Murder in the Cathedral- Summary-Study Guide

Murder in the Cathedral by T.S.Eliot

T.S. ELIOT
Thomas Sterns Eliot is considered one of the most controversial and influential literary personalities of the twentieth century. Eliot was born to a wealthy and respectable family of merchants in St. Louis, Missouri, on September 26, 1888. His grandfather, the Reverend William Greenleaf Eliot, established the first Unitarian Church in St. Louis. He was also a founder of Washington University and became its Chancellor in 1872. T.S. Eliot's father, Henry W. Eliot, was the president of the Hydraulic Press Brick Company. Eliot's mother was a woman of intellectual and literary interests. It is not surprising that Eliot's youth was filled with education, religion, and family closeness.
Eliot entered Harvard University in 1906 and graduated in three years. He received his Master's Degree in his fourth year at Harvard. While in school, he began his literary career by writing poems for the undergraduate literary magazine, "The Harvard Advocate." He also became the editor of the publication. During his undergraduate years, Eliot was deeply interested in literature, religion, and philosophy; he read extensively, especially the literature of the French poets. After graduation, he continued his study of philosophy and French literature. He attended the Sorbonne in Paris and Oxford in England. Although he wrote a dissertation for his Ph.D., he never received the degree.
After completing his studies, Eliot began to write. His first efforts were largely poetic. His early volumes of poetry include "Prufrock and Other Observations" (1917) and "Power" (1919). He started his own magazine, "The Criterion," which was published in London. His famous poem, " The Waste Land" first appeared in this magazine. Written in postwar disillusionment, "The Waste Land" portrayed Eliot's beginning search for his own religious faith. In 1925, he published another volume of poems entitled "The Hollow Man." In 1927, Eliot declared that he was a Catholic in religion, a classicist in literature, and a monarchist in politics.

From 1930 until 1960, Eliot produced a variety of literature. He produced two major poems, "Ash Wednesday" (1930) and "Four Quartets" (1943). The latter one is considered as his masterpiece. His "Selected Essays" was published in 1932. In 1934, he wrote "The Rock" and in 1935, he wrote "Murder in the Cathedral"; both are religious dramas. "The Family Reunion" (1939), "The Cocktail Party" (1959), "The Confidential Clerk" (1955) and "The Elder Statesman" (1959) are his other well-known plays. His essays like "Tradition and Individual Talent" brought him repute as a literary critic.

In 1927, T.S. Eliot became a British citizen. In 1932, he was appointed as the Charles Eliot Norton Professor of Poetry at Harvard. In 1948, Eliot was awarded the Nobel Prize for Literature. He died in 1965. Today, Eliot is one of the eminent poets of the English language.

About Murder in the Cathedral

In 1935, T.S. Eliot, famed poet of modernist despair and convert to the Anglican Church, was commissioned to write a play for Kent's annual Canterbury Festival. There were few explicit restrictions on subject matter.

That Eliot chose to dramatize the death of Thomas Becket in his play Murder in the Cathedral was therefore both totally appropriate and somewhat unexpected. Considering that Eliot was such an innovative writer, his decision to tread the familiar ground of Canterbury's death posed an interesting question about what he would bring to the story.

What Eliot created in the play was a mixture of theology and tragedy. The play is set solely around Canterbury in the days after Thomas returned from seven years of exile in France. Though based around historical record, the play eschews psychology and political interpretations in favor of a more serene and spiritual consideration of the sacrifice of martyrdom. Written to be performed in the actual Canterbury Cathedral, the play is sculpted to mirror the experience of a Catholic mass; Eliot even gives the actor playing Thomas a sermon during the Interlude that he would have preached alone at the pulpit.

The play was a great success at the festival, and soon enough opened in London, after which it toured England. Since that time, Murder in the Cathedral has remained Eliot's arguably best known and most produced play. It has spawned several film and theatrical interpretations and remains an important part of the Thomas Becket myth in the Western world.

CONFLICT

The conflict exists between the King and the Pope; that is between temporal power and spiritual power. Although the King of England and the Pope never appear on the stage, their forces clash throughout the play.

SETTING

The play is set in two locations, the Cathedral of Canterbury and the Archbishop's hall, as they existed in medieval England. The play opens at the point of Becket's arrival in Canterbury, at Christmas time, after seven years of sojourn in France

Character List

Thomas

Thomas Becket is the Archbishop of Canterbury and former Chancellor of England. Historically, he stood up against Henry II's demands that the Church subsume its authority to Henry's secular power, and ultimately died for the cause. In the play, he is represented as an overly proud and sanctimonious man who nevertheless transcends his weakness to accept martyrdom as God's will.

Chorus

The chorus of Murder in the Cathedral comprises the women of Canterbury. Poor, common, and plain, these women have lived a difficult but manageable life since Thomas was sent into exile seven years before the play begins. Though they are Catholic and respect the archbishop, they are also worried that his return will bring them a new level of spiritual burden. The play examines the way they come to accept their spiritual responsibilities through the example of Thomas's martyrdom.

Herald

A messenger who brings word that Thomas Becket has returned to England and will soon arrive in Canterbury. He has a premonition that Thomas's return presages violence.

First Priest

A nameless priest of Canterbury, characterized by his excessive mournfulness and worry. He continually sees the situation of Becket's return as one that can bring trouble for his people and their country.

Second Priest

A nameless priest of Canterbury, characterized by his pragmatism. He examines Becket's return based on its political ramifications and notes how Becket's clash with Henry reflects issues of land ownership and power, rather than spiritual dominion.

Third Priest

A nameless priest of Canterbury, characterized by his patience. Whereas the other priests worry about how Becket's return will change their lives, the Third Priest suggests that, as no human can understand the way the universe works, so should they remain patient and allow God to work his will upon the world.

First Tempter

The first man to tempt Thomas identifies himself as Old Tom. 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.

Second Tempter

The second man to tempt Thomas identifies himself as a political ally from Thomas's days as Chancellor. He tempts Thomas to resume his role as Chancellor, arguing that Thomas could do more good for the poor through secular power than he ever could as a priest.

Third Tempter

Thomas does not know the third tempter, who identifies himself as a simple baron. He tempts Thomas with the possibility of ruling the country via a coalition that would split control between the nominal ruler and the barons.

Fourth Tempter

The Fourth Tempter is unexpected. Using subtle arguments, he tempts Thomas with the possibility of courting martyrdom for the sake of his reputation and glory. His temptation is powerful because it touches on something Thomas has wished in his private moments. By denying this temptation, Thomas prepares himself to accept martyrdom for the right reason.

First Knight

Though none of the four knights is particularly individualized before Becket's murder, the First Knight gives his name as Reginald Fitz Urse afterward when he addresses the audience. He claims he is a not a man of eloquence, and so mostly serves as a narrator during the knights' speeches.

Second Knight

Though none of the four knights is particularly individualized before Becket's murder, the Second Knight is introduced as William de Traci afterward. He presents an emotional argument, asking for pity on the grounds that, though the knights committed the murder, they were "disinterested" and merely did what was necessary for the English people as ordered by their king.

Third Knight

Though none of the four knights is particularly individualized before Becket's murder, the Third Knight is introduced as Hugh de Morville afterward. He presents a long, detailed argument that Becket was guilty of great offenses against the English people, and hence was it legal to murder him.

Fourth Knight

Though none of the four knights is particularly individualized before Becket's murder, the Fourth Knight is introduced as Richard Brito afterward. He presents the most subtle argument, claiming that Becket essentially committed suicide by facilitating his murder, and hence the knights are innocent of the crime.

Henry

King Henry II, though not a speaking character in the play, is a large influence on the action. Historically, he was an impetuous king who wanted to subsume the various factions of English power under the crown; the most contentious of these was the church, led in England by Thomas Becket. The knights arrive in his name, and he is cited frequently by those in the play who try to understand Becket's past and character. The king who is never presented on stage, but whose invisible presence towers over the entire proceedings of the play. He is omnipresent

Pope

Though not a speaking character in the play, Pope Alexander figures prominently. Historically, he was protecting Thomas Becket at the time of this play's action, allowing the archbishop to announce excommunications upon the English church. His protection is one of the many barriers between Thomas and Henry, and it gives Thomas a defense against the knights.

Murder in the Cathedral Summary

Eliot wrote his play for an audience expected to know the historical story of Thomas Becket and King Henry II. For that reason, a brief review of that story, contained in the "About Thomas Becket and King Henry II" section of the Note, will greatly aid comprehension of this summary.
Murder in the Cathedral opens in the Archbishop's Hall on December 2nd, 1170. A Chorus, comprising women of Canterbury, has gathered at the cathedral with some premonition of a terrible event to come. In a long speech, they reflect on how their lives are defined by suffering and reflect on their archbishop, Thomas Becket. He has been in exile from England for seven years, after a terrible clash with King Henry II. The women worry that his return could make their lives more difficult by angering the king.
Three priests enter the hall and also lament Thomas's absence and debate the ramifications of his potential return. A Herald arrives, bringing news that Thomas has indeed returned to England and will soon arrive in Canterbury. The Herald quashes their hopes that Thomas's return indicates reconciliation with Henry and confesses his own concern that violence is soon to follow the archbishop's return.
Once the heralds leave, the priests reflect on Thomas's time as Chancellor of England, when he served as secular administrator under Henry. The Chorus, listening to the priests discuss the matter, confess their disappointment at his return, which they believe will bring them more suffering. They admit their lives are hard but predictable, and they would rather "perish in quiet" than live through the turmoil of new political and spiritual upheaval (180).
The Second Priest insults them and insists they fake happiness to welcome Thomas. However, Thomas enters during this exchange and stresses that the priest is mistaken to chide them, since they have some sense of the difficulty that awaits them. He stresses that all should submit to patience, since none can truly know God's plans or intentions.
A series of tempters enters, one by one, each attempting to compromise Thomas's integrity. The First Tempter reminds Thomas of the libertine ways of his youth and tempts him to relinquish his responsibilities in favor of a more carefree life. The Second Tempter suggests Thomas reclaim the title of Chancellor, since he could do more good for the poor through a powerful political post than he could as a religious figure. The Third Tempter posits a progressive form of government, in which a ruler and barons work together as a "coalition." In effect, he offers Thomas a chance to rule and break new ground in government. Thomas easily rejects all three tempters; after all, they are forms of temptation that he has already rejected in his life.
A Fourth Tempter enters and suggests the idea of martyrdom, which he notes would give Thomas the greatest dominion over his enemies. He would be remembered throughout the ages if he allowed himself to die for the church, while his enemies would be judged and then forgotten by time. Thomas is shaken by this temptation, since it is something he has often entertained in his private moments. He recognizes that to die for pride, which is "the wrong reason," would compromise the integrity of a martyrdom, so he must overcome that impulse if his death is to have meaning.
While he considers the dilemma, all of the characters thus far mentioned (except the Herald) give a long address considering the uncertainty of life. When they finish, Thomas announces that his "way [is] clear" – he will not seek martyrdom from fame, but instead will submit to God's will. He has accepted his fate. Part I ends here.
Between Part I and Part II, Thomas Becket preaches a sermon in an Interlude, in which he restates the lesson he learned at the end of Part I. The Interlude is set in the cathedral on Christmas morning, 1170. In the sermon, Thomas considers the mystery of Christianity, which both mourns and celebrates the fact of Christ's death – Christians mourn the world that made it necessary, while celebrating the sacrifice that enables others to transcend that world. He suggests that the appreciation of martyrs is a smaller version of that mystery, and defines "the true martyr [as] he who has become the instrument of God, who has lost his will in the will of God, not lost it but found it, for he has found freedom in his submission to God" (199). He closes his sermon by admitting he might not preach to this congregation again.
The first scene of Part II is set in the Archbishop's Hall on December 29th, 1170. The terrified Chorus begins with an ominous address, after which four boorish knights enter. They insist they are there on Henry's business from France and demand an audience with Thomas despite attempts by the priests to distract them.
Thomas arrives and is immediately insulted and chided by the knights for what they perceive as disloyalty toward Henry and misuse of the archbishop's position to incite opposition to England. Thomas denies their interpretation of events but also reveals a serenity and readiness to die when necessary. The knights attempt to attack him but are interrupted by the priests. A more specific political argument follows, during which Thomas continues to deny their claims and insults them as overly concerned with petty, political matters. Angry, the knights threaten the priests with death if they let Becket escape, and then the knights leave.
The Chorus gives a brutal, evocative speech, and Thomas comforts them. He acknowledges that by bearing necessary witness to the ritual of his death, their lives will grow more difficult. But he maintains that they can find comfort in recollection on having been here this fateful day.
As the knights approach again, the priests beg Thomas to flee, but he refuses. The knights force him from the hall and into the cathedral, against his protestations. As the scene changes, the women of the Chorus steel themselves for the death soon to follow.
The priests bar the doors, which the knights then begin to besiege. The priests' arguments do not convince Thomas, who accuses them of thinking too much of cause-and-effect, rather than accepting God's plan. Finally, the priests open the door and the knights drunkenly enter. They demand Thomas lift all the excommunications he has put upon English rulers. He refuses, and they murder him. While Thomas is being murdered, the Chorus gives a long, desperate address lamenting the life they will now have to lead in the shadow of Thomas's martyrdom.
After the murder is done, the four knights address the audience directly. They wish to explain themselves and defend their actions. The First Knight admits he has no facility for argument, and so acts as an MC to introduce the other knights. The Second Knight says he understands how the audience and history will hate them, but begs the audience to realize the knights were "disinterested" in the murder; they were merely following orders that were necessary for the good of England (216). The Third Knight presents a long, complex argument suggesting that Becket was guilty of betraying the English people and hence was killed justly. The Fourth Knight suggests that Becket willed his own death by pursing martyrdom for the sake of pride, and hence is guilty of suicide, making the knights not guilty of murder.

Once the knights leave, the priests lament Thomas's death and worry about what the world will become. The Chorus gives the final speech, revealing that they have accepted their duty as Christians. They acknowledge that living up to the sacrifice Thomas made is difficult, but that they will be spiritually richer for undertaking this challenge, and they beg mercy and forgiveness from Thomas and God.

Part I (up to Becket's entrance) Summary

The first part of the play is set in the Archbishop's Hall on December 2nd, 1170. The Chorus – which comprises women of Canterbury, all commoners – enter and stand near the cathedral. They are uncertain what has drawn them to this place, but have a sense that something great and terrible will soon occur. They are extremely pessimistic about their lives and their potential for happiness. They explain that they are accustomed to suffering. In extremely poetic tones, they describe how the landscape has wizened as winter has come: "the land became/brown sharp points of death in a waste of water and mud" (175).
They then reflect on Thomas Becket, their Archbishop. It has been seven years since Thomas left in exile, and since then, they "have suffered various oppression,/ But mostly [they] are left to [their] own devices." They live a life that avoids controversy and conflict, since they are thereby left alone by people in power, even if that life has its share of misery. They are particularly concerned about the impending tragedy that they sense is coming, for it will cause them additional and undue challenges. They speak of spring as "ruinous" and summer as "disastrous." Realizing that God controls destiny and that neither they nor "statesman" can influence it, they resign themselves to simply "wait and to witness" (176-177).
Three priests enter the hall. The First Priest repeats the lament that Thomas has been gone seven years, and the Second Priest wonders aloud whether the religious power of Thomas and the Pope has any impact on the political intrigues that exist between the English King Henry and the French King. The Third Priest speaks harshly of worldly political concerns, since they are motivated by greed and personality rather than by justice. The First Priest worries that the "poor at the gate" (the Chorus) will be left behind in their spiritual lives because of such political chaos (177).
A Herald arrives, bringing news that Thomas has returned to England and will soon arrive in Canterbury. The First Priest hopes his return means he has made peace with Henry, but worries it might also mean impending war. The Herald confirms that Thomas has returned not because of a new peace, but from "pride and sorrow," backed by the French King, the Pope, and the legions of English people who celebrate him in the streets. Though no war has been declared, the Herald remembers Thomas's last words to Henry before his exile – "I leave you as a man/Whom in this life I shall not see again" – and worries this means violence will soon follow his return (178). The Herald then leaves.
The First Priest immediately expresses his worry. He remembers how, when Thomas was Chancellor, he was "flattered by the King" but hated by the barons whose affairs he oversaw. In particular, it was Thomas's excessive virtue that made him both effective as Chancellor and hated by the barons, since that sanctimony left him "always isolated." The Second Priest insists that Thomas will give them political guidance and tell them how they should feel. The Third Priest begs for patience – "let the wheel turn… For who knows the end of good or evil?" (179).
The Chorus, who has listened to this entire exchange, does not wish to be embroiled in these questions. Instead, they wish for Thomas to return to France, since his return means they will be confronted by difficulty. They wish to simply "perish in quiet." They give a long litany of their daily lives, explaining the many challenges, miseries, and difficulties that have confronted them during the past seven years, and still they have gone on "living and partly living" (180). Though it is not a pleasant life, they understand it, whereas the disaster that might follow Thomas's return is beyond their comprehension. They repeat their desire for him to return to France and leave them to an existence of "living and partly living."
The Second Priest insults them for this attitude and asks them to "put on pleasant faces" to greet Thomas, who is soon to return (182).

Part I (after Becket's entrance) Summary

The scene is continuous from the previous section. Thomas Becket enters having heard the priest's admonishment of the Chorus for expressing dread instead of joy over Becket's arrival. He notes that they in fact "speak better than they know," and he lays out an important philosophy for the play:

They know and do not know, what it is to act or suffer.

They know and do not know, that acting is suffering
And suffering is action. Neither does the actor suffer
Nor the patient act. (182)
The Second Priest apologizes for not preparing more adequately for Thomas's return but assures him that they have prepared his former chambers for him. Thomas thanks him but is unconcerned with it. He tells them how he snuck past the barons who would have stopped his return. He begs them to be patient, since he believes greater things will soon occur.
A man, the First Tempter, enters. He identifies himself as Old Tom, one of Becket's former friends, and speaks nostalgically about "the good times" of the past. Mistaking Becket's return as a sign that the Archbishop and King have resolved their argument, he expresses his anticipation for the "gaiety" to come. Thomas quickly disabuses him of the notion, insisting he is no longer a carefree young man. The First Tempter then warns him that such "proud" sternness will cost him greatly and reminds him that "the easy man lives to eat the best dinners" (183-184). In effect, he is tempting Thomas to drop his sternness and responsibilities so as to enjoy an easier, more luxurious life. Thomas remains firm in his refusal of the temptation and the man leaves.
Thomas considers aloud how the man's offer was tempting even though it would have been impossible to accept. The Second Tempter enters and identifies himself as someone Thomas met years before when the latter was still Chancellor. He tempts Thomas by suggesting Thomas "guide the state again," thereby reclaiming his former power and glory (185). When Thomas points out that he is a man of God, the Second Tempter reminds him that the Chancellor is actually more immediately powerful than the King (since he carries out the laws), and Thomas could therefore do good works like "protect the poor" with more expediency than he does as Archbishop. Thomas is angered by the man's insistence that he can have more power (186). Thomas argues that he would lose virtue as Chancellor because of compromises he would have to make with corrupt barons and bishops. He then insists his power is greater as Archbishop, since from that vantage he is placed "to condemn kings, not serve among their servants." Bested, the Second Tempter leaves and Thomas reminds himself that worldly power is inherently limited.
A Third Tempter arrives and claims he is "unexpected," a claim Thomas denies (187). The temper identifies himself as "a country-keeping lord" and "rough straightforward Englishman," more interested in his business than in politics. He tells Thomas that there is no chance of reconciliation with Henry, but that he and other barons will help him overthrow the King. Believing that Becket's connection to Rome will give them legitimacy, he wants to create a coalition with Thomas at its head. However, Thomas easily rejects him, remembering how such "wolves" used to sit at his door constantly when he was Chancellor. The man leaves and Thomas tells himself, "if I break, I must break myself alone" (190).
The Fourth Tempter arrives and is genuinely unexpected by Thomas. He is deliberately mysterious about his identity, saying, "I always precede expectation," and "I do not need a name… You know me, but have never seen my face" (190). When Thomas asks him to speak, the tempter briefly agrees with Thomas's replies to the previous tempters and then suggests that Thomas should die for his beliefs. By becoming a martyr, the Fourth Tempter suggests, Thomas will "bind/King and bishop under [his] heel." The tempter's argument is that the world of "temporal power" is transient and unfixed, whereas the prestige of martyrdom is eternal and all-powerful (191). Thomas admits he has considered this path before, and the tempter reveals that he knows the Archbishop's deepest fears: Thomas is afraid he will not only be hated until his death, but also become irrelevant in the face of history. The tempter reminds Thomas that martyrdom will make his enemies irrelevant in the face of history, and Thomas rebukes him as offering nothing but "dreams to damnation" (193). Thomas begins to despair at being faced with his deepest, most shameful fantasies. The tempter throws his philosophy about "acting" and "suffering" back into his face, repeating the speech almost verbatim.
As Thomas is silent in his pain, the Chorus considers how there is "no rest" to be had in this situation. They feel affected by the uncertainty. The Four Tempters then address the audience in verse, suggesting that "all things are unreal," and that Thomas is doomed, "lost in the wonder of [his] own greatness." The priests address Thomas directly, begging him not to fight against "the intractable/tide" (194).
All the characters except for Thomas then give a long address, with lines alternating between the Chorus, the priests, and the tempters. Together, they consider the uncertainty of life and death and the lack of discernible order to the universe. The Chorus breaks from the shared address and begs Thomas for "some reason, some hope." In a reprise of their "living and partly living" speech, they tell him they have known misery and that they feel "The Lords of Hell" in the air, but beg him, "save us, save us, save yourself that we/may be saved;/Destroy yourself and we are destroyed" (195-196).
Thomas has made up his mind. He announces that the "way [is] clear" and "the meaning plain." He acknowledges the danger of the Fourth Tempter, who begged him "to do the right deed for the wrong reason." He tells how he once sought only pleasure and fame in life and never wanted to devote his life to God. In fact, he always feared that by devoting his life to the highest purpose of God, he might be more inclined to use that power and authority corruptly. He acknowledges that by accepting martyrdom, he might be judged harshly by history, but that nobody can control such things. He announces his decision: he will "no longer act or suffer," and will instead face `his martyrdom not as something he wants, but as something he is willing to accept (196-197). He has accepted his fate.

Interlude--Summary

In the Interlude, the Archbishop preaches in the cathedral on Christmas morning, 1170. He delivers the entire speech, and there are no stage directions. The Interlude begins with a verse from Luke praising God, after which Thomas promises his sermon will be short. He announces that his intention in the sermon will be to explore the "deep meaning and mystery of our masses of Christmas Day." He notes how there is a contradiction in these masses – they exist both to celebrate Christ's birth and to celebrate his death. It is strange, Thomas notes, "for who in the World will both mourn and rejoice at once and for the same reason?" (198).
Thomas wishes to reflect on the meaning of the word "peace." He notes how Christ told his disciples, "My peace I leave with you, my peace I give unto you" (198). By analyzing the context of both Christ and his disciples, Thomas reveals that Christ did not mean the peace of the world, but rather a greater peace. Certainly, he did not mean peace between barons, bishops, and kings in the country of England not yet invented, and considering that the disciples lived lives of misery in service of Christ, it is unlikely Christ meant peace in the sense of worldly comfort free of strife.
Thomas reminds the congregation that the day after Christmas is a day of celebration for Christ's "first martyr, the blessed Stephen." Thomas does not believe this proximity is an accident – rather, he believes that the mystery of Christmas is paralleled on a smaller scale in the celebration of martyrs, since we engage in the contradiction of celebrating death for them. For martyrs, "we mourn, for the sins of the world that has martyred them; we rejoice, that another soul is numbered among the Saints in Heaven, for the glory of God and for the salvation of men" (199).
Thomas then analyzes the concept of martyrdom, insisting that a martyr is not merely one who dies for Christ, since these things can happen by accident and "Saints are not made by accident" (199). Worldly ambition, which can often lead to martyrdom, has no place in heaven. It is a human creation, and therefore martyrs who die through ambition will not reach the full extent of glorious death. Instead, "the true martyr is he who has become the instrument of God, who has lost his will in the will of God, not lost it but found it, for he has found freedom in his submission to God" (199). It is a profound and mysterious concept, Thomas notes, and accounts for the mystery of its celebration.
Thomas closes his sermon by sharing, "I do not think I shall ever preach to you again" (200). He alludes to the potential of his impending death and martyrdom and begs the congregation to remember his words.

Part II --Summary

The first scene of Part II takes place in the Archbishop's Hall on December 29th, 1170. It has been four days since the sermon of the Interlude, and 27 days since Part I. The Chorus of women gives an ominous address about the arrival of deep winter, noting how the winter brings momentary peace from man's aggressive wars: "The world must be cleaned in the winter" (201).
Four knights enter. All four are excitable – they have just come from France with business from King Henry, who was in France at the time of Becket's assassination. The priests recognize the knights and try to distract them with dinner before they bring them to the Archbishop. The knights insist that Thomas appear right away, and the First Priest sends an attendant. Thomas arrives immediately. When he sees the knights, he privately tells the priests that he recognizes "the moment" has come, but that he is embroiled in "matters of other urgency" (203). He tells them where to find his business and then addresses the knights. They insist their audience be private and Thomas dismisses the priests.
Immediately, the knights lay out their grievances. They insist that Thomas remains Henry's "servant, his tool, and his jack," and that he is revealing deep disloyalty. They remind him he was born a simple, middle-class "tradesman's son," a "backstairs brat" whom the King favored but who "broke his oath and betrayed his King" (203). Thomas denies their claims and insists that he remains the King's "most faithful vassal" but that he has a higher master (probably meaning both God and the Pope). They mock him and suggest he is driven less by love of God than by love of himself, derisively pretending they will pray for him.
Thomas stops them to ask whether their business is simply "scolding and blaspheming?" They prepare themselves to deliver the King's message, and Thomas demands that if their message is "by the King's command," then it should be "said in public" so he can "refute them" (204). They move to attack him, but the attempt is interrupted by the entrance of the priests and attendants.
The First Knight lectures Thomas on his ingratitude, suggesting he fled England with the goal of "stirring up trouble" for King Henry with the Pope and Louis, the king of France. The other knights add that even after the King kindly offered him clemency, Thomas remained an antagonist, contesting Henry's desire to crown his son king and causing unrest among some of the King's advisors in England. They ask if he will meet the King to answer these charges, and identify that as their purpose.
Thomas insists he bears Henry no ill-will and has no reason to contest the prince's coronation, but that it was the Pope who excommunicated them. The knights insist that the interdiction was engineered through Thomas, who could have them absolved. Thomas admits he was the impulse behind it, but says he cannot "loose whom the Pope has bound." The First Knight insists Thomas and his servants leave England immediately and Thomas replies that, after being separated from his people for seven years, causing them spiritual pain, he will not leave again. He insists that it is not he with whom they should be angry, but Rome. He calls them "petty politicians" and is openly contemptuous of their cause (206).
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 knights warn the priests that they will be held accountable "with [their] bodies" if they let Thomas escape again before they return, and then they leave. Thomas announces that he is "ready for martyrdom" as they exit (207).
The Chorus gives a brutal, evocative speech in which they claim to have "smelt the death-bringers." They use violent imagery to describe the horror of the world to come and lament that this fate awaits everyone, from "councils of princes" to themselves, the "women of Canterbury." However, they assure the Lord Archbishop that they "have consented" and are prepared (208). Thomas begs them to "be at peace" and acknowledges that their "share of the eternal burden" is to accept things they cannot control. He assures them that their remembrance of this event will stay with them the rest of their lives until the memories "seem unreal. Human kind cannot bear very much reality" (209).
Together, the priests beg Thomas to flee before the knights come back to kill him. Thomas remains calm and insists he is ready and worthy to receive martyrdom. The priests hear the knights approaching and forcefully suggest Thomas fulfill his duty of vespers. When he still denies their request, they force him off stage against his will.
The Chorus gives a speech as the setting is changed to the cathedral. A Latin chant, the Dies Irae, is sung in the background. In their speech, the women emotionally steel themselves for the death soon to follow. In the cathedral, the priests bar the door despite Thomas's insistence that he will not be locked up and have the cathedral turned to a "fortress." The priests argue that the knights are not like men, but like "beasts" who must be kept out. Thomas chides them for arguing "by results, as this world does," which confuses the distinction between good and evil. He insists he has made his decision "out of time" and that he must "conquer… by suffering" (211-212).
The priests open the doors at his command, and the knights, whom Eliot describes as "slightly tipsy," enter. The priests try to force Thomas to the crypt to hide while the knights tauntingly call out to Becket as they search for him. Thomas confronts them and declares he is "without fear... ready to suffer with [his] blood" (213). 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. They begin to chant "traitor" at him, and Thomas reminds the First Knight, Reginald, that he himself has been a traitor to Thomas. The First Knight denies he owes anything to a "renegade" (213). Thomas commends his cause and life to God, and the knights murder him.
As the knights kill him, the Chorus gives an address in which they beg someone "clear the air!" They feel lost and see the return of peace as impossible. They realize that life will grow harder now that they can no longer go on "living and partly living," since now they must bear some of the weight for the miserable world. They now see a life "out of time," but that awareness brings extra responsibility, guilt, and suffering.
When the murder is over, the First Knight – whose name is Reginald Fitz Urse - walks downstage and directly addresses the audience. In a prose speech, he begs the audience to give him a chance to explain his and the other knights' behavior. He stipulates that his English audience believes "in fair play" and will sympathize with "the under dog." However, he equally expects them to allow a "Trial by Jury" in which the knights might defend themselves. Not being an eloquent man, he wishes for the Second Knight – William de Traci – to present their case (215).
The Second Knight presents as their defense the fact that they are personally "perfectly disinterested" in the murder. They do not stand to profit from the murder but instead did it because they "put country first." He apologizes for their boorish behavior earlier, noting that they were all a bit drunk. However, he indicates that their drunkenness was their way of coping with the impending murder, which they personally were not motivated to commit. He points out that they in fact stand to lose something by the murder, since they will have to flee and will be maligned by history, even after the English eventually accept Becket's murder as necessary (215-216). When the Second Knight finishes, the First Knight briefly sums up his "disinterested" argument and then introduces the Third Knight, Hugh de Morville.
The Third Knight provides a different and much longer defense. He believes Becket had committed an offense against his King and the people of England, and therefore the execution was just. He wonders whether Becket should actually be considered the under dog, and suggests he will appeal to his audience's "reason" rather than their "emotions." The first stage of his argument is that the King's aim was always to unite his judiciary so as to engender justice. The judiciary was split into three courts: those of the King, those of the bishops, and those of the baronage. Thomas, as Chancellor, supported this campaign and was in fact named to the Archbishopric specifically for the purpose of uniting those courts. Though he acknowledges that Becket was qualified for the post, the Third Knight attacks Becket for having immediately resigned the Chancellorship and grown "ascetic." With his new attitude, Thomas withdrew from the King's counsel and was no longer interested in compromise. 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. Hence, the Third Knight believes the only problem is with the "method" the knights employed, and not their "issue." In fact, he argues, under other circumstances Thomas might have been found guilty by courts for these offenses and killed by the state, without garnering any controversy. Because the knights have taken the first important step toward securing the interests of the people, they represent the people, and hence all people must be somewhat guilty of the crime if it is called a crime (216-218). The First Knight commends Morville for his subtle reasoning and then introduces the Fourth Knight, whose name is Richard Brito, to provide a final argument.
The Fourth Knight gives the most subtle argument. His argument is that the knights are not guilty of murder because Thomas is guilty of suicide. He briefly repeats a history of Thomas's life, saying that Thomas pursued "unity" and "justice" while he was Chancellor, but "reversed his policy" when he was named Archbishop. Thomas then revealed his primary instinct was "egotism" that grew into an "undoubted mania" that showed no concern for the people of England. The Fourth Knight provides evidence that Thomas had spoken in France of his impending murder in England, which proves that he was "determined upon a death by martyrdom" (218). He points to Thomas's refusal to answer their charges in his final moments as further proof of his guilt in facilitating his own death. Knowing the knights were "inflamed with wrath," Thomas nevertheless had the doors opened instead of letting the knights cool off. For all these reasons, the Fourth Knight asks that the audience "hesitatingly render a verdict of Suicide while of Unsound Mind" (219). The First Knight closes the proceedings and suggests the audience head home without doing anything "that might provoke any public outbreak" (219). The knights leave.
The First Priest laments Thomas's death and fears the "world without God" that he predicts will now come (219). The Third Priest insists that "the Church is stronger for this action," since it will be fortified for having survived the tragedy. He addresses the absent knights, suggesting they will forever justify their actions while God creates a "new state" that is stronger because of its new martyr (220).

The Chorus gives the final speech while a Latin song, the Te Deum, is sung in the background. They give praise and thanks to God and acknowledge Canterbury as holy ground that will engender more holiness throughout the world. In their final stanza, the women ask God to forgive them as weak, representative examples of "the men and women" who "fear of injustice of men less than the justice of God," and who want a comfortable misery rather than a challenging spirituality. They acknowledge they wish to fear and love God more than they fear and love the physical world. They are thankful that "the blood of the martyrs and the agony of the saints" help them to transcend their weakness. They ask God, Christ, and Thomas to have mercy and pray for them.

LITERARY/HISTORICAL INFORMATION
Thomas Becket was born in Cheapside, London in 1118. He was of Norman descent on both sides and was proud of his heritage. He was educated at Mortar Priory, various other schools, and finally, in the School of Theology at Paris. He also learned law and practiced the use of sword and lance, traditional knightly exercises. His study of law helped him in his quarrels with the king. His expertise in the use of the sword and the lance helped him in the campaign of 1159-1160, when he defeated a French knight in a single combat.
In 1141, Theobald, the Archbishop of Canterbury, took Becket into his household. From then on, his rise was rapid. In 1154, he was ordained and appointed the Archdeacon of Canterbury. Henry II gained the throne in the same year, making Becket's future even brighter. Becket became Henry's favorite religious leader. Henry would often entertain Becket, as well as seek his advice. The King also increased Becket's importance. He first appointed Becket to the position of Chancellor. When Theobald died in 1162, Becket was appointed the Archbishop of Canterbury by Henry II.
After 1162, the relationship between Henry and Thomas Becket, both proud and men of strong character, became more and more bitter. Henry wanted to reduce the power of the clergy, and Becket fought fiercely against it. Henry wanted criminal priests to be tried in the civil courts while Becket wanted them to be tried in the ecclesiastical courts. The quarrel went on. In 1164, Henry, in the Constitution of Clarendon, tried to define the relationship between the Church and the State. Becket quibbled, quarreled, made promises he did not intend to keep, and sacrificed his principles to retain his power. To protect himself, Becket fled to France, forfeiting his worldly goods to the Crown.
Becket returned from his exile after seven years. Both the King and Becket tried to enlist the support of the Pope against each other. The turmoil and bitterness between them ended with the murder of Thomas Becket on December 29, 1170. Becket was canonized in 1184.

St. Thomas Becket was immortalized in literature for the first time by Chaucer in his "Prologue" to "The Canterbury Tales." In the first eighteen lines, Chaucer mentions that at the beginning of spring, people go on pilgrimages, particularly to Canterbury, to the shrine of St. Thomas Becket. The pilgrims seek to honor the holy blessed martyr who had helped them when they were sick.

In his play, T. S. Eliot portrays the struggle between the church and the state, depicted in the struggle between Becket and Henry II. In truth, King Henry's reign was a reign of terror, causing misery and ruin to the common citizens. This is depicted in the words of the chorus at the beginning of the play. The people found in Becket hope and sustenance. The king found this undesirable and got his supporters to tempt Becket with various baits. In fact, the knights come in and tempt Becket during the course of the play. When Becket refuses to be tempted, Henry II has him murdered in the cathedral.
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