The Elder Statesman - Essay Example

? The Theme of Love: The Elder s Man In the third stage of Freud’s psychosexual development theory, he explains the controversial Oedipus complex. The Oedipus complex is a situation where the boy desires the mother and has the urge to replace his father as his mother’s lover. The girl, on the other hand, desires the father and has repressed jealousy towards the mother. Carl Jung later coined the term Electra complex for the girls desires. This stage is at about the age of 3-6 years, and the unsuccessful resolve of this situation will lead to fixation in adulthood, perhaps what some of the characters in the play are experiencing. As the scenes play out, it is evident that Lord Claverton’s attachment to his daughter is in an obsessive way. Monica, the Lord Claverton’s daughter is in this case playing the mother-daughter role in regard to the Oedipus complex situation. She is exceedingly fond of her father who is equally fond of her making their love reciprocal. Michael, on the other hand, feels his father is not truly committed to him. As Michael struggles to seek his father’s attention, Charles feels ill at ease with the relationship his Beau has with her father his father in law. Charles says to Monica, “...it’s strange that words are so inadequate…yet, like the asthmatic struggling of breath, so the lover must struggle for words…” (Sarkar 2006, p.259) in my opinion this statement is not as literally put. This is a metaphoric representation of the struggles Charles is undergoes to win Monica’s attention. Monica seemingly seeks her father’s approval in regard for her attraction to Michael. She gets this approval in the statement made by Lord Claverton “…and I love you, my daughter, the more truly for knowing that there is someone you love more than your father…” (Sarkar 2006, p. 260). This statement gives the audience the illusion that he views romantic love to be of higher value than familial love and, therefore, his daughter loves another more than him. This is a controversial scenario seeing as the kinds of love Monica can give she has given without measure, and he should, therefore, feel more loved! Platonic love forms the basis of all types of love in real life, and this extends to this play. In regards to the symposium by Plato, platonic love is chaste and nonsexual. From the arguments presented in the Symposium, it is clear that the philosopher is of the view that true love guides the mind and soul to seek spiritual fulfilment. In The Elder Statesman, spirituality or the attainment of it amounts to receiving forgiveness. In retrospect, the theme of love in this context is a channel to seek redemption. This aspect of redemption emerges when Lord Claverton dies after Monica assures him that she still loved him despite his past. Lord Claverton: “…I've had your love under false pretences. Now, I'm tired of keeping up those pretences, but I hope that you'll find a little love in your heart, still for your father, when you know him for what he is the broken down actor.” Monica responds by forgiving him, affirming her love for him even after revealing his dark self. She says, “…father you know I would give my life for you...” (Das 2007, p.240). His death can be an indication that his heart was finally at peace and his body freely gave in to his illness. He states “...but the faith and the love are all in waiting,” (Das 2007, p.236) Comparison between Sophocles' plays and T.S Eliot’s The Elder States Man: Time, money and status, cannot buy or burry the past. This statement outlines the main significance of Sophocles' plays Oedipus the King and and T.S Eliot’s The Elder States Man. Both king Oedipus and Lord Claverton are men of stature and wealth. In their past lives, they commit actions that they rather no one in their present life knew. The revelation of the truth of their past lives brings pain to their families’ separation and the eventual death of both characters. Oedipus is, however, a victim of fate as brought out by the playwright Sophocles. He killed his father because it was his fate to do so according to the oracle. On the other hand, Lord Claverton takes full responsibility for his actions and the consequences thereof. T.S Eliot utilizes his spiritual perspectives in Murder in the cathedral, cocktail party and saint hood. He sets out a pattern for individuals to earn redemption through accepting ones mistakes, seeking penance and finally receiving penance. For Sophocles, spiritualism represents the characters of the Delphic oracle and the prophet. In the plays, the characters actions and omissions revolve around love for instance, Antigone leaving with her father Oedipus. Their attachment can be equalled to that of Monica and her father. Another notable theme in both plays is that of truth and betrayal against others and oneself. The self takes a centre role as the object of deceit and conflict where the authors believe that the greatest deceit is to oneself and not to others. The betrayals that occur in both plays result from love and lack of it thereof. The character Mrs. Carghill reflects upon Lord Claverton’s life as one of pretence expressing fears that he may do so (pretend) even in death. In Oedipus at Colonus, the blind prophet tells Oedipus that he has eyes, but he cannot see things that are obvious (Fagles 1984, p.94) Love: The play alludes to the extents of Eros and Philia as guiding principles for the individual’s actions. Through these two types of love, the playwrights examine the Oedipus complex. Anger and betrayal is persistent through out the play. Gomez and Mrs. Carghill feel that their platonic and romantic affiliations respectively subject to Lord Claverton’s betrayal. However, their return to his life is an indication that the love they feel for him still thrives especially on Mrs. Carghill’s account. The departure of Michael is due to feelings of betrayed love for his father. Familial love causes Lord Claverton to confess his sins to his daughter and her to forgive him. Although there is a hint of Oedipus complex in their relationship, love in this case goes past conventionality. Through forgiveness and redemption, Lord Claverton inclines towards spiritual love. Canonization: Literature in the current times does not prescribe to the ideas of states or the churches; there is some level of autonomy. Evolution and revolution bring about the aspect of scientific progression whereby literature receives criticism according to its quality attributes and not its intrinsic value as in the past. With these definitive principles, canon formation starts its journey. In regard to this play, critics will look at drama constituents, how it developed and whether it has a future in the world of literature (most preferred works are timeless) (Desmet, 2004, p. 19). Modern day western canonisation involves the best, most influential and most representative works of an author. However, the canon of an author goes beyond his works importance. It delves into the authenticity and underlying principles of the authors work. This involves sieving out works attributed to him by mistake or with other intents such as malice. The Elder States Man is authentic beyond all reasonable doubt and an original work of T. S. Eliot (Desmet, 2004, p. 23). Out of all his plays, this one has expressed love in a more exceptional way than the rest. However, in regards to its theme of spirituality, it is not quite as exceptional as it is in Sainthood. Another aspect to be studied is its position in his works. It is the last of his boardroom plays; scholars argue that it is a culmination of all his life’s ideas. This means that the ideas in the play are a form of philosophy he, the writer, believes. This presents canon formation based on genre (Desmet, 2004, p. 64). The above sparks off another argument, the striking resemblance of this work to those of Sophocles can mean that he derives inspiration from him and he, therefore, believes in some if not all of his philosophies. A comparison to the themes applied in the medieval period reveals that this work is also a reflection of Plato’s ideas. Canonisation has the disadvantageous ability to create almost rigid outlines that works need to be conventional. Perhaps T. S. Eliot was conforming to this medieval works. This appears to have an even greater effect on the reader as they become predisposed to certain standards they expect to find any new literature they read (Desmet, 2004, p. 79). Sigmund Freud’s appear among the 26 most credible authors in the western canon by Harold Bloom. Freud’s works are original and the best in his genre of writing at his time. Freud’s work is timeless as it remains relevant in the 21st century. William Shakespeare’s appearance in the western canon is not an immense surprise. His works are original, and he is among the best of his times. There are speculations that Freud derives some of his ideas from dramas by Shakespeare and Sophocles. The same trend can be applied to Sophocles works. In summary, these three literatures and drama personalities besides having the same themes in their writings fulfil the three outlines earlier stated. In the same way, the elder states man stands out in regards to timelessness. It contains ideas that are as compelling now as they were during the author’s life time. However, this play has a lot of borrowed elements from other literally works. These elements borrow from canonized works in medieval and western canons. On account of presentation, however, it is in original T.S. Eliot style (Desmet, 2004, p. 81). Conclusion: One piece of work may require that different aspects of it receive due criticism so as to come up with an appropriate canon. In this regard, the standards for canon formation are open for debate as seen in Blooms deviation from Norton’s ideas. In my view, however, the Elder statesman is canon in its own right. Bibliography: Desmet C., Sawyer R. J., 2004, Harold Bloom's Shakespeare, London: Palgrave Macmillan. Das, J., 2007, Eliot's Prismatic Plays : A Multifaceted Quest, New York: Atlantic Publishers. Sarkar, S., 2006, T.s. Eliot The Dramatist, New York: Atlantic Publishers. Tiwari, S. T., 2007, The Plays of T.S. Eliot, New York: Atlantic Publishers. Read More