During the interlude, Beckett delivers a sermon that reflects his having come to terms with dying and his ability to do so out of humility rather than glory. Thomas knows that his end has come immediately upon seeing the knights early in the act; there is no suspense. Protagonist The protagonist is Thomas Becket, who represents the church and who resists Temptation. They insist he has betrayed the king on a personal and legal level, and that he is hiding behind a smokescreen in blaming the prince's excommunication on the Pope. In a prose speech, he begs the audience to give him a chance to explain his and the other knights' behavior.
Climax In the course of the play, the climax of the action occurs with the temptation by the four tempters who offer Becket various items ranging from money to unlimited power. After initially accepting both positions, however, Becket immediately dropped the chancellorship. Outcome The play ends in tragedy with the murder of Thomas Becket; thus, the protagonist Becket is overcome by the antagonist the state. The priests insist that he leave and protect himself, but he refuses. The first performance was given on 15 June 1935 in the Chapter House of Canterbury Cathedral. However, they transcend their functional purpose through the poetic intensity of their language. The production then moved to the in London and ran there for several months.
Eliot agreed to do so if Browne once again produced he did. He does not sugar-coat the transcendence offered by martyrdom — the violent murder happens on stage, and the Chorus reflects on how this martyrdom will add more responsibility to Christians in its aftermath. It is the story of Thomas Becket, Archbishop of Canterbury, and his struggles against temptation and personal vanity prior to his murder in the great Cathedral. However, he indicates that their drunkenness was their way of coping with the impending murder, which they personally were not motivated to commit. This second option is more spiritually fulfilling and honest, but requires more struggle.
The play begins with a Chorus singing, foreshadowing the coming violence. They give praise and thanks to God and acknowledge Canterbury as holy ground that will engender more holiness throughout the world. Together, the priests beg Thomas to flee before the knights come back to kill him. Hence, the reader does not find elaborate treatment of these components of the plot. Analysis As a modernist text, the emphasis on the subjective, psychological experience of Beckett is a particularly important aspect of the play. It was directed by the Austrian director with music by the Hungarian composer and won the Grand Prix at the in 1951. What is left is only the ritual of killing and the prayer thereafter.
Beckett is not only struggling to do the right thing, but is conflicted by the motivations behind those right actions, which reflects the modernist struggle to understand how the mind actually works. In a solely Catholic society, the threat of excommunication from the church was devastating, since it meant one no longer had the opportunity to go to heaven after death. They promise to endeavor to follow his lead and they beg proactive forgiveness and mercy as they prepare to do service to his martyrdom through their lives. The Chorus gives a speech as the setting is changed to the cathedral. The knights insist that the interdiction was engineered through Thomas, who could have them absolved.
Eliot utilizes an eyewitness account to recreate the murder of the Archbishop by four of the King's men. In response to the ruling, Beckett began excommunicating members of the English court from the church, an action that ultimately resulted in four knights tracking Beckett down and killing him. In the interlude, Becket gives a sermon to the congregation of Canterbury Cathedral. The chorus again reflects on the coming devastation. They acknowledge they wish to fear and love God more than they fear and love the physical world. But the philosophy is implicit and worth exploring.
Faced with this new context, many artists believed that it was necessary to create art that reflected the complicated reality of the world of the early 20th century. Here, Eliot proposes another way to delineate the Becket story from the political framework in which it was and continues to be frequently considered. The judiciary was split into three courts: those of the King, those of the bishops, and those of the baronage. Immediately, the knights lay out their grievances. He decides that martyrdom—sacrificing his life in devotion to God—is his fate, and refuses to be tempted by other, more earthly pursuits of political power or worldly, secular desires.
The Third Knight provides a different and much longer defense. First Knight: Absolve all those you have excommunicated. They threaten his life, and he promises that he would hold his ground not just to Rome on Earth, but to God in heaven. The knight believes his audience views such behavior as contrary to their interests, since Thomas's refusal to compromise kept the legal system unjust and corrupt. The knights insist he absolve those he has excommunicated and declare his obedience to the King, but Thomas ignores their requests and insists they do with him as they like but leave his people untouched. Leave well alone, Or your goose may be cooked and eaten to the bone. Throughout the act, the chorus continues to foreshadow the violence and offer moral interpretations of the events.
Four tempters soon arrive, each offering advice on what he needs to do with the last one encouraging Beckett to become a martyr for glory, a suggestion that contradicts the actual respectability of giving one's life for a just cause. Though they fail on that front, they do serve as tempters to the audience through their direct address speeches, again showing how important the congregation is to Eliot's intention. He ends the sermon by saying that it may be the last time he stands before the congregation, foreshadowing his martyrdom. I think we've found a body. It is telling that while Eliot wrote Murder in the Cathedral with a powerful, positive message — we all have the opportunity through our rituals to transcend the limits of our physical suffering — he does not sugar-coat it.
Thomas is taken to the Cathedral, where the knights break in and kill him. Beckett soon arrives and reflects on his impending death. Ironically, they find peace in the harshness of winter because that harshness cleanses the world of the violence that comes with the warmth of spring. One of Eliot's most famous dramas is Murder in the Cathedral 1935 , which depicts the final days and murder of Archbishop Thomas Beckett. The play was later made into a black and white film with the same title.