O'Neill, Eugene: 1888-1953

Ah, Wilderness!, 1933 - Information about the Book

  • General Information
    • "Ah, Wilderness!" was first presented on Broadway at The Guild Theatre in New York City on October 2, 1933.
    • The play is about family, respect, and the growing pains of adolescence.
    • Information from Wikipedia
    • Information from StageAgent
    • Information from Britannica

    • O’Neill described "Ah, Wilderness!" as “the other side of the coin,” imagining the loving, supportive family he wished he had grown up in. The Miller family represents a stark contrast to O’Neill’s own dysfunctional household, which was marked by his father’s self-absorption, his mother’s morphine addiction, and his brother’s struggles with alcoholism and guilt.

      The protagonist, Richard Miller, shares some traits with the young O’Neill, such as an interest in radical literature and adolescent idealism. However, O’Neill distanced himself from Richard’s character, stating that the play was not autobiographical in the traditional sense. Instead, it reflects an idealized version of adolescence and family life that O’Neill never experienced.

      The play’s 1906 New England setting draws on O’Neill’s memories of summers in New London, Connecticut. However, instead of reflecting the turmoil of his own youth, it presents an idealized vision of small-town America during an innocent era.

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  • Title
    • O’Neill’s title comes from one of his favorite poems, The Rubáiyát of Omar Khayyám. Omar Khayyám’s lines, and the 11th–12th century Persian writer’s body of work as a whole, reflects O’Neill’s desire to mourn the loss of an innocent and fragile time but also to celebrate the joyful nature of life’s sensual pleasures combined with romantic love. O’Neill derived the title Ah, Wilderness! from the following quatrain, translated by Edward Fitzgerald:

      Quatrain XII
      A Book of Verses underneath the Bough,
      A Jug of Wine, a Loaf of Bread—and Thou
      Beside me singing in the Wilderness—
      Oh, Wilderness were Paradise enow!

  • Facts
    • Awards: Though the play didn't receive any major awards during its initial run, it has since become a beloved classic of American theater.

    • Coming-of-Age
      The central plot revolves around 16-year-old Richard Miller's journey into adulthood and first experiences with love, literature, alcohol, and rebellion against his family's values. This mirrors O'Neill's own turbulent youth and desire to break free from convention.

      Nostalgia and Idealization
      "Ah, Wilderness!" represents O'Neill's nostalgic reimagining and idealization of his own childhood and family life. The play depicts the happy, middle-class Miller family that O'Neill wished he had had.

      Alcohol and Societal Attitudes
      The play explores contemporary attitudes towards alcohol consumption, portraying Richard's drunken escapades and his uncle Sid's alcoholism. This reflected the era's discourse around Prohibition and alcoholism's devastating effects.

      Autobiographical Elements
      While not strictly autobiographical, the play contains many parallels to O'Neill's life - the New England setting, a literature-loving adolescent protagonist, an alcoholic uncle, and a turbulent family dynamic. O'Neill drew inspiration from his childhood home in New London and his relationships with his brother and father.

      In essence, "Ah, Wilderness!" allowed O'Neill to nostalgically revisit his youth through a comedic, idealized lens while commenting on societal issues of the time.

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    • "Ah, Wilderness!" is often highlighted for being unique in O'Neill's repertoire due to its lighthearted and nostalgic tone.

      When it premiered, it received positive reviews for its charm and deviation from O'Neill's usual somber themes. It was praised for its humor, warmth, and the affectionate portrayal of family life.

      Over the decades, "Ah, Wilderness!" has continued to be well-received by audiences and remains a favorite in O'Neill's body of work. It is frequently performed in theaters and appreciated for its timeless appeal and relatability.

      In summary, "Ah, Wilderness!" is generally perceived as a refreshing and delightful departure from Eugene O'Neill's more intense dramas, celebrated for its nostalgic and heartwarming depiction of early 20th-century American family life.

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  • Commentary
    • Eugene O’Neill’s "Ah, Wilderness!" is a nostalgic comedy that contrasts sharply with the darker themes of his other works. Set in a small New England town during the Fourth of July in 1906, the play portrays an idealized version of family life through the Miller household. The protagonist, Richard Miller, is a precocious teenager navigating romantic troubles and rebelling against societal norms through his avant-garde readings and idealistic views.

      The plot follows Richard’s romantic misadventures, including his heartbreak over Muriel McComber and a misguided attempt to seek solace with a more worldly woman. Ultimately, familial love and guidance help him reconcile his youthful rebellion with the values of his supportive family.

      Often seen as O’Neill’s “wish-fulfillment fantasy,” the play reflects his longing for a harmonious family life he never experienced. Despite its sentimental tone, it subtly explores themes like generational conflict, morality, and societal expectations. Ah, Wilderness! remains a beloved depiction of early 20th-century middle-class America.

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  • Reviews
    • Review of "Ah, Wilderness!" and "Days without End": "No matter what art form a man employs, it is the quality of his mind that counts for most in the long run, and Mr. O'Neill has not ever shown the sympathetic detachment of the supreme artist." MacGreevy
  • Explanations
    • Analysis with Synopsis and commentary: "Ah, Wilderness! remains one of O’Neill’s most revived plays." Nasrullah Mambrol; October 3, 2020
    • Form and Content: "Strong family ties and patient parental attention help Richard to resist temptation." eNotes
    • Critical Analysis: ""Ah, Wilderness!"" urges us to contemplate our own realities in the face of idealization, thus powerfully answering the question of why the “master of the misbegotten,” America’s most tragic dramatist, would write a comedy essentially romanticizing middle-class America." Literary Theory and Criticism; October 3, 2020