In O’Neill’s masterpiece, Long Day’s Journey into Night, Mary Tyrone insists, ‘‘None of us can help the things life has done to us. They’re done before you realize it, and. . . . they make you do other things until at last everything comes between you and what you’d like to be, and you’ve lost your true self forever.’’ Like Long Day’s Journey into Night, Anna Christie focuses on the search for identity. But, unlike those in the Tyrone family, Anna Christie is able to discover a new sense of self through her contact with the sea and through a loving relationship.
Appearances and Reality
Closely related to the theme of identity in the play is that of appearances versus reality. Both Chris and Anna, at times, appear to be what they are not. Even though when Anna walks into Johnny-The-Priest’s, ‘‘plainly showing all the outward evidences of belonging to the world’s oldest profession,’’ she appears to her father as the innocent child he left behind in Sweden. Mat initially thinks she is Chris’s woman, as is apparent when he asks her, ‘‘What would [a lady] be doing on this bloody hulk?’’ He soon, however, decides that he is not fit ‘‘to be kissing the shoe-soles of a fine, decent girl’’ like her. When Anna is honest with Chris and Mat about her past, Chris refuses to hear, telling her, ‘‘Don’t talk dat vay, Anna! Ay go crazy! Ay von’t listen!’’ Mat, however, immediately accepts what she is saying, and he reacts by rejecting her.
Chris refuses to consider the reality of Anna’s past because he loves her and because he is unable to face his role in her descent into prostitution. He admits that he has not been the perfect father to Anna, but he will...
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