MURDER IN THE CATHEDRAL
BY T.S. ELIOT
HISTORICAL BACKGROUND:
T.S. Eliot: Thomas Stearns Eliot was an American-British poet and
critic. He was one of the most prominent literary figures of the 20th
century. He also won Nobel Prize in 1948. He was born in 1888 in
St. Louis, Missouri, to an aristocratic, New England family. He
studied at Harvard, Sorbonne, and Oxford. His famous works
include:
1. The Love Song of Alfred J. Prufrock
2. Ash Wednesday
3. The Waste Land
4. Murder in the Cathedral
Religion is a central theme that surfaces in the poetry of T.S. Eliot.
Murder in the Cathedral: “Murder in the Cathedral” is a poetic
drama which is written by T.S. Eliot. It portrays the assassination of
the Archbishop, Thomas Becket, in the Canterbury Cathedral. The
play was premiered in 1935 in the same Cathedral where Becket was
assassinated to commemorate his martyrdom. The play delves into
the themes of power, religious conflict, and Martyrdom. The play is
not just a dramatization of the death of Thomas Becket; it is a deep
searching study of the significance of martyrdom.
King Henry II: King Henry II was a monarch who ruled over
England from 1154 to 1189. He inherited the throne at the age of 21
after the death of his father. One of the significant challenges Henry
faced during his reign was the relationship between the Church and
the State. The Church held considerable power and authority in
medieval Europe, and clashes between religious and secular leaders
were common. In 1152, Henry got married to Eleanor of Aquitaine,
the Queen of France. She was a powerful and influential figure in
her own right. In 1154, Henry became the King of England.
Thomas Becket: Thomas Becket was a close friend of King Henry
II and served as his Lord Chancellor, a high-ranking position in the
English government. However, when Becket was appointed as
Archbishop of Canterbury in 1162, he began to assert the
independence and authority of the Church, which made Henry
unhappy. He believed that Becket's loyalty should lie with the crown
and that the Church should not interfere with royal affairs.The
tension between Henry and Becket escalated, leading to a conflict
known as the “Becket Controversy.” In 1170, King Henry II uttered
words that were interpreted as a call for Becket's murder: "Will no
one rid me of this turbulent priest?" Taking these words as an order,
four knights traveled to Canterbury and assassinated Becket in
Canterbury Cathedral on December 29, 1170. The murder of
Thomas Becket shocked medieval Europe and had significant
political and religious ramifications. Becket was later canonized as a
Saint by the Catholic Church, and his shrine in Canterbury became a
popular pilgrimage site.
Conclusion: In conclusion, Eliot's play "Murder in the Cathedral"
takes inspiration from these historical events and delves into the
complex relationship between King Henry II and Thomas Becket.
ROLE OF CHORUS:
Introduction: The concept of “Chorus” emerges from Greek
fashion. In Greek tragedy, the Chorus serves as a group of people
that narrates, comments, and expresses its views on the events of the
play. They do not actively participate in the actions but rather
observe and interpret. In "Murder in the Cathedral," the Chorus
begins the play by standing outside the Cathedral. They are eagerly
waiting for someone's arrival while also expressing a sense of
foreboding. They indicate that along with the arrival of this person,
some type of danger is also approaching.
1. The Chorus represents themselves as the “poor women of
Canterbury.” They are not exceptional or prominent figures but
rather ordinary individuals going about their daily lives.
2. The Chorus serves as a powerful element of foreshadowing in
the play. They have strong intuitions of impending evil and a
sense that something terrible is going to happen: “Some presage
of an act which our eyes are compelled to witness has forced our
feet towards the cathedral. We are forced to bear witness.”
3. The Chorus mentions the transition from "golden October into
sombre November." It carries a symbolic meaning. In the
Western world, October represents autumn, while November is
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associated with the onset of winter and is often referred to as the
"Month of Death." This symbolism implies that death is
approaching.
The Chorus also plays a role in narrating or commenting on the
past, present, and future events of the play. In “Murder in the
Cathedral,” they provide an encapsulation of the past. They
explain to the audience that the Archbishop had been exiled from
England and had spent seven years living in France due to his
conflicts with King Henry II: “Seven years and the summer is
over,/Seven years since the Archbishop left us.”
The Chorus exhibits adoration or reverence towards the
influential figures within the play. In “Murder in the Cathedral,”
the Archbishop was highly regarded among the common people.
He was known for his kindness and willingness to help others:
"He who was always kind to his people./But it would not be well
if he should return." Despite the importance of the Archbishop's
existence, the women fear for him. They believe that something
bad would happen to him if he came back.
The Chorus also complains about the misery and hardships that
they have experienced under the ruling powers: "King rules or
barons rule./We have suffered various oppression.”
As soon as the messenger brings the news of Becket's arrival in
England, the chorus gives a warning to the Archbishop to return
back to France, where he was taking his refuge. They believe that
his return will bring about disasters not only to him but also to
England and the world as well: “O Thomas……return to
France…..You come with applause, you come with rejoicing, But
you come bringing death into Canterbury: a doom on the house,
a doom on yourself, a doom on the world.” It means that his
return would have far-reaching and negative consequences for
various entities.
After the four Tempters meet Thomas, the Chorus now feels a
new terror that has tainted their lives. This terror is inevitable and
cannot be avoided. It permeates every part of their lives,
affecting them physically, emotionally, and spiritually. They
express that this new terror seems to be everywhere, flowing
beneath their feet, above them in the sky, and even entering their
senses. They lament that it feels like God, who has always
provided them with hope and reasons to keep going, is now
abandoning them: “God gave us always some reason, some hope;
but now a new terror has soiled us, which none can avert, none
can avoid.”
9. After Thomas’ sermon, the Chorus reflects on the concept of
peace on Earth and goodwill among people. They question
whether true peace exists in the world and if people genuinely
have goodwill towards one another. They suggest that true and
lasting peace can only be achieved when people align themselves
with the principles of God's peace, such as love, compassion, and
understanding: “The peace of this world is always uncertain,
unless men keep the peace of God.” They further go on to say
that war among people contaminates or pollutes the world,
suggesting that conflict and violence disrupt the harmony and
well-being of society. However, they contrast this with the idea
that “death in the Lord,” or dying while being faithful to God,
renews the world. The Chorus believes that through spiritual
renewal and a connection with God, the world can be restored
and rejuvenated.
10. The Chorus deeply honor and respects the Archbishop, and they
don't want to witness his impending murder. They feel that if
they watch the assassination without trying to protect him, it
would be a sin. They are unable to prevent his murder. That’s
why before his murder, the Chorus humbly asks the Archbishop
for forgiveness: "O Lord Archbishop, O Thomas
Archbishop….forgive us,/Pray for us that we pray for you, out of
our shame.”
11. When the knights succeed in killing the Archbishop, the Chorus
expresses a deep sense of anguish and despair:“Clean the air,
clean the sky…The land is foul, the water is foul, Our beasts and
ourselves defiled with blood…Where is England?…Where is
Canterbury?” They feel sorry for the virtuous man. They
acknowledge the profound impact of the murder on both
individual and collective level. They recognize the personal
catastrophes and losses suffered by individuals as well as the
broader sense of misery and suffering experienced by society as a
whole. This violent act has left a deep impact on the people and
the environment, symbolized by the polluted air, foul water, and
contamination of both humans and animals with blood.
12. The Chorus confesses the great sin of killing the innocent Becket:
"We acknowledge our trespass, our weakness, our fault; we
acknowledged.” By saying so, they regret their inability and
weakness that led them to give up on protecting the Archbishop.
13. Throughout the play, the Chorus undergoes growth and evolution.
They transition from a state of terror and fear of the supernatural
expressed at the opening, to an ecstatic realization of “Thy glory
displayed in all the creatures of the earth” in the final scene.
They acknowledge that God's glory is manifested in every aspect
of creation, from the gentle snowfall to the powerful storms.
They start to see Becket's death as a blessing and his sacrifice for
the sake of humanity. They consider his murder a sacrificial act,
reminding them of Christ's martyrdom:“We thank thee for Thy
mercies of blood…/For the blood of Thy martyrs and
saints./Shall enrich the earth, shall create the holy places.”
Conclusion: In conclusion, the Chorus in “Murder in the Cathedral”
undergoes a journey from terror, fear, and uncertainty to acceptance
and enlightenment, mirroring the spiritual journey of the play's
protagonist, Thomas Becket. Through their role as witnesses and
interpreters of the events, the Chorus adds depth and complexity to
the play.
PRIESTS:
Introduction: The Priests in “Murder in the Cathedral” are three in
number. Although they are not given separate names, they are
precisely depicted and are skillfully characterized. They begin the
play by discussing the return of the Archbishop after seven years of
exile. When the messenger brings the news of Becket's arrival in
England, the three Priests delivered their speeches. Their speeches
provide valuable insights into the character of the Archbishop,
Thomas Becket.
First Priest: The First Priest expresses his concerns for the safety and
well-being of Archbishop and the Church:
“I fear for the Archbishop, I fear for the Church,
I know that the pride bred of sudden prosperity
Was but confirmed by bitter adversity.
I saw him as a Chancellor, flattered by the King,
Liked or Feared by courtiers, in their overbearing fashion.
Despised and despising, always isolated,
Never one among them, always insecure;
His pride always feeding upon his own virtues,
Pride drawing sustenance from impartiality,
Pride drawing sustenance from generosity,
Loathing power given by temporal devolution,
Wishing subjection to God alone.
Had the King being greater, or had he been weaker
Things had perhaps been different for Thomas.”
Second Priest: The Second Priest expresses his joy and relief that the
Archbishop has returned:
“Our lord has come back to his own again.
We have had enough of waiting, from December to dismal
December.
The Archbishop should be at our head, dispelling dismay and doubt.
He will tell us what we are to do, he will give us our orders, instruct
us.
Our Lord is at one with the Pope, and also the King of France.
We cane lean on a rock, we can feel a firm foothold.
Against the perpetual wash of tides of balance of forces of barons
and landholders.
Let us meet the Archbishop with cordial thanksgiving.
I am the Archbishop’s man.”
Third Priest: The Third Priest expresses more philosophical
perspective that regardless of whether the outcome is positive or
negative, one must accept the turning of fate’s wheel:
“For good or ill, let the wheel turn.
The wheel has been still, these seven years, and no good.
For ill or good, let the wheel turn.
For who know the end of good or evil?
Until the grinder cease
And the door shall be shut in the street
And all the daughters of music shall be brought low.”
Conclusion: In conclusion, the three priests in “Murder in the
Cathedral” reflect different perspectives on the events and
circumstances surrounding the Archbishop, Thomas Becket. The
First Priest voices his fear, while the Second Priest voices his
optimism. The Third Priest is more philosophical than the other two.
TEMPTERS:
Introduction: The Tempters in “Murder in the Cathedral” are four
in numbers. They speak of the illusions and frustrations that humans
experience during their time on Earth. The tempters are “shadows”
and not creatures of flesh and blood, but they are real enough
because they personify the temptations Thomas Becket undergoes.
Eliot uses the tempters as a theatrical device to externalize Becket's
inner struggles. By personifying these temptations and presenting
them as distinct characters engaging in dialogue with Becket, Eliot
dramatizes the Archbishop's internal conflict, doubts, and
uncertainties.
First Tempter: The First Tempter reminds Becket of his younger
days:
“Old Tom, gay Tom, Becket of London.
Your Lordship won't forget that evening on the river.
When the King, and you and I were all friends together?”
The Tempter also tells Becket that since he is now on good terms
with the King, he must seize this opportunity and let everybody
enjoy licentious life:“Now that the King and you are in amity.
Clergy and laity may return to gaiety. Mirth and sportfulness need
not walk warily.” It means that with the reconciliation between
Thomas Becket and the King, there is an opportunity for a carefree
and joyful atmosphere to prevail among both the clergy and the laity
(the religious and non-religious population). This temptation
challenges Becket's commitment to his religious beliefs and
principles. It offers him with the temptation to prioritize worldly
pleasures over his spiritual responsibilities. However, Becket
responds with the statement:
“Only the fool, fixed in his folly, may think.
He can turn the wheel on which he turns.”
Second Tempter: The second Tempter represents Becket's former
position as a powerful Chancellor and presents an argument to
persuade Becket that he made a mistake by resigning the
chancellorship and that power and influence can bring everlasting
glory and fame, even after death:
“The Chancellorship that you resigned when you were made
Archbishop – that was a mistake on your part….
Think, my Lord, power obtained grows to glory, life lasting, a
permanent possession.”
Becket firmly rejects the tempter's proposition, asserting that he will
not descend from his position of supreme authority as the one who
keeps the keys of heaven and hell. He understands that his ability to
bind and loose, a power granted to him by the Pope, holds far greater
significance than any worldly authority. He refuses to desire a lesser
power and states that his role is to condemn kings, not to serve
among their servants:
"Shall I, who keep the keys of Heaven and Hell,
Supreme alone in England….
To condemn Kings, not serve among their servants."
Third Tempter: The Third Tempter tempts Becket to ally himself
with Henry's enemy:
“We are for England….You and I, my Lord, are Normans. England
is a land for Norman Sovereignty.
Let the Angevin destroy himself, fighting in Anjou.
He does not understand us, the English barons.
We are the people.”
He suggests that King Henry II, who was also known as the Angevin
king because of his ancestry, should be allowed to weaken himself
by engaging in battles in Anjou, a region in France. He suggests that
by aligning with Henry's enemy, Becket would help end the
oppressive control of the king's court over the bishop's court and the
baron's court. However, Becket refuses to go along with the idea of
betraying King Henry and joining forces with his enemies, even if it
might seem like it could benefit him and England in the long run.
Fourth Tempter: The Fourth Tempter represents the most
dangerous temptation of all, which is to prioritize one's own desires
and personal will over God's will. This Tempter tries to entice
Becket with the idea of achieving glory and martyrdom through his
own suffering and determination, rather than surrendering to God's
plan. The Tempter suggests that after death, Becket would be
remembered as a saint and martyr who rules even from the tomb:
“But think, Thomas, think of glory after death.
When King is dead, there's another King…
King is forgotten…
Saint and martyr rule from the tomb."
He keeps tempting Becket by telling him: “Seek the way of
martyrdom. Make yourself the lowest on earth, to be high in heaven.”
It suggests that by willingly embracing the lowest position on Earth,
by accepting suffering and sacrifice, Becket can earn a higher place
in Heaven. Becket rejects the tempter's offer, accusing him of
tempting him with his own desires. He sees the tempter's offer as
empty dreams leading to damnation. The tempter responds:
“You have often dreamt them.”
Conclusion: In conclusion, the four tempters in "Murder in the
Cathedral" represent different temptations that Thomas Becket faces,
including the desire for pleasure, power, political alliances, and
personal glory.
INTERLUDE:
Introduction: An interlude is a short break or interval between two
main parts or acts of a play, performance, or event. “Murder in the
Cathedral” is divided into two parts, with an Interlude in between
that connects them. Part I depicts Thomas Becket’s return from exile.
Part II portrays the assassination of Thomas Becket. The Interlude
consists of a sermon delivered by Thomas Becket during the Mass
on Christmas morning, 1170, just four days before his death.
The text of the sermon is highly significant. Becket's sermon in the
play follows a three-part structure:
1. The first part shows the double meaning of the Christmas Day as
a festival of rejoicing and mourning.
2. The second part shows the significance of Spiritual Peace and
Christian Martyrdom.
3. The third one brings up the issue of his approaching martyrdom.
Dual Meaning of Christmas: Becket starts his sermon by telling his
disciples to think deeply about the true meaning and mystery of the
“Christmas Mass.” He brings up a paradox, a kind of puzzle, by
saying that Christmas is a time of both “rejoicing” and “mourning.”
People are happy because it marks the birth of Jesus and His coming
to save humanity. At the same time, they offer His body and blood
to God as a sacrifice to make up for the sins of the world. During
Christmas, both Jesus' birth and His suffering and death on the cross
are remembered, which makes it a festival that brings both joy and
sorrow. This unique aspect sets Christmas apart from other festivals.
True Meaning of Peace: Becket further enlightens his disciples
about the true meaning of "peace." Becket differentiates between the
word "peace" as the world understands it and "peace" as meant by
Christ when he used it in His words to the Disciples: “Peace I leave
with you, my peace I give unto you.” It is neither peace in political
sense - “the kingdom of England at peace with its neighbors, the
barons at peace with the King” - nor simple domestic contentment.
In fact, He spoke of spiritual peace that comes to all who follow the
will of God.
The First Martyr - St. Stephen: Becket presents another paradox
in the Church's liturgy: “Not only do we at the feast of Christmas
celebrate at once Our Lord’s Birth and His Death; but on the next
day we celebrate the martyrdom of His first martyr, the blessed
Stephen.” The fact that St. Stephen Day follows immediately
Christmas Day is by no means accidental but a thoughtful act by
God. The martyrdom of St. Stephen evokes both rejoicing and
mourning, similar to the Christmas festival. The mourning comes
from the feeling that the sins of the world have caused the
martyrdom. While, rejoicing comes from the feeling that another
soul is blessed with sainthood in heaven for the glory of God and
salvation of men.
Christian Martyrdom: Becket, then, describes Christian
Martyrdom. He explains that a martyr should not be viewed simply
as a good Christian who died because of their faith, which would
only lead us to mourn. We should also not see a martyr as just a
good Christian who becomes a Saint, which would only lead us to
rejoice. He says: “Our mourning and rejoicing are not like that of
the world's.” A Christian Martyrdom is not a random event. Saints
are not created by chance and a Christian martyrdom is not the result
of a person's desire to become a Saint, as a person can become a
ruler of men through their will and efforts. Becket explains that a
martyr or saint is always chosen by God for a specific purpose.
God's love for humanity leads Him to use martyrs as examples and
guides to bring people back to His ways. Martyrdom is not
something that humans plan or desire for themselves. A true martyr
is someone who becomes an instrument of God, “who has lost his
will in the will of God.” This surrender brings them true freedom.
Becket says: “The martyr no longer desires anything for himself, not
even the glory of martyrdom.” Martyrdom only has an effect if both
the martyr and the people accept it with the right attitude,
recognizing it as a decree from God.
Becket’s Own Martyrdom: In the concluding part of his address,
Becket hints at his own future martyrdom: “I do not think I shall
ever preach to you again; and because it is possible that in a short
time you may have yet another martyr.” Becket, then, requests his
followers to reflect on the words he has spoken at a later time, as
their true significance will become clear after his own martyrdom. It
is important to note that Becket's sermon is directed towards the
poor women in Canterbury and the audience. The purpose of
Martyrdom, according to Becket, is to remind ordinary men and
women of God's love and to serve as a powerful testament to faith.
Conclusion: In conclusion, Becket's sermon in the Interlude
explores the themes of sacrifice, divine will, and the spiritual
significance of martyrdom. It serves as a powerful reminder of the
purpose and impact of martyrdom, both in the context of the play
and in the broader theological understanding of self-sacrifice for
faith.
KNIGHTS:
Introduction: The Knights in “Murder in the Cathedral” are four in
number. They were Reginald Fitz Urse, Sir Hugh de Morville, Baron
William de Traci, and Richard Brito. They were the true followers
and loyal supporters of King Henry II. They are coming to
Canterbury to execute the Archbishop in the King's historical words:
"Will no one rid me of this turbulent priest?"
The four Knights are not individualized personalities, but they differ
from each in the different aspects of secularism that they represent.
The presence of the knights make "Murder in the Cathedral" at once
a medieval and a modern play. With the approaching of the knights,
the priests call for the doors of the Cathedral to be closed in an
attempt to secure the lives of the Archbishop and themselves. They
think that the knights would not dare to break in the doors of the
Cathedral. However, Becket is unsatisfied with the priests' action.
He instructs them to open the doors, believing that the Church will
offer him protection. The priests protest, telling Becket that these
men (the knights) are rather beasts who have no respect for the
sanctuary:
“My Lord! these are not men…
But like maddened beasts.
They come not like men,
Who respect the sanctuary,
Who kneel to the Body of Christ,
But like beasts.”
After murdering of the Archbishop, the Knights step forward to the
front of the stage and address the audience.
First Knight: The First Knight is Reginald Fitz Urse. He is the
leader of the group. In his speech, he begs the audience to give him a
chance to explain their behavior. He addresses to the audience as
Englishmen who “believe in fair play: and when you see one man
being set upon by four, then your sympathies are all with the under
dog.” The term "underdog" is used metaphorically to refer to the
person or group who is at a disadvantaged position. In the context of
the play, the “underdog” refers to the Archbishop. However, he
equally expects from the audience to allow them a "Trial by Jury,”
which entails hearing both sides of the story before passing a
judgment. It means that the audience have already witnessed
Becket’s martyrdom, so now they must hear the knights justification
for murder.
Second Knight: The second knight is William de Traci. He states
that in their action, regardless of how the audience may perceive
them, they have been “perfectly disinterested.” It means that the
knight's actions were not motivated by any personal gain or selfinterest. He emphasizes that they are not benefiting personally from
what they have done; in fact, they have “much more to lose than to
gain.” He personally mentions consuming alcohol to gather up
courage for the murder, even though he clarifies that he is not
typically a drinking man. He says that the knights also expect to
spend the rest of their lives in exile.
Third Knight: The Third Knight is Hugh de Morville. He urges the
audience to think rationally rather than being swayed by emotions.
He argues that the king's goal was to unite the different courts in the
kingdom to bring about justice. There were three separate courts: the
king’s court, the bishop’s court, and the baron’s court. As
Chancellor, Becket initially supported the king's efforts to unify
these courts. However, upon becoming Archbishop, Becket changed
his stance, adopted an ascetic lifestyle, and rejected the policies he
had previously supported. The knight also believes that the issue lies
with the method used by them, rather than the underlying problem:
“It is only with the measures we have had to adopt,
in order to set matters to right.”
He suggests that in different circumstances, Becket could have been
found guilty in court and executed legally without causing any
controversy, but the knights have taken an important step towards
serving the people's interests:
“We have served your interests.”
Fourth Knight: The Fourth Knight is Richard Brito. His argument
is that the knights are not guilty of murder because Thomas is guilty
of suicide. He briefly repeats the history of Thomas's life, saying that
Thomas pursued "unity" and "justice" while he was Chancellor, but
"reversed his policy" when he was named the Archbishop. He
describes Thomas as extremely self-centered person and a threat to
society. According to the knight, Becket showed no concern for the
welfare of the people of England. Despite knowing that the knights
were filled with anger, Becket still chose to have the doors opened
rather than letting the knights calm down. For all these reasons, the
knight requests the audience to "unhesitatingly render a verdict of
Suicide while of Unsound Mind."
Conclusion: In conclusion, the four knights in “Murder in the
Cathedral” exhibit a range of perspectives and arguments regarding
the death of the Archbishop. Each knight presents their own
reasoning and interpretation of events, highlighting different aspects
of Becket's character and actions.
POEMS
STOP ALL THE CLOCKS, CUT OFF THE TELEPHONE:
Introduction: “Stop all the Clocks, Cut off the Telephone” is a
poem written by W.H. Auden. Auden was born in 1872 in
Birmingham, England. He and his long-time friend and
collaborator Christopher Isherwood were among the first openly
gay writers of the twentieth century. For this reason, the poem is
often read in LGBTQ contexts. The poem is written in the form of
an elegy, which is a poem that discusses a serious lamentation and
is commonly associated with funerals. It creates a mournful and
sad tone. The poem is also written in the form of quatrains which
means that it has four stanzas and each stanza consists of four
lines. The poem was first published in Auden’s 1938 collection,
“Poems of To-Day.” The official title of the poem is "Funeral
Blues," but it is commonly referred to as "Stop All the Clocks, Cut
off the Telephone."
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Explanation: The poem begins with the speaker making a series of
urgent requests. The speaker wants to stop “the clocks,” to turn off
the “telephone,” to give the dog a “juicy bone” to keep it from
barking, to “silence the pianos,” and to muffle the “drum.” Many of
these requests are symbolic. For instance, when the speaker asks to
stop all the clocks, the speaker is actually asking to stop time itself.
The telephone represents the busy and distracting aspects of modern
life, so the speaker wants all the telephones to be turned off. The
piano symbolizes noisy parties and celebrations, so the speaker
wants them to be silent. The drum symbolizes the traditional
instrument which is often played at ceremonial functions, so the
speaker wants the drummers to play the drum quietly. In the 4th line,
it becomes clear that the speaker's request for stillness and silence is
driven by the death of someone important to him. This could be
interpreted as a literal death or as a metaphor for the end of a
significant relationship. The speaker wants the world to join him in
his mourning and acknowledge the immense loss he is experiencing.
There is a disconnect between the speaker and the world. While the
speaker is heartbroken, the world continues to function as if nothing
has happened. This indifference from the world makes the speaker
feel isolated.
Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
Explanation: