Mollan, Malcolm “Mal,” (i), (ii)
Molnár, Ferenc, (i)
Monte Cristo, (i), (ii), (iii), (iv), (v), (vi), (vii)n6
Monte Cristo (film adaptation), (i)
Monte Cristo Cottage, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n14
Monterey, Carlotta (third wife): auto accident trial, (i); biographical sketch, (i); Boulton divorce and, (i); at Casa Genotta, (i), (ii); at Château du Plessis, (i), (ii); as custodian of O’Neill papers, (i), (ii); death, (i); diaries by, (i); disdain for Moon for the Misbegotten, (i); early encounters with O’Neill, (i), (ii); embrace of Catholicism, (i); European sojourn, (i), (ii); fondness for opulence, (i), (ii); Hairy Ape role, (i), (ii), (iii), (iv); historical legacy of, (i); Hong Kong trip, (i); hospitalization of, (i); on Ingrid Bergman, (i); Long Day’s Journey publication/production, (i), (ii), (iii), (iv); mental breakdown of, (i); O’Neill affair with, (i), (ii), (iii), (iv); O’Neill death and, (i); O’Neill illness and, (i); O’Neill inscriptions to, (i), (ii), (iii); O’Neill marriage, (i); as O’Neill partner-protector, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x); on O’Neill’s childhood, (i); on O’Neill’s moral philosophy, (i); O’Neill violence towards, (i), (ii), (iii), (iv); personality of, (i), (ii); racial/political prejudices, (i), (ii), (iii), (iv); Ralph Barton suicide and, (i); relationship with O’Neill children, (i)
Moon for the Misbegotten, A (1943), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Moon of the Caribbees, The (1917), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Morehouse, Ward, (i)
More Stately Mansions (1939), (i), (ii), (iii), (iv), (v)
Mourning Becomes Electra (1931), (i), (ii), (iii), (iv), (v), (vi)n114
Movie Man, The (1914), (i), (ii), (iii), (iv), (v), (vi), (vii)n11
Murphy, Brenda, (i)n47
Murphy, Dudley, (i)n242
Nantucket Island (Massachusetts), (i)
Nathan, Adele, (i)
Nathan, George Jean: All God’s Chillun publication, (i), (ii), (iii); “The American Playwright” article on O’Neill, (i); as American Spectator editor, (i); on American theater, (i); Carlotta Monterey and, (i); censorship attempts and, (i); comments on plays, (i), (ii), (iii), (iv), (v); Dynamo letter publication, (i); O’Neill affiliation with, (i); on O’Neill’s personality, (i), (ii); Pulitzer Prize prank, (i); reviews, (i), (ii), (iii), (iv), (v), (vi), (vii)
naturalism, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n5
Neilson, Adelaide, (i)
Nelson, Alice, (i)
New London (Connecticut): Ah, Wilderness! characters from, (i); “Doc” Ganey’s “Second Story Club,” (i), (ii); Driscoll connection to, (i); in Long Day’s Journey, (i), (ii); Maibelle Scott courtship, (i), (ii); “Monte Cristo” sites in, (i)n14; in Mourning, (i), (ii)n114; New London Telegraph, (i), (ii), (iii), (iv), (v), (vi); O’Neill upbringing in, (i); Pink House, (i), (ii); The Straw Lyceum Theatre production, (i), (ii). See also Monte Cristo Cottage
New Orleans (Louisiana), (i)
New York City: censorship attempts in, (i), (ii), (iii), (iv), (v), (vi); Christine Ell’s restaurant, (i), (ii), (iii); Club Gallant, (i); Emperor Jones performances, (i); Ferrer School, (i), (ii); Fourth Street apartment, (i); Garden Hotel, (i), (ii), (iii), (iv), (v)n90, (vi)n216; Great Boer War Spectacle, (i); Greenwich Village, (i), (ii), (iii); Greenwich Village Theatre, (i), (ii), (iii), (iv); Harlem Renaissance, (i); Hudson Dusters, (i), (ii), (iii), (iv); Jimmy the Priest’s, (i), (ii), (iii), (iv); Lincoln Arcade studio, (i); Nani Bailey’s Samovar Café, (i); Neighborhood Playhouse and Comedy Theatre, (i), (ii); Northport (Long Island), (i); O’Connor’s Pub (Working Girls’ Home), (i), (ii); O’Neill “dog down” effect on, (i); Oona O’Neill as young celebrity, (i); Polly’s Café, (i), (ii); Prince George Hotel, (i), (ii), (iii), (iv), (v), (vi); Raines Law, (i); Romany Marie’s restaurant, (i); Sixty Club, (i); Tenderloin district jazz and ragtime, (i); Tucker’s Unique Book Shop, (i), (ii); Warburton Theatre, Yonkers, (i). See also Broadway theater; Hell Hole; Playwrights’ Theatre
Nichols, Dudley, (i), (ii)n137
Nietzsche, Friedrich, (i), (ii), (iii), (iv)
Nobel Prize, (i), (ii), (iii), (iv), (v)
Norton, Louise, (i)
Now I Ask You (1916), (i), (ii), (iii), (iv)
Obituary, The (Commins), (i)
O’Casey, Sean, (i)
Odets, Clifford, (i), (ii), (iii), (iv)
O’Hara, John, (i)
“Old Davil, The” (1920). See “Anna Christie”; Chris Christophersen
O’Neill, Edmund Burke (brother), (i), (ii)n14
O’Neill, Edward (grandfather), (i)
O’Neill, Eugene Gladstone (chronology of life events): death of Edmund, (i); birth and childhood, (i), (ii), (iii), (iv); New London youth, (i), (ii), (iii); Wild West experiences, (i); schooling, (i); Monte Cristo Cottage, (i), (ii), (iii), (iv); Princeton University, (i), (ii); New York-Chicago Supply Company job, (i), (ii); marriage to Kathleen Jenkins, (i); Honduras interlude, (i), (ii); birth of Eugene Jr., (i), (ii); Charles Racine and Buenos Aires, (i); Jimmy the Priest’s, (i); Irish Players performance, (i); suicide attempt, (i), (ii), (iii), (iv), (v), (vi)n117; Monte Cristo acting tour, (i); Kathleen Jenkins divorce, (i), (ii); summer in New London, (i), (ii); Maibelle Scott romance, (i), (ii); New London Telegraph, (i), (ii), (iii), (iv), (v), (vi); tuberculosis, (i); Packard writing binge, (i); Beatrice Ashe romance, (i); Harvard English (i), (ii); Garden Hotel residence, (i), (ii); Hell Hole introduction, (i); Garbage Flat residence, (i); Provincetown arrival/audition, (i), (ii), (iii), (iv)n11; Louise Bryant affair, (i), (ii), (iii), (iv), (v), (vi); Playwrights’ Theatre founding, (i); Provincetown summer of 1917, (i); New York Times O’Neill story, (i); Agnes Boulton romance, (i); Louis Holladay death, (i); Agnes Boulton marriage, (i); Provincetown with Agnes Boulton, (i); Provincetown Playhouse founding, (i), (ii); Peaked Hill Bar, (i), (ii); birth of Shane, (i), (ii); Prohibition, (i); Beyond the Horizon Pulitzer, (i); James O’Neill death, (i); Emperor Jones opening, (i); Ella O’Neill death, (i); “Anna Christie” Pulitzer, (i); meeting with Eugene Jr., (i), (ii); Brook Farm, (i), (ii), (iii); Jim O’Neill death, (i); Experimental Theatre founding, (i); Jig Cook death, (i), (ii); All God’s Chillun opening, (i); Bermuda trip, (i); birth of Oona, (i); eighty-day creative silence, (i); 1926 sobriety commitment, (i), (ii); Carlotta Monterey affair, (i); Agnes Boulton breakup, (i), (ii); European sojourn, (i), (ii); Hong Kong trip, (i); Château du Plessis, (i); return to New York, (i); Sea Island trip, (i); twelve-year seclusion, (i), (ii), (iii); Nobel Prize, (i); hand tremors, (i), (ii), (iii), (iv), (v); Tao House, (i); San Francisco move, (i); return to New York, (i); Marblehead, (i); Eugene Jr. suicide, (i); Carlotta hospitalization, (i); O’Neill will, (i), (ii), (iii), (iv), (v), (vi), (vii); death, (i); Shane suicide, (i)
O’Neill, Eugene III (grandson), (i)
O’Neill, Eugene Jr. (son): at Belgrade Lakes, (i); in Bermuda, (i); Betty Green (first wife), (i), (ii); birth, (i), (ii); at Château du Plessis, (i); distaste for Nazism, (i); inheritance, (i), (ii); Janet Longley (second wife), (i); Long Day’s Journey and, (i); mother’s divorce and, (i); O’Neill regrets and, (i), (ii), (iii); O’Neill relationship with, (i), (ii), (iii), (iv); photograph, (i), (ii); Provincetown visit, (i); Sally Hayward (third wife), (i); suicide, (i), (ii); Tao House visit, (i), (ii); Yale degree, (i)
O’Neill, James (father): acting career, (i), (ii), (iii), (iv), (v)n12; at Before Breakfast, (i); at Beyond the Horizon, (i); birth of Eugene Jr. and, (i), (ii); cancer and related illnesses, (i), (ii), (iii); death, (i); Eugene’s alcoholism and, (i); Eugene’s Pulitzer Prize and, (i); Eugene’s suicide attempt and, (i); Eugene’s tuberculosis and, (i); financial support for Eugene, (i), (ii), (iii); Long Day’s Journey depiction, (i), (ii), (iii), (iv), (v); Monte Cristo tabloid version, (i); New London settlement, (i); photograph, (i), (ii); promotion of The Sniper, (i); regrets over Monte Cristo, (i); reputation among Provincetown Players, (i); upbringi
ng, (i); Wild West affiliates of, (i)
O’Neill, James Jr. (brother): alcohol addiction, (i), (ii), (iii), (iv), (v), (vi), (vii); association with prostitutes, (i), (ii); birth, (i); Christine Ell relationship, (i), (ii); death, (i); death of Ella O’Neill and, (i); depiction in Long Day’s Journey, (i), (ii); depiction in Moon for the Misbegotten, (i); depiction in The Rope, (i); education, (i); expulsion from Fordham, (i); Garden Hotel residence, (i); meeting with Eugene Jr., (i); Monte Cristo tour, (i); photograph, (i); at Provincetown, (i); as tormentor of Eugene, (i)
O’Neill, Mary “Ella” Quinlan (mother): at Beyond the Horizon, (i); biographical sketch, (i), (ii); birth of Shane and, (i); Boulton wedding and, (i); Catholicism and, (i); death, (i), (ii); drug addiction, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); Maibelle Scott and, (i), (ii); mastectomy, (i), (ii), (iii); New London residence, (i)
O’Neill, Oona (daughter): at Belgrade Lakes, (i); at Bermuda, (i), (ii); birth, (i); Boulton divorce and, (i); death, (i); inheritance, (i), (ii), (iii); Long Day’s Journey and, (i); marriage to Charlie Chaplin, (i), (ii), (iii); New York visits, (i); O’Neill relationship with, (i), (ii); Tao House visits, (i), (ii), (iii); as young adult, (i)
O’Neill, Shane (son): All God’s Chillun death threat, (i); at Belgrade Lakes, (i), (ii), (iii); at Bermuda, (i), (ii), (iii); birth, (i), (ii); Boulton divorce and, (i); childhood, (i); Finn Mac Cool death and, (i)n285; inheritance, (i), (ii), (iii); Long Day’s Journey and, (i); New York visits, (i); O’Neill relationship with, (i), (ii), (iii), (iv); photograph, (i); suicide, (i); Tao House visit, (i); in World War II, (i)
O’Neill, Sheila (granddaughter), (i)n285
Osborn, E. W., (i)
Outside, The (Glaspell), (i)
Parker, Dorothy, (i), (ii)
Parker, Robert Allerton, (i)
Personal Equation, The (1915), (i), (ii), (iii), (iv)
philosophical anarchism: Ash Can painters, (i); Beatrice Ashe romance and, (i); Benjamin Tucker influence, (i); Carlin as exponent of, (i); in Emperor Jones, (i); Ferrer School philosophy and, (i), (ii); moral philosophy, (i); opposition to social institutions, (i); satirization of law enforcement, (i); Stirner as important figure, (i), (ii), (iii); vagabond lifestyle and, (i); World War II and, (i). See also class
philosophy (of O’Neill): overview, (i), (ii), (iii); affiliation with the dispossessed, (i); American dream theme and, (i); on American imperialism, (i), (ii); existentialism, (i); Freudian psychology and, (i), (ii), (iii), (iv); on happiness, (i); Hell Hole philosophical discussions, (i); hopeless hope outlook, (i), (ii), (iii); moral philosophy, (i); spiritual struggles, (i); on transcendental freedom, (i). See also philosophical anarchism; radicalism
Pichel, Irving, (i)
Playwrights’ Theatre (New York), (i), (ii)
poetry (by O’Neill): “American Sovereign” (1911), (i), (ii); “And here we sit!,” (i), (ii)n268; “Ballad of the Seamy Side” (1912), (i); “The Bridegroom Weeps!,” (i), (ii), (iii), (iv), (v), (vi)n78; “Fratricide” (1914), (i); “Free” (1912), (i), (ii), (iii), (iv), (v), (vi); “The golden oranges in the patio” (absinthe poem), (i), (ii)n200; Hart Crane and, (i); “I Am A Louse on the Body of Society” (1917), (i); New London Telegraph publications, (i); poems for Beatrice Ashe, (i); poems for Louise Bryant, (i); “Smile on my passionate plea abrupt” (sonnet for Catherine MacKay), (i); “To Alice,” (i); “To a Stolen Moment” (for Jane Caldwell), (i); Zion farm sonnets, (i)
Pollock, Arthur, (i), (ii)
Polo, Harold de, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Powell, Adam Clayton Sr., (i)
Princeton University, (i), (ii), (iii), (iv), (v)
prose writings (by O’Neill): difficulty with expository prose, (i); “Hairy Ape, The” (1917 short story), (i); “The Last Will and Testament of Silverdene Emblem O’Neill,” (i); “Memoranda on Masks,” (i); New London Telegraph journalism, (i), (ii), (iii), (iv), (v), (vi); O’Neill theory of fiction, (i); “The Screenews of War” (1916, short story), (i), (ii), (iii), (iv), (v); S.O.S. (1917, novella), (i), (ii), (iii); “Tomorrow” (1916, short story), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix). See also poetry
prostitutes: at Hell Hole, (i); influence of Jim and, (i), (ii); Kathleen Jenkins divorce and, (i), (ii), (iii)n113; Long Day’s Journey and, (i), (ii); as O’Neill characters, (i), (ii), (iii), (iv), (v), (vi); Princeton experiences with, (i)
Proust, Marcel, (i)
Provincetown (Massachusetts): Barn Theatre Glencairn production, (i); Bound East audition, (i), (ii); Carlotta Monterey disdain for, (i); Cook-Glaspell household, (i); espionage incident, (i); fishing industry in, (i); Francis’s Flats loft residence, (i), (ii), (iii), (iv), (v)n3; Garbage Flat residences, (i), (ii); Happy Home Cottage, (i); Peaked Hill Bar, (i), (ii), (iii), (iv), (v), (vi); summer of 1916, (i), (ii), (iii); summer of 1917, (i); Wharf Theatre, (i), (ii), (iii)n10
Provincetown Players: overview, (i); Bound East production, (i), (ii), (iii); collaborative theater model, (i); disbanding of, (i), (ii); disdain for reviews, (i), (ii), (iii); Emperor Jones production, (i), (ii), (iii), (iv); Experimental Theatre and, (i); first performances, (i); founding of, (i), (ii); Jig Cook role in, (i); O’Neill audition, (i);productions, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)n5; reputation as Freudian theater, (i), (ii); subscription list, (i), (ii), (iii), (iv); views of Louise Bryant, (i)
Provincetown Playhouse (New York City), (i), (ii), (iii), (iv), (v), (vi)n245
psychology (pertaining to O’Neill): antisocial behavior, (i), (ii); Gaylord Farm Sanatorium, (i), (ii), (iii); genius writer reputation, (i); isolation/loneliness feelings, (i), (ii), (iii); life chart, (i); nervous breakdown, (i); psychiatric treatment for alcoholism, (i); psychological abuse by father, (i); psychological realism in theater, (i), (ii), (iii); response to fame, (i); success as overcompensation, (i)
Pulitzer Prize, (i), (ii), (iii), (iv), (v)
Pyne, Mary, (i), (ii), (iii)
Quintero, José, (i), (ii), (iii), (iv)
race: American Indian references in Diff’rent, (i); Black Nationalist response to O’Neill, (i); Dreamy Kid all-black cast, (i), (ii); in Emperor Jones, (i), (ii), (iii), (iv)n116; Iceman black audience ban, (i); mixed-race marriage in All God’s Chillun, (i), (ii), (iii)n127; O’Neill support for black writers, (i); racial characters in American fiction, (i). See also All God’s Chillun Got Wings; Emperor Jones, The; Hairy Ape, The
radicalism: agitprop/propaganda avoidance, (i), (ii), (iii), (iv), (v), (vi); Benjamin Tucker’s Unique Book Shop, (i), (ii); Depression-era political theater, (i); Dorothy Day as activist, (i); FBI O’Neill files, (i), (ii), (iii)nn11–12; Ferrer School, (i), (ii); “Fratricide” poem, (i); Great Labor Strike of 1911, (i); Hairy Ape IWW references, (i); Harvard plays and, (i); O’Neill affiliation with the dispossessed, (i), (ii), (iii), (iv), (v), (vi); O’Neill as radical writer, (i); polite society views of, (i); Provincetown espionage incident, (i); Provincetown radicals, (i); radical Iceman press conference, (i); Reed on political theater, (i); Russian translation of Lazarus, (i); Standard Oil as target of, (i), (ii), (iii); Terry Carlin as roommate, (i); Unabomber connection, (i)nn12; World War II isolationism and, (i). See also class; philosophical anarchism; philosophy
Rauh, Ida, (i), (ii)
realism, (i), (ii), (iii), (iv)
Reamer, Lawrence, (i)
Recklessness (1913), (i)
Reed, Florence, (i)
Reed, John, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii)n47
Reynolds, Mabel, (i)
Rice, Elmer, (i), (ii)
Rippin, Jessica, (i), (ii), (iii), (iv)n62
Robards, Jason Jr., (i), (ii)
Robeson, Paul, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)
Rodin, Auguste, (i)
Rope, The (1918), (i), (ii), (iii)
sailors/sea experiences: Charles Racine square rigger, (i), (ii), (iii); Hairy Ape reviews and, (i); O’
Neill sailor sexuality theories, (i); O’Neill seaman rank, (i); Packard writing binge of 1913, (i); reputed South Africa trip, (i)n75; sailors as O’Neill characters, (i); Smitty character (S. S. Glencairn series), (i); S.S. Ikala tramp steamer, (i), (ii), (iii), (iv), (v); S.S. New York passenger steamer, (i), (ii); S.S. Philadelphia, (i), (ii), (iii); stoker-seaman class division, (i); “Yank” Smith character, (i), (ii), (iii), (iv), (v)
Salinger, J. D., (i)
Samuels, Rae, (i)
Sandy, Sarah, (i), (ii), (iii)
San Francisco (California), (i), (ii), (iii)n229
Saroyan, William, (i), (ii), (iii)
Sayler, Oliver M., (i)
Scott, Maibelle, (i), (ii), (iii)
“Screenews of War, The” (1916, short story), (i), (ii), (iii), (iv), (v)
Seabury, David, (i)
Sea Island (Georgia). See Casa Genotta
“Sea-Mother’s Son, The” (probably 1927, autograph manuscript), (i), (ii)
Seattle (Washington), (i), (ii)
Sergeant, Elizabeth Shepley, (i), (ii), (iii)
Servitude (1914), (i), (ii), (iii)n196
Shakespeare, William, (i), (ii), (iii), (iv)
Shanley, John Patrick, (i)
Shaw, George Bernard, (i), (ii), (iii)
Shay, Frank, (i), (ii)
Sheaffer, Louis, (i)n117, (ii)n143
Sheldon, Edward, (i)
Shell Shock (1918), (i)
Shepard, Sam, (i)
Simon, Neil, (i)
Sinclair, Upton, (i), (ii)
Smith, Joe, (i), (ii), (iii), (iv), (v)
Sniper, The (1915), (i), (ii), (iii)
S.O.S. (novella, 1917), (i), (ii), (iii)
Spook Sonata, The (Strindberg), (i), (ii)
Spring, The (Cook), (i)
St. Aloysius Academy, (i)
Standard Oil, (i), (ii), (iii)
Steffens, Lincoln, (i)
Sterne, Maurice, (i)
Stirner, Max, (i), (ii), (iii), (iv)
Stowe, Harriet Beecher, (i)
Stram, Cynthia. See Chapman, Cynthia
Strange Interlude (1927), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi)
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