Are mistaken: The lotus eaters poem
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The lotus eaters poem - what
The lotus fruits and flowers were the primary food of the island and were a narcotic , causing the inhabitants to sleep in peaceful apathy. After they ate the lotus they would forget their home and loved ones, and only long to stay with their fellow lotus-eaters. Those who ate the plant never cared to report, nor return. Figuratively, 'lotus-eater' denotes "a person who spends their time indulging in pleasure and luxury rather than dealing with practical concerns". Heath Robinson In the Odyssey Book IX, Odysseus tells how adverse north winds blew him and his men off course as they were rounding Cape Malea , the southernmost tip of the Peloponnesus , headed westwards for Ithaca : I was driven thence by foul winds for a space of 9 days upon the sea, but on the tenth day we reached the land of the Lotus-eaters, who live on a food that comes from a kind of flower. the lotus eaters poemThe lotus eaters poem Video
The Lotus Eaters - Class A
Basically the plot is concerned with the death, and martyrdom of Thomas Becket. Though the basis of the plot is constructed on a historical event, Eliot is not so much concerned with the lotus eaters poem historical aspect as with its spiritual implications. On a superficial level the essential action of the play can be stated as "a man comes home, foreseeing that he will be killed, and is killed.
This cycle of death and regeneration is part of the "eternal design" that Eliot is concerned with and he cuts down the historical element to its bare essentials.
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Murder in the Cathedral Dramatic Intensity Murder in the Cathedral :- There is click concentration on the events of the last few days of Thomas's life. The play begins with Thomas's return to England. Historical information is given incidentally. Dramatic intensity is heightened by the exposition concentrating on the present situation.
The speeches of the Chorus, the Priests and the Messenger serve to inform on the present happenings. Necessary historical facts are Conveyed without delaying the beginning of the action or interrupting ts movement once it has begun. Historical background is thus smoothly and naturally blended with the action, occurring as the lotus eaters poem does in Becket's encounters with the Tempters.
Element of Tragedy in Murder in the Cathedral :- The play cannot be said to be a tragedy in the usual sense of the term.
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The read article of Becket, though it results from human sin, does not result from the flaw that the play ascribes to Thomas-pride. He Overcomes spiritual pride and he chooses martyrdom for the right eason. Grover Smith compares the plot of the lotus eaters poem play to the "moral quest theme of the moral interludes or the tribulation theme of the Book of Job. The ingredients of tragedy are present but apportioned allegorically - to the different characters.
Moral flaw in the form of original and particular sin is manifested in the Tempters' suggestions; a catastrophe affecting the victim is the martyrdom of Becket.
the lotus eaters poem The knights are sin, the Chorus suffering and Becket is martyrdom - in simple terms. The plot has two aspects. In one aspect it presents the characters as symbolic, allegorical and therefore static figures. On this level, Becket's rejection of the temptations serves as a validation and intensification of his status as an appointed martyr. In the other aspect of the plot, the characters are individuals capable of development Becket's initial desire is not perfect. From this he rises to a greater good.
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He goes down materially but morally he is elevated. Conflicts in Murder in the Cathedral :- The conflict in this play is not a personal conflict nor is it between the church and the state though eatfrs latter is implied. There is a conflict between two sets of values - worldly and material on one hand and spiritual on the other. An air of tension has been built up by the early speeches of the Chorus.
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Becket's words convey that his values are different from those accepted by the other characters. In fact, there are different levels of moral refinement on which the. The dramatic conflict is of course an internal one in Part I - it eaaters the struggle in Becket's mind. It is externalised in the dialogue with the Tempters. The action is on the plane of the medieval morality, play, on the plane of abstraction.
The conflict, say some critics, ends with Part I and there is no strife if we consider the play from the "realist point of view of action, which inclines towards a complicated, contrived plot, made to here probable by all available devices. The structure of this play is simple and has more in common with the ancient Greeks and the ritual of medieval plays.]
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