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steveatwaywords's review
adventurous
challenging
dark
emotional
reflective
sad
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.25
Anouilh takes the historic murder of Becket and focuses it upon the imperative of two friends, one who despite expectations outgrows his own nihilism, and the other who fails to grow at all. Place these two in spaces of feudal power, asks questions of medieval faith, and we have a play that speaks in unexpected directions, despite anyone's historical background or interest.
It might be more difficult in the reading of this fast-paced work to appreciate some of the moments of intensity--we are accustomed to wait for swordplay and one-liners (both are here)--that truly power this drama: a moment in a bedroom where Becket mutters, a miscued word by the king, the second half's occasioned and ironic dialogue with the Lord Christ, the words not dared spoken at all. An adept staging reveals them as Anouilh undoubtably envisioned.
Yes, questions of loyalty, friendship, love, codes of honor, politics, devotion to God -- any of these could make a fine drama in and of themselves, but Anouilh weaves them all masterfully. What is more, the historical mistakes are retained for the sake of this drama. (For instance, Becket was far more likely a Norman than Saxon, which would unbalance much of this work's dramatic element.)
And for me, the too-brief dramas of the minor characters speak most powerfully of all of it: The Queen, Gwendolen, the Monk, all in some way casualties of this tragic misadventure between men who love.
It might be more difficult in the reading of this fast-paced work to appreciate some of the moments of intensity--we are accustomed to wait for swordplay and one-liners (both are here)--that truly power this drama: a moment in a bedroom where Becket mutters, a miscued word by the king, the second half's occasioned and ironic dialogue with the Lord Christ, the words not dared spoken at all. An adept staging reveals them as Anouilh undoubtably envisioned.
Yes, questions of loyalty, friendship, love, codes of honor, politics, devotion to God -- any of these could make a fine drama in and of themselves, but Anouilh weaves them all masterfully. What is more, the historical mistakes are retained for the sake of this drama. (For instance, Becket was far more likely a Norman than Saxon, which would unbalance much of this work's dramatic element.)
And for me, the too-brief dramas of the minor characters speak most powerfully of all of it: The Queen, Gwendolen, the Monk, all in some way casualties of this tragic misadventure between men who love.
Content Warnings
Moderate: Death, Violence, and Suicide
ayareads16's review against another edition
challenging
dark
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.0
smcleish's review
4.0
Originally published on my blog here in January 2002.
The relationship between Henry II and Backet is a fascinating one, particularly with the way that it changed once Becket was ordained and became Archbishop of Canterbury. Though more accessible, Anouilh's version of the story is probably less well known in English than Eliot's [b:Murder in the Cathedral|33052|Murder in the Cathedral|T.S. Eliot|http://d.gr-assets.com/books/1347783818s/33052.jpg|734319]. It consists of a series of scenes from the lives of the two men, which are bookended by Henry, naked before the cathedral altar performing penance for Becket's death.
Anouilh isn't particularly interested in historical accuracy, and there are a number of errors, such as Henry referring to his father as a king. More seriously, since it plays an important part in the play, is making Becket's background Saxon rather than Norman. (One of the themes which interests Anouilh is the relationship between conquerors and conquered.)
Henry is presented more sympathetically than Becket, who is made clever but cold, obsessed with the idea of honour (not his own, but first the King's and then God's, and meaning not something chivalric but the preservation and extension of their rights). Henry, on the other hand, is passionate and entranced by the man who has shown him that there is more to life than the interests of his bestial barons: food and drink, fighting and sex. The combination of their characters - which does bear some relation to the medieval sources even if these were unlikely to think in such terms - was inevitably to prove explosive once Becket transferred his loyalty to the church.
This change of heart, the big mystery about Becket's life story, is still really left unexplained by Anouilh, though he clearly connects it to the oaths sworn on ordination. It is Henry who is the memorable and convincing character of the two even if Becket is the nominal centre of the play.
The relationship between Henry II and Backet is a fascinating one, particularly with the way that it changed once Becket was ordained and became Archbishop of Canterbury. Though more accessible, Anouilh's version of the story is probably less well known in English than Eliot's [b:Murder in the Cathedral|33052|Murder in the Cathedral|T.S. Eliot|http://d.gr-assets.com/books/1347783818s/33052.jpg|734319]. It consists of a series of scenes from the lives of the two men, which are bookended by Henry, naked before the cathedral altar performing penance for Becket's death.
Anouilh isn't particularly interested in historical accuracy, and there are a number of errors, such as Henry referring to his father as a king. More seriously, since it plays an important part in the play, is making Becket's background Saxon rather than Norman. (One of the themes which interests Anouilh is the relationship between conquerors and conquered.)
Henry is presented more sympathetically than Becket, who is made clever but cold, obsessed with the idea of honour (not his own, but first the King's and then God's, and meaning not something chivalric but the preservation and extension of their rights). Henry, on the other hand, is passionate and entranced by the man who has shown him that there is more to life than the interests of his bestial barons: food and drink, fighting and sex. The combination of their characters - which does bear some relation to the medieval sources even if these were unlikely to think in such terms - was inevitably to prove explosive once Becket transferred his loyalty to the church.
This change of heart, the big mystery about Becket's life story, is still really left unexplained by Anouilh, though he clearly connects it to the oaths sworn on ordination. It is Henry who is the memorable and convincing character of the two even if Becket is the nominal centre of the play.
traveller1's review
4.0
I purchased an old and used copy of this play in Luang Prabang at a cafe/restaurant managed by a French woman. Great visit. The play, the story of Becket, famous story. Well written, clever dialogue. The story is so well known, no surprises. Enjoyable read.
eddie's review
4.0
I must confess my ignorance - although I do admire Anouilh I didn't know he had written a play about Becket, let alone quite a famous one. I'm currently fascinated my medieval culture and saints, so as soon as this play came to my attention I ordered it in and read it at one sitting. Like all Anouilh it is incredibly elegant, poetic, witty and worldly-wise. He doesn't interrogate his characters too much - he just exposes their actions and words: Becket retains a charismatic mystery to the end. I will definitely track the film down now too, and will keep watch for any theatrical productions.
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