When the knights enter the cathedral, they are drunk. Louis in 1888, and died in London in 1965. Third Priest A nameless priest of Canterbury, characterized by his patience. He is a friend from Becket's early, carefree days, and he tempts Thomas with the possibility of relinquishing his responsibilities in favor of a more libertine lifestyle. Only in retrospection, selection, We say, that was the day.
This is a drama written by the poet and Nobel prize winner T S Eliot, concerning the murder of the Archbishop of Canterbury, Thomas Beckett in 1170. But his flight takes him to a crossroads where a street brawl over a right-of-way leaves a stranger and four of his five companions dead. He cares only about the spiritual needs of Canterbury as a whole, and not his material comfort or the fact that the Chorus holds a contrary opinion about his return. Canterbury Cathedral ion 26th of December in 1170 and he was the only eyewitness of the murder of Thomas Becket. I liked that Eliot personified the temptations that Thomas faced: his friendship with Henry, the chance for earthly power, the good of the English church, and the glory of martyrdom. Notably, the First Tempter, like the First Priest p.
They are all shades of himself, the 'self' he needs to repudiate if he is going to accept martyrdom. I don't think that makes any difference at all. Fame through death is the greatest temptation for Becket. The Third Tempter offers a vision of the future in which Thomas will not only rule, but rule via a new system of government. He continually sees the situation of Becket's return as one that can bring trouble for his people and their country. Even though Greek tragedies ended poorly for their heroes, audiences were meant to respond to the bravery with which these heroes accepted their deaths.
Instead, if one is chosen to be a martyr, the gift of martyrdom will find you. The reason that trivial has its meaning is the unimportance of which road Oedipus chooses. Thomas begins to despair at being faced with his deepest, most shameful fantasies. And then there are the laments of the women of the chorus. As the panicked priests beg him to find safety, he responds with words intended to calm their fears, as Christ did with his own fearful followers. Their dialogue is intentionally humorous, a jarring note in an otherwise tragic play.
So we, the audience, the witnesses, are also complicit in this mystical dilemma. I have therefore only to make perfect my will. The chorus sings that they knew this conflict was coming, that it had long been in the fabric of their lives, both temporal and spiritual. The chorus laments: Clean the air! The painter works by selection, combination and emphasis among the elements of the visible world; the musician in the world of sound. But my favorite part of the play was when the 4 knights basically stepped outside the plot breaking the fourth wall to explain to the audience why they needed to murder Becket even though they personally didn't want to. This is something that I will likely revisit.
I love Eliot's poetry, and even spent a semester in college studying it. But Eliot works overtime to keep the play theatrical during this silent climax. Instead, martyrdom can only come to those who don't actually seek it, as with all other. But I still get it! In the history, I mean at the time of the Archbishop Thomas, Church was very powerful and most of the people believed Church more than the King. .
We need both of them, so he wrote such a play, because in those days no one goes to Church. The chorus then goes into a long explanation of why they want Becket to go back to France. I don't have the slightest idea how this could ever be performed as a play however. Then, there are people like me, who see a guy walking down … the street with a stupid smile on their face, and can't help but want to hit the guy across the face with a bludger. As is it, Murder in the Cathedral was hard to visualize, and I spent most of my time being lost in the language rather than the plot.
What matters to Eliot is the community that is affected by Becket's martyrdom, the very community celebrating that martyrdom as they celebrate the death centuries later through Eliot's play. The Bible never takes that liberty. But then, he rose I never liked T. The fourth tempter embodies everything against which the second tempter stands, asserting that true power is spiritual, not temporal, in nature. At the end, play is completely based on the historical event, and also Eliot said himself he read the Edward Grim and than he wrote the play. For those who serve the greater cause may make the cause serve them, Still doing right: and striving with political men May make that cause political, not by what they do But by what they are.
We see a priest--a guardian of the sacred, transcendent, and traditional, servant of a truth not of this world--brutally cut down by the iron hand of secular power and its Machiavellian moral calculations. It is an unattainable ideal: and that is why it interests me, for it provides an incentive towards further experiment and exploration, beyond any goal which there is prospect of attaining. I'm a secular humanist, so I don't feel the same way about the Church of England as Eliot did. Thomas has made up his mind. My biggest problem with Eliot remains how I can't understand a damn thing he's trying to tell me.