40 pages • 1 hour read
Eugene O'NeillA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The eponymous horizon is a significant, recurring motif that informs the central theme of dreams and the choice to pursue or deny them. The light brimming over the rim of the horizon symbolizes both the promise and allure of dreams but also the difficulty in closing the distance between a future dream and the present situation. Rob, in particular, is drawn to the horizon—for him it represents the opportunity, freedom, and adventure that he craves after a sickly childhood spent confined indoors. At the start of the play, Rob describes how he feels drawn to the horizon and his “need of the freedom of great wide spaces, the joy of wandering on and on—in quest of the secret, which is hidden over there, beyond the horizon” (129). However, Rob stays on the farm and never moves any closer to discovering the secret that he imagines is waiting to be discovered beyond the hills. Each act of the play features an outdoors scene in which the horizon is in the background: a constant reminder of Rob’s failure to pursue his dreams.
The light that shines over the edge of the horizon also represents hope. At the start of the play, Andy, Ruth, and Rob are all full of hope for their futures, but the stage directions employ light imagery to foreshadow that the future might not be as prosperous as they imagine: “The horizon hills are still rimmed by a faint line of flame, and the sky above them glows with the crimson flush of the sunset. This fades gradually as the action of the scene progresses” (126). The decisions that the characters make in first act will lead them down a path that takes each of them further and further away from their dreams and their true selves—this is symbolized by the increasingly dimming light and encroaching dark, which makes it difficult for the characters to see the truth of their situation.
When Rob is seriously ill but still believes he can recover, he begins to feverishly hope for a new life with Ruth. Rob imagines this start of this new life like the beginning of a new day: “One kiss—the first in years, isn’t it?—to greet the dawn of a new life together” (179). Insisting on staying up to see the sunrise because he believes it as an “augury of goof fortune” (180), Rob’s mood drops when the sun doesn’t appear, and the stage directions indicate he becomes limp and mournful. Rob complains that all he can see is “the black rim of the damned hills outlined against a creeping greyness” (180). The dark horizon reflects the hopelessness of Rob’s situation and his ultimate failure to reach his dreams.
O’Neill’s depiction of the land and sea, and the relationship between them, forms a motif that characterizes the Mayo brothers. From the outset, Andy is described as being a part of the land. In Act I Rob tells his brother, “You’re wedded to the soil. You’re as much as a product of it as an ear of corn is, or a tree. Father is the same. This farm is his lifework and he’s happy that another Mayo, inspired by the same love will take up the work where he leaves off” (128-29). A love for the land and farming is a trait that Andy has inherited from his father, and it is integral to his sense of identity.
In contrast, Rob’s passions for adventure and literature are less tangible, and he is connected with the sea and its properties of fluidity, movement, and changeability. In Act I, Rob describes how he dreamed of the sea as a child and how it still holds allure for him: “I knew the sea was over beyond those hills—the folks had told me—and I used to wonder what the sea was like, and to try and form a picture of it in my mind. [With a smile.] there was all the mystery in the world to me then about that—far off sea—and there still is” (132). For Rob, the sea holds a magical power and promises the opportunity of travel—Rob’s initial planned voyage offers the prospect to physically fulfil the journeys he has imagined since childhood.
Andy is associated with the element of earth, whereas Rob is connected to water, and each is unable thrive whilst they inhabit the elemental zone of the other. Andy loses his sense of self in the instability and constant flux after years spent at sea, whilst Rob stagnates and wastes away on the land, despite dreaming of adventure across the ocean.
Books and poetry appear throughout the play as symbols of ideas and the power of imagination. As an ill child unable to leave the house, Rob is an avid reader who explores the world via the medium of the written word. The act of reading is a transportive experience for Rob, who is enthralled by “the mystery and spell of the East which lures [him] in the books [he’s] read” (129).
However, the influence of books and reading is not viewed as a positive influence by all the characters. Despite being charmed by Rob’s poetry and romantic descriptions at first, Ruth comes to believe that she was bewitched by Rob’s manipulation of language, which caused her to make the wrong decision and choose him over Andy. Mrs. Atkins shares this view and claims Ruth “was so spelled with Robert’s wild poetry notions she wouldn’t listen to sense” (154). Ruth also sees Rob’s reading as a poor use of his time when he has lots of practical work to be getting on with and tells him, “You think you’re so much better than other folks, with your college education, where you never learned a thing, and always reading your stupid books instead of working” (162). Ruth’s criticism of Rob also touches on how people’s ability to read and enjoy literature is seen as a social and intellectual marker. Ruth’s attack is based on her belief that Rob thinks his literary interests should earn him a more elevated position in society and that he sees himself as more intelligent than those who rely on farm labor. However, Ruth’s belief is never born out in Rob’s behavior and seems more founded on her own insecurities. When Rob questions Ruth about why his reading annoys her so much, she interrupts him and says he must think her “too stupid to understand” the books he reads (158).
Andy is contrasted to Rob in his approach to poetry; he doesn’t enjoy reading or writing, which further emphasizes how he would have made a better match for Ruth. Andy readily admits that he is not a poet like Rob and confesses, “I know I’m no author. You needn’t be afraid of hurting my feelings. I’d rather go through a typhoon again than write a letter” (165). Rob is frequently disappointed by Andy’s letters, partly because they are not very descriptive and therefore fail to conjure up a clear image in his imagination, and partly because the places they describe do not live up to how he envisaged them from reading about them in books. In Act II, Andy fondly tells Rob “Wake up, you old poetry book worm, you!” (167). Although spoken endearingly, Andy highlights that part of Rob’s problem is he spends too long daydreaming or with his head in a book, rather than dealing with problems going on in his real life. Andy patiently accepts this as part of Rob’s personality and appreciates his ability to craft language—but it irritates Ruth who sees reading as a waste of time.
By Eugene O'Neill