Becket: Or, the Honor of God: Analysis of Major Characters
"Becket: Or, the Honor of God" explores the complex dynamics between power, loyalty, and personal transformation through its major characters. At the center is King Henry II, a high-strung Norman monarch whose journey reflects the disillusionment that arises from his shifting relationships with those around him, particularly with Thomas à Becket. Initially, Henry’s confidence in his authority leads him to appoint Becket, a Saxon of humble origins, as Chancellor and later Archbishop of Canterbury. This decision marks Becket's evolution from a courtier to a figure of moral conviction, ultimately placing him in stark opposition to the king as he seeks to uphold the honor of God.
Other notable characters include Gilbert Folliot, the bishop of London, whose personal animosities overshadow his principles, and Gwendolen, Becket's tragic Welsh mistress, whose fate underscores the personal sacrifices entangled in the conflict between church and state. The Four English Barons exemplify unwavering loyalty to the crown, while figures like Louis, the king of France, and the Pope navigate the treacherous waters of political intrigue, revealing the often self-serving nature of alliances. As these characters interact, the play presents a rich tapestry of moral dilemmas and the often tragic consequences of ambition, sacrifice, and the quest for honor.
Becket: Or, the Honor of God: Analysis of Major Characters
Author: Jean Anouilh
First published: Becket: Ou, L'Honneur de Dieu, 1959 (English translation, 1960)
Genre: Play
Locale: England, France, and Rome
Plot: Historical
Time: The twelfth century, 1154–1189
Henry II, the high-strung Norman king of England, who defines his power in terms of his relationship with his friend, adviser, and eventual adversary Thomas Becket. Henry's demeanor, as well as his age, changes as he goes from young optimistic monarch to disillusioned sovereign. Initially, he believes that all he has to do to accomplish something is to give the order and have it obeyed. This simplistic attitude changes as he discovers that vested interests are for-midable bulwarks. Furthermore, people develop different priorities as circumstances change; their attitudes in life alter as their roles in life differ. Henry becomes more withdrawn and isolated; he feels deserted by everybody and realizes that he must learn to be alone. In his desperation, he cries out for others to save him, thus preparing the way for the play's ultimate tragedy.
Thomas à Becket, a Saxon of common birth whose love of luxury and desire to elevate himself from his despised origins lead him into a friendship with King Henry, with whom he helps pass the time drinking and wenching. Henry appoints him chancellor of England and then Archbishop of Canterbury. In doing so, he precipitates Becket's transformation from a servant of the crown to a servant of God, putting him on a collision course with the authority of the monarch. Beck-et regains his honor and atones for having cheated his way into the ranks of the conquerors of his people through his martyrdom.
Gilbert Folliot, the bishop of London, “a thin-lipped, venomous man” who is led more by his antipathies than by his principles. Loyalty to the church proves less durable than his hatred of Becket. He is not without courage, although predis-posed to believing that the interests of church and state are one, making it easy for him to become an agent for the condemnation of Becket.
Gwendolen, Becket's young Welsh mistress. He acquires her as a spoil of war, but she grows to love him. She becomes a symbol of Becket's devotion to Henry when Henry demands that she be delivered to his bed as a favor. Gwendolen goes without protest, but when Henry tries to embrace her, she commits suicide.
The Four English Barons, whom Henry calls his “four idiots” and his “faithful hounds.” Their unswerving loyalty to the crown gives him reassurance of his own worth. These men are so willing to please that they respond to the royal will even without a direct order. They symbolize the triumph of the ethical state that has no higher goal than loyalty to itself, and they serve it even should their path lead to murder.
The Archbishop of Canterbury, Becket's elderly predecessor, an old-time server who tries to reach an accommodation with the state by appealing to reason. When that fails, he is not above using his office to get his way. He knows that he is too old for a confrontation with the king over the issue of taxation of the church, and he urges circumspection, hoping that Becket will, in time, prove to be an ally.
Louis, king of France, “a burly man with intelligent eyes” who shows that the nature of his position is to make things as difficult for England as possible. He is not averse to becoming involved in the struggles between the English Catholic church and the state. He grants Becket his royal protection, at least until the political climate might change. Louis knows that there is no principle in politics, save inconsistency.
The Pope, a thin, fidgety, small man with a problem: He needs money but believes that if he takes it from the king of England, he cannot give support to Becket, who is fighting for the rights of the church. He wants to survive in a world of high intrigue and apparently will make any kind of deal as long as he can hold on to a good reputation.
Cardinal Zambelli, the swarthy and somewhat grubby adviser to the pontiff, who tells the Pope that he should play a double game: relieve Becket of his functions as primate and then immediately reappoint him, thus scoring points against both him and the king of England. In this world of high papal politics, epitomized by this cardinal and pope, everything is a game played by constantly changing rules.
The Queen Mother, who believes that if her son Henry had only listened to her, he would not be in the mess he is in now.
The Young Queen, Henry's wife. She is a constant object of his abuse. She is naturally disturbed that her husband prefers debauchery with his friend Becket to attending to his duties as a father and husband. In her bitterness, she becomes a nag.
Henry and Richard, Henry's young sons. He treats them with great contempt as his family generally becomes the object of his scorn and ire.