Abstract
Abstract Despite the coy designation of ‘Interlude’, the sermon in T.S. Eliot’s Murder in the Cathedral presents a nexus of tension. On the one hand, it constitutes a crucial dramatic component of a play that balances on the knife-edge between pride and humility. On the other hand, it retraces certain theological assimilations found elsewhere in Eliot’s writing which collectively shape his understanding of Christian humility and good will. In circling around recurring phrases and influences, this article traces a conceptual genealogy behind the play’s sermon and offers a revaluation of Murder in the Cathedral as the creative culmination of Eliot’s ongoing engagement with secular humanism.
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