1935 is the year of Eliot’s writing “Murder in the Cathedral”, the first religious verse drama in his career as dramatist. Writing his own critical essay on “Murder in the Cathedral”, Eliot focuses on a lot of topics and difficulties, writing a first drama in verse. One of the topics Eliot refers to in his essay “Poetry and Drama” is his reflection on the Women Chorus in “Murder in the Cathedral” and their dramatic function during the play. Reflecting on this topic and giving an answer to the question, if there are other functions, which can be attributed to the Chorus, will be my job in this paper. But before dealing with the actual topic, I will use this introduction, which I consider the first unit of my paper, in order to give you an overview of the units and topics of the paper.
Table of Contents
1. Introduction
2. T. S. Eliot – A short biography
3. The Chorus in “Murder in the cathedral”
3.1. The idea of “Chorus” in Eliot’s “Murder in the Cathedral”
3.2. The profane function of the Women of Canterbury
3.3. The spiritual or mystical function of the Chorus
3.4. The philosophical function of the Women Chorus
3.5. The dramatic function of the Chorus
4. Conclusion – Personal Notes
6. Consulted works
Objectives and Themes
This academic paper examines the multifaceted roles performed by the Women of Canterbury in T. S. Eliot's 1935 verse drama "Murder in the Cathedral". The primary research objective is to analyze how the Chorus functions beyond mere narration, specifically exploring its profane, spiritual, mystical, philosophical, and dramatic contributions to the play's overall meaning.
- The Greek origins of the Chorus and their evolution in Eliot’s work.
- The profane and spiritual dimensions of the Women of Canterbury.
- The role of the Chorus in reflecting the internal conflict of Thomas Becket.
- The usage of choral verse as a technique to enhance audience involvement.
- The relationship between the Chorus and the realization of martyrdom.
Excerpt from the Book
3.2. The profane function of the Women of Canterbury
In his notes on the choric function in “Murder in the Cathedral”, Nevill Coghill asserts that “the choric function of setting a mood of fear and doom is achieved by what seems to be the natural reaction of poor women expecting more trouble; they seem dimly aware of some rumour of the Archbishop’s return and have an intuition that all will not be well if he does come, however much they need his presence”.
“But it would not be well if he should return”
For the women of Canterbury it is natural to crowd together for comfort, and seek the cathedral for sanctuary. Although knowing that even a cathedral can be desecrated, they fear nothing for themselves, since nobody bothers about them. They are too unimportant. They are only to witness a martyrdom, in which they share, in so far as they witness it and suffer. They too are to be a kind of martyrs.
Summary of Chapters
1. Introduction: This chapter provides an overview of the paper's structure and outlines the intention to explore the various functions of the Women Chorus in Eliot’s drama.
2. T. S. Eliot – A short biography: This section details the life, academic background, and literary career of T. S. Eliot, contextualizing his transition into writing verse drama.
3. The Chorus in “Murder in the cathedral”: This main analytical chapter dissects the specific roles of the chorus, ranging from their Greek historical roots to their profane, spiritual, and dramatic utility in the play.
4. Conclusion – Personal Notes: This final chapter synthesizes the findings and offers the author's reflection on Eliot's theatrical technique and his intentions regarding the audience.
6. Consulted works: This section lists the academic resources, essays, and secondary literature utilized throughout the research process.
Keywords
T. S. Eliot, Murder in the Cathedral, Chorus, Women of Canterbury, Martyrdom, Verse Drama, Greek Drama, Spiritual Function, Profane Function, Dramatic Technique, Thomas Becket, Christian Faith, Poetic Drama, Ritual, Audience.
Frequently Asked Questions
What is the core focus of this research paper?
The paper focuses on identifying and analyzing the different functions—profane, spiritual, mystical, philosophical, and dramatic—that the Chorus of the Women of Canterbury performs in T. S. Eliot’s play "Murder in the Cathedral".
What are the primary thematic fields addressed?
The central themes include the literary and historical significance of the chorus, the religious implications of martyrdom, the duality of human experience, and the technical aspects of writing verse drama for a modern audience.
What is the primary research goal?
The primary goal is to investigate how Eliot utilizes the Chorus not just as a narrative tool, but as a mechanism to deepen the audience's understanding of Becket's martyrdom and to bridge the gap between human experience and Christian spiritual themes.
Which scientific methods are applied in this work?
The author employs a literary analysis approach, drawing upon historical context, Eliot's own critical essays (such as "Poetry and Drama"), and established interpretations by contemporary critics like David Jones and Nevill Coghill.
What is the content of the main section?
The main section (Chapter 3) provides a detailed exploration of the Chorus, moving from their origins in Greek tragedy to their specific roles in the play, including their function as mourners, witnesses, and reflections of Becket's internal struggle.
Which keywords characterize this paper?
The work is defined by terms such as T. S. Eliot, Murder in the Cathedral, Chorus, Martyrdom, and Dramatic Technique.
How does the author interpret the Chorus's connection to Thomas Becket?
The author suggests that the Chorus acts as the externalized inner voice of Becket, reflecting his own fears, inner conflicts, and eventual resignation to his fate, thereby reinforcing the gravity of his martyrdom.
What role does the "snob audience" play in the author's argument?
The author argues that Eliot intentionally utilized the Chorus and religious themes to satisfy the expectations of a sophisticated or "snob" audience who attended religious festivals, while simultaneously using the choral verse to mask potential dramatic technical weaknesses.
How does the paper differentiate between the Greek chorus and Eliot’s Chorus?
While acknowledging the influence of Greek drama, the paper highlights that Eliot does not simply copy the Greek convention; he adapts it to convey a Christian significance, moving from the rigid structure of antiquity to a more individualized expression of communal suffering.
- Quote paper
- Cornelia Kaltenbacher (Author), 2004, The function of the chorus in T. S. Eliot's "Murder in the Cathedral", Munich, GRIN Verlag, https://www.grin.com/document/43527
