Alienation and Identity in O’Neill’s ‘The Hairy Ape’
Eugene O’Neill’s The Hairy Ape (1922): A Play of Alienation
Need for Belonging: Alienation, the sense of not belonging to any group, is a central theme. Yank’s identity is initially tied to being the leader of the ship’s firemen, a position he holds due to his strength and where he feels at home. However, he experiences an identity crisis when Mildred, representing a different social world, perceives him as a “filthy beast.” This illustrates the mirror effect: a sudden questioning of one’s self-perception. This leads to a crisis of self-knowledge, as Yank struggles to understand who he is.
He seeks belonging among the wealthy on Fifth Avenue, but they ignore him. He then turns to the International Workers of the World, but is rejected due to his violent nature and suspected status as a spy. Feeling alienated, he declares, “I’m guilty of being born,” expressing a sense of existentialism and feeling like an alien. This theme of the need for belonging remains relevant today. The play’s ending, however, leaves the possibility open: “And, perhaps, the Hairy Ape at last belongs.”
Does Mildred truly belong to the upper class? Her descent into the lower depths may stem from curiosity or a search for her own identity. However, she fears full involvement and may lack the vitality to truly connect. Her presence might even worsen the feelings of the working class.
Social and Political Commentary
The Hairy Ape is a social drama addressing political issues and the need for social change. It delivers a political and social message about the impact of the industrial revolution on workers in the early 20th century (1922). The play denounces the harsh conditions faced by the working class, depicting human beings as animals. The industrial revolution dehumanizes society, leading to a loss of harmony with nature, as lamented by Paddy. The poor are portrayed as gorillas or apes, while the rich are depicted as marionettes, devoid of feelings and artificial. The irony lies in the fact that in an industrial and advanced society, people are forced to work like animals. Some characters advocate for revolution and class struggle, reflecting Marxist ideals (Long’s socialist message).
Illusion vs. Reality
The play primarily focuses on a male character who harbors the illusion of belonging, while in reality, he remains isolated.
Characters
- Yank (also known as Yankee or Hans, and Robert Smith in reality): His multiple names highlight identity issues. He undergoes a symbolic transformation, losing physical power while embarking on a spiritual quest to discover his true self. He left home at a young age due to parental conflict.
- Long: His name symbolizes longing for socialism, class struggle, and a better world for workers. He is idealistic and peaceful. Yank rejects Long’s message, viewing him as a man of words rather than action.
- Paddy: Represents the past, a time of harmony with nature. He is the wise old character, nostalgic for a different way of life.
- Mildred: Not a flat character; she desires to help but fears full involvement and changing her social status.
- Mildred’s Aunt: A flat character who embodies the upper class and refuses to associate with the working class.
Formal Devices
- Setting: A clear separation exists between the stockyard (where workers live and work) and the deck (where upper-class individuals and officers reside).
- Integration of Polarities: A modernist feature where a character from the upper class ventures into the lower class, leading to the story’s climax. Similar polarities are seen in Yank’s character development. He begins as physically strong, but his quest for identity leads to a diminished physical role and a greater emphasis on his spiritual journey.
- Irony: Gorillas are not expected to think, highlighting the integration of animalistic and rational elements.
- Dualities in Setting: Natural light on the deck contrasts with the darkness and fire in the stockyard. The millionaires and the International Workers of the World represent contrasting social classes, even in terms of their visual representation.
The play lacks traditional acts, breaking with conventional patterns, which is characteristic of modernist drama. Instead, it consists of eight scenes, reflecting an experimental approach to theatre.
The stage directions are significant, depicting men unable to stand upright, resembling gorillas. This expressionism exaggerates and distorts reality to symbolically convey the play’s themes and feelings.
Symbols
- Cage: Represents oppression and confinement. The stockyard is also described as a cage and a prison, hot like hell.
- Steel: Linked to the cage, the industrial revolution, and the company that owns the ship. It symbolizes industrialization, oppression, and technology, trapping both individuals and gorillas.
The language is exaggerated, with gorillas in the stockyard and marionettes on Fifth Avenue. Yank uses sexual language when talking about the ship: “Let her have it!” The language is colloquial, using slang and taboo words to represent the speech of different classes. A common modernist feature is the use of unfinished and fragmented sentences.
Is the play a classical tragedy? While the ending is tragic, the story itself deviates from classical tragedy. Yank’s flaw is his lack of self-knowledge. However, as a modernist work, it lacks a traditional hero facing moral issues. The rapid pace and lack of character development further distinguish it from classical tragedy. Even the subtitle, The Hairy Ape: a Comedy of Ancient and Modern Life, suggests O’Neill’s playful approach, making it difficult to categorize the play in a classical way.