&soft;kij and
O'Neill. Comparative Literature, 3
(1951), no. 2, 119–28.
Behrendt, Patricia
Flanagan. Images of Women and the Burden of Myth: Plagues on
the Houses of Gor&soft;kij and O'Neill. Drama and
Philosophy. Ed. James Redmond. Cambridge: Cambridge University
Press, 1990.