“A martyrdom is always the design of God,

for his love of man,

two warn them and lead them,
to bring them back to his ways."

Murder in the cathedral (1935) like many of the morality plays is a drama of temptation, written
by TS Eliot. This play is based on an episode from the life of 12th century English Saint. Thomas-
a- Becket it deals with state of his mind his sufferings and martyrdom. The chorus is an
important constituent of the Greek drama that Eliot has made use in this play TS Eliot says that:-
“...... the chorus has always fundamentally the same use it mediates between the action and the
audience it intensifies the action by protecting its emotional consequences so that we as the
audience sees it doubly by seeing its effect on other people.”

The chorus represents the common people who otherwise have no say in the whole affair their
diction, images and situations have been taken from the life of the common man and woman. It
introduces the subjects, character and impending situations and takes action forwards unites
the episode and offers comments on the changing situations. The use of the chorus serves as a
link between past, Greek and the contemporary. TS Eliot revives the use and role of chorus in
order to form them deeper and intensifies the poetry of the play.

The chorus in the play comprises the women of Canterbury they introduced themselves in the
beginning as the “poor woman of Canterbury”. The chorus provides both background and
Counterpoint to the action and and it is through that the tension and powerful atmosphere of
the place is built up and maintained. Eliot declared that he depended heavily on the course in
this play this was due to the fact that the essential action of the play was somewhat limited. The
introduction of a chorus of excited and sometimes hysterical women reflecting in their motion
the significance of the action, helped wonderfully. It is much more individualized thus the
chorus of Murder in the cathedral is different from a ​Aeschylus's​ play. The chorus in their
speeches reflect the course of the action of the play as ​Helen Gardner​ remarks- the fluctuations
of the chorus is the real Measure of Thomas’s spiritual conquest.

The scene opens with the chorus assembled near the cathedral suspecting some danger but not
Cognizant of its exact nature or source. They wait in a state of confusion agitation and
bewilderment perhaps they feel like seeking sanctuary in the cathedral. Since they have already
suffered so much that they feel that no further trouble can come to them. It is some strange
foreknowledge of the act that has drawn them towards the cathedral.
“.... For us, the poor, the poor women of Canterbury What tribulation
With which we are not familiar ? There are no danger for us
, there is no safety in the cathedral."

The feared the events arising out of the Becket’s return from France. They fear the impending
disturbance of the quiet season’. The unknown, uncontrollable events arising into their routine,
the orderly and settled way of life. They feel like life’s security is threatened without realising
that it is a false sense of safety and performance. They prefer to be left alone. They do not want
to be witness to anything. They are afraid to be involved. They recognise that the events of near
future are part of God's design. Yet they think of its as a malady.
 “some malady is coming upon us”....
The fear itself is testimony to their understanding, that to be witness is to be involved. The
chorus that opens part 2 express an acquiesce with the need for Becket's sacrifice and yet they
are ashamed of their part in the design the consent implied by their standing by and doing
nothing to stop the murder.
Nothing if possible but the shamed swoon
Of those consenting to the last humiliation.
They have now consented to ‘eternal patience’ and admit that they have also to some extent
responsible for the imminent death of Thomas. They are aware that they have a share in the sin
of the murderers. They have a vision of disorder an an representatives of humanity, feel
involved or responsible for this murder.

As the murder is committed the unknown becomes the known and the women of the chorus
have been removed to a great distance from the petty safety that their routine lives held for
them.
“Clear the air, clear the sky!”

By the end of the play, they have gained a fuller understanding of the significance of Thomas’s
martyrdom. They experience the moment of “painful joy” that Thomas prophesied and admit
that his sacrifice was made on their behalf.

Hence, the chorus provides a background and counterpoint to the action, It helps in the build up
of tension and a strong emotional atmosphere as it develops from its initial resistance and
hostility to the final reconciliation to the martyrdom of Thomas Becket. In, chorus, Eliot
manages to evade both the dangers by using free verse and infusing it with the necessary
variety of the length of line. He makes variety inherent in the metrical structure.

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