Orientalism, for Eugene O`Neil, is the most important and distinctive aspect of his art. He did considerable reading in Oriental philosophy and religion, and Terry Carline, mentor preaching a philosophy combining Nietzsche with the wisdom of the East, introduced Light on the Path to him, which enabled him to develop the wisdom and the mysticism of orientalism and the transcendental philosophy. In his search to replace a lost faith, Catholicism, he tried "the mysticism of the East". It was China and Lao Tse and Chuang Tse that fascinated him first. In 1937 he built a mansion and named it "Tao House". It was his final home and harbor. His Oriental backgrounds are Buddhism, Hinduism, Taoism, and Confucianism. The world of his tragedies is that of mysticism based on these Oriental thoughts and religions. The relevance of Marco Millions to Taoist thought is quite apparent in the play`s theme and structure. Dramatically, the Eastern philosophy of calm intuition and mysticism is contrasted with Western assertive action and rational practicality. He contrasted either the simplicity and the beauty of man`s natural instincts with the artificial materialism of his society. He contrasted, also, serene spiritualism of the East and the destructive materialism of the West. The conflict is epitomized in the love story involving the Occidental Marco Polo, corresponds to yang, the masculine, rational and active principle, and Princess Kukachin, who is feminine, passive, and spiritual, corresponds to the yin The relationship between her and him dramatizes the polarity of the conflict between East and West. The monistic Taoist influence on the play, also, extends to O`Neill`s portrait of Kublai Khan. In his attachment, the Khan violates Taoist precepts urging abstinence from relationship with anything but the Tao. And Chu Yin, the Khan`s advisor remains unperturbed, and consistently maintains the detachment of the Oriental sage. The Taoist connection of life to dream―also a belief of Hinduism and Buddhism―appears in Kukachin`s poetic lament preceding her final departure from Maco. The final scene of the play bring together the Taoist motifs of complementary polarities and life`s illusory nature. O`Neill`s thought on the base of Orientalism is that all men`s hopes are pipe dreams, illusions of Maya, source of all life, and man`s goal is a mystical experience resembling that of Nirvana, the discovery of meaning through the transcendence of all hopes and self illusions. In reality, O`Neill, through Marco Millions, suggests a vision to our life, a harmony united by larger cosmic cycles, between East and West, yin and yang, materialism and mysticism, change of phenomena and preservation of essence, practical experience and intuitive wisdom.