Eugene O’Neill was more conscious of language. In his plays, characters make speeches rather than engage in dialogue, and language is layered, slabs of soliloquy are placed upon one another. He presents a critique of language, a profound suspicion of utterance. He offers not only a dramatization of the inadequacy of words to feelings but enacts evidence of the betrayal of truth by words. O’Neill’s characters push language forward as though it could offer them some protection or amusement. In his early plays, we see that O’Neill was very much interested in sailors. This fascination was because of their inarticulateness in which he identified their “silence.” O’Neill’s characters mostly in his last plays are all self-conscious performers. They play roles, which will turn away the pain of the real life. It was O’Neill’s style rather than the content of his plays that was of first importance. This article which is based on a research work is composed of three parts. The writer of this article has carefully studied the language and characters of Eugene O’Neill.

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