One of the most significant and well-known defence mechanisms in psychology is the notion of regression. This concept is credited to Sigmund Freud. According to him, it is a form of defence that forces the ego to return momentarily or permanently to an earlier stage of development rather than accommodating unwanted desires (1905). The objective of this paper is to examine how Freud and his daughter, Anna Freud, expanded on the definition of regression and its key characteristics. In his plays, Eugene O'Neill frequently uses psychological concepts. His characters are therefore perfect for investigating regression as a defensive strategy. Given that O'Neill is regarded as one of the most significant playwrights of contemporary theatre and is infamous for his sophisticated topics, social narratives, and ostracised characters, it is very simple to apply Freud’s ideas and theories to his plays. Particularly his framework of defence mechanisms. This paper tackles his infamously defiant play “All God's Chillun Got Wings” (1924), which serves as a demonstration of regression's usage and the workings of the human psyche. By the end of the paper, it is evident that O'Neill's employment of Freud's concept of regression serves to amplify the influence of social standards and how it shapes his characters’ conduct in the play. Regression is a crucial instrument in his work in this respect since it enhances the concept of the human psyche as a whole.
Manar M. R. Rayyan (2025) studied this question.