[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-56446-en":3,"doc-seo-56446-105":30,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":13,"seo_description":14,"update_tm":28,"read_time":29},56446,1099514067415,"Rowan","https://ap-avatar.wpscdn.com/avatar/100002539d78ffe74a7?x-image-process=image/resize,m_fixed,w_180,h_180&k=1779092875211072502",2,"Literature","The Iceman Cometh Eugene O'Neill Yale University Press","Scholarly front matter and critical foreword for Eugene O’Neill’s play The Iceman Cometh, published by Yale University Press with a foreword by Harold Bloom. The text provides publication and copyright information, publication offices and production notes, and bibliographic identifiers such as ISBN-13 and Library of Congress control number. It then begins Bloom’s critical discussion of O’Neill’s artistic ancestry, influences, and his uniquely “American” position in U.S. drama, contrasting him with major American literary traditions.","The Iceman Cometh  \nThe Iceman Cometh  \nEugene O’Neill  \nWith a Foreword by Harold Bloom  \nYALE NOTA BENE  \nYale University Press New Haven and London  \nFirst published as a Yale Nota Bene book in 2006.  \nCopyright © as an unpublished work by Eugene O’Neill 1940; copyright © renewed by Carlotta Monterey O’Neill 1967.  \nCopyright © 1946 by Eugene O’Neill.  \nCopyright © renewed 1974 by Oona O’Neill Chaplin.  \nForeword copyright © 1987 by Harold Bloom. Foreword originally published in a slightly different version by Chelsea House in its Modern Critical  \nInterpretation Series. Foreword reprinted with permission of Chelsea House Publishers, an imprint of Infobase Publishing.  \nAll rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by  \nSections 107 and 108 of the U. S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.  \nFor information about this and other Yale University Press publications, please contact:  \n[U.S. office](U.S. office) [sales.press@yale.edu](sales.press@yale.edu)  \nEurope office [sales@yaleup.co.uk](sales@yaleup.co.uk)  \nSet in Garamond type by Tseng Information Systems.  \nPrinted in the United States of America.  \nLibrary of Congress Control Number: 2006903367 ISBN-13: 978-0-300-11743-1 (pbk.)  \nISBN-10: 0-300-11743-4 (pbk.)  \nA catalogue record for this book is available from the British Library.  \n10 9 8 7 6 5 4 3 2 1  \nCAUTION: Professionals and amateurs are hereby warned that The Iceman Cometh, being fully protected under the copyright laws of the United States of America, the British Commonwealth, including Canada, and all other countries of the copyright union, is subject to royalties. All rights, including professional and amateur performance, motion picture, recitation, public reading, radio broadcasting, and the rights of translation into foreign languages are strictly reserved. All inquiries regarding production rights to this play should be addressed to William Morris Agency, Inc., 1325 Avenue of the Americas, New York, NY 10019, Attn. Samuel Liff. All other inquiries should be addressed to Yale University, Office of the General Counsel, P.O. Box 208255, New Haven, CT 06520-8255, or to Herbert P. Jacoby, Lacher & Lovell Taylor, 750 Lexington Ave., New York, NY 10022.  \nForeword  \nHAROLD BLOOM  \nI  \nIt is an inevitable oddity that the principal American dramatist to date should have no American precursors. Eugene O’Neill ’s art as a playwright owes most to Strindberg’s, and something crucial, though rather less, to Ibsen’s. Intellectually, O’Neill ’s ancestry also has little to do with American tradition, with Emerson or William James or any other of our cultural speculators. Schopenhauer, Nietzsche, and Freud formed O’Neill ’s sense of what little was possible for any of us. Even where American literary tradition was strongest, in the novel and poetry, it did not much affect O’Neill. His novelists were Zola and Conrad; his poets were Dante Gabriel Rossetti and Swinburne. Overwhelmingly an Irish American, with his Jansenist Catholicism transformed into anger at God, he had little active interest in the greatest American writer, Whitman, though his spiritual darkness has a curious, antithetical relation to Whitman’s overt analysis of our national character.  \nYet O’Neill, despite his many limitations, is the most American of our handful of dramatists who matter most: Williams, Miller, Wilder, Albee, Kushner, perhaps Mamet and Shepard. A national quality that is literary, yet has no clear relation to our domestic literary traditions, is nearly always present in O’Neill ’s strongest works. We can recognize Hawthorne in Henry James, and Whitman (however repressed) in T. S. Eliot, while the relation of Hemingway and Faulkner to Mark Twain is just as evident as their debt to Conrad. Besides the question of his genre (since there was no vital American drama before O","cbCaiiBk4tvdkk0d","https://ap.wps.com/l/cbCaiiBk4tvdkk0d","pdf",866055,4,1,196,"English","en",105,"# Foreword\n## Harold Bloom’s critical introduction","[{\"question\":\"Who wrote the foreword for The Iceman Cometh in this Yale Nota Bene edition?\",\"answer\":\"Harold Bloom wrote the foreword.\"},{\"question\":\"What does the foreword discuss about Eugene O’Neill’s influences?\",\"answer\":\"It emphasizes that O’Neill’s dramatic art draws heavily from European predecessors such as Strindberg and Ibsen, shaped further by thinkers like Schopenhauer, Nietzsche, and Freud.\"},{\"question\":\"Which bibliographic identifiers are provided in the document text?\",\"answer\":\"The text includes the Library of Congress Control Number and ISBN-13/ISBN-10 details for the edition.\"}]",1783892807,302,{"code":4,"msg":31,"data":32},"ok",{"site_id":25,"language":24,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":85,"head_meta":87,"extra_data":89,"updated_unix":28},"the-iceman-cometh-eugene-oneill-yale-university-press","",{"@graph":36,"@context":84},[37,52,67],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,47,50],{"item":41,"name":42,"@type":43,"position":21},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":11},"https://docshare.wps.com/document/","Document",{"item":48,"name":12,"@type":43,"position":49},"https://docshare.wps.com/document/literature/",3,{"item":51,"name":13,"@type":43,"position":20},"https://docshare.wps.com/document/the-iceman-cometh-eugene-oneill-yale-university-press/56446/",{"url":51,"name":13,"@type":53,"author":54,"headline":13,"publisher":56,"fileFormat":59,"inLanguage":24,"description":14,"dateModified":60,"datePublished":61,"encodingFormat":59,"isAccessibleForFree":62,"interactionStatistic":63},"DigitalDocument",{"name":9,"@type":55},"Person",{"url":41,"name":57,"@type":58},"DocShare","Organization","application/pdf","2026-07-22","2026-07-12",true,{"@type":64,"interactionType":65,"userInteractionCount":20},"InteractionCounter",{"@type":66},"ViewAction",{"@type":68,"mainEntity":69},"FAQPage",[70,76,80],{"name":71,"@type":72,"acceptedAnswer":73},"Who wrote the foreword for The Iceman Cometh in this Yale Nota Bene edition?","Question",{"text":74,"@type":75},"Harold Bloom wrote the foreword.","Answer",{"name":77,"@type":72,"acceptedAnswer":78},"What does the foreword discuss about Eugene O’Neill’s influences?",{"text":79,"@type":75},"It emphasizes that O’Neill’s dramatic art draws heavily from European predecessors such as Strindberg and Ibsen, shaped further by thinkers like Schopenhauer, Nietzsche, and Freud.",{"name":81,"@type":72,"acceptedAnswer":82},"Which bibliographic identifiers are provided in the document text?",{"text":83,"@type":75},"The text includes the Library of Congress Control Number and ISBN-13/ISBN-10 details for the edition.","https://schema.org",{"og:url":51,"og:type":86,"og:title":13,"og:site_name":57,"og:description":14},"article",{"robots":88,"canonical":51},"index,follow",{"doc_id":7,"site_id":25},{"code":4,"msg":5,"data":91},[92,96,99,103,108,113,118,123,128,131,135],{"id":21,"doc_module":4,"doc_module_name":46,"category_name":93,"show_sort_weight":94,"slug":95},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":97,"slug":98},80,"literature",{"id":20,"doc_module":4,"doc_module_name":46,"category_name":100,"show_sort_weight":101,"slug":102},"Exam",70,"exam",{"id":104,"doc_module":4,"doc_module_name":46,"category_name":105,"show_sort_weight":106,"slug":107},5,"Comic",60,"comic",{"id":109,"doc_module":4,"doc_module_name":46,"category_name":110,"show_sort_weight":111,"slug":112},6,"Technology",50,"technology",{"id":114,"doc_module":4,"doc_module_name":46,"category_name":115,"show_sort_weight":116,"slug":117},7,"Healthcare",40,"healthcare",{"id":119,"doc_module":4,"doc_module_name":46,"category_name":120,"show_sort_weight":121,"slug":122},8,"Research & Report",30,"research-report",{"id":124,"doc_module":4,"doc_module_name":46,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":46,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":46,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":46,"category_name":137,"show_sort_weight":104,"slug":138},19,"General","general"]