T.S.Eliot Murder in the Cathedral

T. S. Eliots wrap up in the Cathedral tells the story of doubting doubting Thomas Beckett, a man who reigned as Archbishop of Canterbury during the 12th century in England until his dying in 1170. In order to tell Becketts story, Eliot creates a series of equally interesting characters that each play a crucial role prospect the play. The most unique role effect at heart the play is the Wo custody ofCanterbury, or the chorus. Throughout the piece, the let loose delivers seven choral odes. These choral odes, when looked at as a joint work tell a story.They rapin with brief foreshadowing of events that entrust occur later in the play, tho therefore quickly pop into necessary storyline one which summarizes the events of the pasts, and then immerses the audience into the common mans guess of the events in the present. The first choral ode begins with heavy foreshadowing. The Women of Canterbury atomic number 18 displace towards the Cathedral, nevertheless they do non ge t why. At first, in that respect is confusion. They question, Are we drawn by danger? Is it the enjoyledge of safety that that draws our feet towards the Cathedral? As they stumble the cathedral however, they come upon a realization. There is not danger for us, and there is no safety in the cathedral. Some presage of an act, which our eyes ar compelled to profess, has forced our feet towards the cathedral. They recognize that it is not their k nowadaysledge personal danger that draws them closerto the cathedral, barely instead the foreshadowing of a horrifying act in which they volition be forced to bear witness. It will be an act so stern, that safety can not even be found within the purgeed halls of the cathedral.After the period of foreshadowing, themood of the first choral ode drasticallyshifts away from the unforgiving and mysterious presage of an act to a description of the concrete past. The conclusion of the choral ode serves as away to bring the audience up to drive on on the last seven years of Canterburyshistory. While they convey the events of the past, the women of Canterbury bring a constant lurking business organisation for the safety of their Archbishop. A perfect spokesperson of this common theme found within the first choral ode is in the following stanza, in which the Chorus states heptad years and the summer is over,Seven years since the Archbishop left us, He who was always so kind to his people. just now it would not be well if should return. These lines are typical of the first choral ode, for not only do they explain to the audience that the Archbishop Thomas Beckett has been done for(p) for seven years now, but they fear for his well being and for the eudaimonia of Canterbury if he were to return. As the choral ode draws to a close, the Women of Canterbury give off a sense of unavoidable wait. They say Come happy December, who shall observe you, who shall maintain you? Shall the Son of Man be born again in the herd of scorn?For us, the poor, there is no action, But only to wait and to witness They welcome the month of December,but then question how it could possibly be a joyous time. Who would be able to celebrate the Christmas and Advent season with the terrible events that are about to occur? Could Jesus bereborn into such scorn? The Women ofCanterbury know that there is little they can do at this time. They must wait, and then witness the act that they fear. With the commencement of the secondchoral ode, the general mood shifts from confusion and waiting to fear. The Women of Canterbury book been informed that Beckett is returning to Canterbury.Such an announcement stirs great fretfulness amongst them. They fear that their way of life will be disrupted and endangered. They exculpation to a Thomas who has not yet arrived to Return. Quickly. Quietly. Leave us to cease in quiet. You come with applause, you come with jubilant, but You come bringing wipeout into Canterbury A doom on t he house, a doom on yourself, a doom on the world. The women say that though they will be rejoicing on the outside, their deep insides will be dominated by fear, for they regard that his coming will come hand in hand with his own expiry.The idea of fear is the general theme in thesecond choral ode, as it constantly recurs throughout the lines. Later in the choral ode, the women say, We are shitless in a fear which we cannot know, which we cannot face, which none understands. This illustrates thedepth and complexity of the fear which they are facing, for they know not how to neither combat it nor completely comprehend it. twain the people know is that with Thomas comes death upon their home of Canterbury, so the beg him to leave us, leave us, leave us sullen Dover, andset sail for France. The fear of the second choral ode becomes a reality in the third base.The Women of Canterbury know what termination Beckett has made. They tell him, We pee-pee not been happy, my victor, we have not been too happy. We are not ignorant women, we know what we must expect and not expect. By saying this, the Women of Canterbury mean that they understandthe consequences that Thomas has chosen by staying in Canterbury. They know that he will perish if he stays. Then the women begin to despair. They cry, matinee idol gave us always some reason, some hope but now a new terror has soiled us, which none can avert, and, idol is leaving us, God is leaving us, much pang, more pain than brook or death. The Women of Canterbury, who always took faith in the idea the God was protect their Archbishop, commit that Thomas has turned away from the Lords protection by deciding to remain at Canterbury, for not even God could protect him from the ira of what was yet to come. The fourth choral ode that opens up the second act heads in a completely different direction than the blood-and-guts despair of the third choral ode. Instead, this choral ode is more accepting, for the chorus knows that the death of Beckett is coming. Nature is apply throughout this choral ode to foreshadow his death.At one point theWomen of Canterbury say, The starved crow positions in the field, attentiveand in the wood the owl rehearses the hallow note of death. The starved crow that they speak of symbolizes the Four Knights, who arrive in Canterburyshortly after the choral ode is delivered. The owl symbolizes the result of their visit to Canterbury a death, a death that they fear will be brought upon Thomas. Though they have veritable the situation, the Women of Canterbury feel helpless, for all they can do between that moment and Thomass death is wait.Asthere is nothing they can do, they say,We wait, and the time is short, but the waiting is long. As the one-fifth choral ode begins, the helplessness from the fourth choral ode carries over, but this time it is conjugated with an air of guilt. The Women of Canterbury are stuck in an in between zone. They grieve now is too lat e for action, too soon for corrasion. Nothing is possible but the shamed swoon Of those consenting to the last humiliation. I have consented, Lord Archbishop, have consented. The women realize that the wheel is turning and the eternal action leading(p) to Becketts doom is in motion.They are in despair, for it is too late for them to analyze and aid their Archbishop, but too soon for them to seek forgiveness for allowing Beckett to be killed. The attain of their Archbishop is a matter that they are taking personal tariff for, and they view it as a humiliation to them all. Their final cry of I have consented, Lord Archbishop truly isolates and illustrates the immense guilt that they have brought upon themselves. The Women of Canterbury believe that by standing aside and allowing the Knights to threaten Thomas, they have consented to his implementation.All they have left is helplessness, guilt, and like always, waiting. The sixth choral ode is met with a shiftfrom helplessness t o intense distress. Archbishop Thomas Beckett has just been murdered, and the Women of Canterbury feel as if they, along with all of Canterbury, have been stained with their Archbishops blood. The chorus screams Clear the air Clean the sky wake thewind Take the Stone from the stone, take the skin from the arm, Take the muscle from the bone, and flop them. Wash the stone, wash the bone, wash the brain,Wash the soul, wash them wash them As shown, the Women of Canterbury become obsessed with trying to wash themselves clean of Becketts blood. Such lyric confirm that the Women of Canterbury see not only the Four Knights as Thomas Becketts killer, but themselves as well. They feel severe regret, proclaiming We did not wish anything to pass by We understood the private catastrophe, The personal loss, the general misery, Living and partly aliment These lines show that, though they believe that they were a part of the murder, they were unintentionally involved.They did not mean for any illwill to come upon their Archbishop, but through their lack of action, their alert and partly living, they allowed Beckett to face a tragedy, a tragedy that they were completely witting of, alone. The Women of Canterbury abandoned their Lord, and they do notknow how to deal with their despair The final choral ode begins not with despair, but instead with grateful praise to an all powerful God. The whole choral ode reads like one long prayer of praise, thanks, and then contrition to a merciful God. At points,the Women of Canterbury even go as removed as to compare their deceased Archbishop to Jesus Christ.In its beginning, they say, We praise Thee, O God, for Thy glory displayed in all the creatures The Women of Canterbury then go on to on to show their gratitude to God by respectfully praying, We thank Thee for Thy mercies of blood, for Thy redemption by blood. For the blood of Thy martyrs and saints. By these words, the Women of Canterbury are thanking God for redeeming the ir souls with theblood of Thomas, their Archbishop. Through these lines, Eliot is comparingthe murder of Thomas Beckett to the death of Jesus Christ on the cross, saying that both died to save the souls of those around them.Finally, the Woman of Canterbury seek contrition, pleading, Forgive us, O Lord, we be intimate ourselves as type of the common man, of the men and women who shut the door and sit by the fire. On one level, they ask forgiveness for standing by and doing nothing to prevent Becketts death, for they are just common men. If read more deeply however, they return to the Christ like image of Beckett. The common men askfor forgiveness, for like son of a bitch, theysat by the fire and denied their Lord.Just as Peter allowed Christ to die, so the Women of Canterbury allowed Thomas Beckett to die. The seven choral odes in T. S. Eliots Murder in the Cathedral tell the story of the common mans view of the events that occurred during that blackened December of 1170 in Canter bury. Through foreshadowing and interesting use of language, T. S. Eliot crafts the Chorus to be one of, if not the most fascinating character found within the whole play. Their unique perspective on Thomas Becketts murder truly makes Murder in the Cathedral one of the greatest plays of the twentieth Century.