Abstract
The aim of the present study is to re-establish the status of Archbishop Becket as a standard tragic hero of a religious play written by T. S. Eliot. Various critics have denounced the characterization of Archbishop Becket as a proper tragic hero, claiming that the entire process of the plot is devoid of ‘dramatic action', which is considered the backbone of any drama. In this paper the author has tried to illuminate on a renewed definition of ‘dramatic action' and consequently prove that the performance and actions of Archbishop Becket are, in fact, a process of mental action which nevertheless arrive the character to the definitive destination of all other dramatic heroes, i.e. a tragic death.
Highlights
The aim of the present study is to re-establish the status of Archbishop Becket as a standard tragic hero of a religious play written by T
Religious Ideology and Motivation of Action: What do we expect of a play? What is it that creates our sense of enjoyment of a play? What is it that conjures up the main part of our literal and logical satisfaction of it? Is it the plot of the play, the characterization or the conclusion? Who is a real hero of a drama? What are his characteristics? The answer to each of these questions has been long debated
A good example of this kind can be found in the character of Archbishop Becket who has been said to have departed from the prevailing qualities of a „dramatic hero‟
Summary
The aim of the present study is to re-establish the status of Archbishop Becket as a standard tragic hero of a religious play written by T. He immediately embarks on the main idea of the play which he ascribes to the women, ignorant of the fact that these will be repeated back to him later: They know and do not know that acting is suffering And suffering is action.
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