Unit - VII : American Drama

Chapter - 8

Murder in the Cathedral - T. S. Eliot

Question- Write a note on the dramatic significance of the Four Tempesters in 'Murder in the Cathedral'.

Or
What do the four tempters represent in 'Murder in the Cathedral?
Or
What role do the tempters play in 'Murder in the Cathedral'?

Answer -

In Murder in the Cathedral', the temptatation scene helps in developing the action of the drama. This is the scene that build up the conflict between Thomas and the Tempters though the play lacks external conflict, but it is not devoid of internal conflict. It is a conflict centred around and within the heart of Thomas Becket. The Tempters are merely the projections of his own mind. As a matter of fact, the temptation episode makes the play a study in gradual progression and enlightenment of the Archbishop Thomas Becket.

The tempters render help to the development of both character and plot. They also enchance the form of the play which can be called a mid creation between the Greek from of drama and the morality plays. Eliot's actors are also characterized by the verse they speak so that there is a marked difference between the lifting cadences of the first Tempter, who tries to lure Becket by the memory of old pleasures, and the blunt less force in the lines of those who tempt by power, either of the chancellership or a new alliance with the barons against the king. The fourth and last Tempter is at the top of a rising scale. For a while the resumption of the role of Chancellership lay almost as remote from Becket's present desires as did worldly pleasures and while a coalition with the barons could stir him only momentarily, the fourth tempter alone is unexpected by Becket and tempts him by his own deepest thoughts. By making the fourth Tempter penetrate the same deep level of understanding, Eliot dramatized Becket's chief peril, the temptation to the proud mind to become so confident in its wisdom that it seeks and takes for granted a martyr's crown as its reward.

When we discuss the role of these Tempters individually we find that the first Tempter reminds Becket of old friendship when the king, the Archbishop and he himself were all friends together and asserts: Friendship should be more than biting time can sever." He hopes that after the reconciliation between the king and the Archbishop, clergy and laity may return to gaiety and mirth. The first Tempter then assures Becket of his loyalty but rebukes him for not following the king. The second Tempter reminds Becket of the previous meetings at Clarendon, at Northampton and montrimrail and asks him to guide the state again as one he did when he was the Chancellor. He tells him that it was his mistake to resign the chancellorship and accept Archbishopry because "Power obtained grows -to glory". His speech too is effectless and does not move away the Archbishop. Now third Tempter tells Becket that England is the lend of Normans. They are Normans while the King is Angevin. Why should an Angevin rule over England? King Henry is fighting at Anyou in France and hence it is the ice time for them to form a coalition to get back Norman's liberty and is the fight for liberty, Church's favour would be an advantage and blessing of pope a powerful protection. So Becket should join hands with the Barons, the French and the Pope in order to and young tyranny of Henry. Becket however, declines to accept this suggestion. When the fourth Tempter enters, he admires Becket's unbending will. And when Becket says that he expected three visitors, not four, he repartees that he always precedes expectation. He has never met him before.

The tempters are in fact only the projection of Becket's mind and the conflict on the level of ritual, and not on the level of strictly dramatic action. The first Temptation is that of life of the senses which he had known in his days of prosperity, eating up the darkness with wit and wire and wisdom. The second temptation is that of temporal power which he had wielded in the past as the Chancellor, for 'power obtained grows to glory' while spiritual power is 'earthly perdition'. But Becket who keeps the keys of heaven and hell will not descend to desire a purier power. The third temptation is the offer of alliance with the English Barons to defeat the king at his own political game-a happy coalition of intelligent interests that would end the tyrannous jurisdiction of the king over the 'Bishop's Court' and 'Barons's Court'. But Becket who had once ruled like an eagle over doves is not prepared to take the shape of a wolf. It is easy to overcome these temptations with which Becket has been familiar but the fourth one is the most formidable of all, for in it lurks the danger of spiritual pride. He is offered the richness of heavenly grandeur through the way of Martyrdom which will prove his superiority over every kind of temporal power. But Becket knows that it is also the way of perdition. He realises that Martyrdom lies in complete self-surrender and he decides that he shall no longer act of suffer, to the sword's and an idea which is reiterated in "Burnt Norton" as release from actions and suffering'. As Becket confesses in the Sermon, The true martyr is the who has become the instrument of God, who has lost his will in the will of God and who longer desire anything for himself, not even the glory of Martyrdom.

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