Jean Anouilh: Becket (1961)

Translation: Lucienne Hill, 1961 (Buy from Amazon)
Edition: Eyre Methuen, 1963
Review number: 1029

The relationship between Henry II and Backet is a fascinating one, particularly with the way that it changed once Becket was ordained and became Archbishop of Canterbury. Though more accessible, Anouilh's version of the story is probably less well known in English than Eliot's Murder in the Cathedral. It consists of a series of scenes from the lives of the two men, which are bookended by Henry, naked before the cathedral altar performing penance for Becket's death.

Anouilh isn't particularly interested in historical accuracy, and there are a number of errors, such as Henry referring to his father as a king. More seriously, since it plays an important part in the play, is making Becket's background Saxon rather than Norman. (One of the themes which interests Anouilh is the relationship between conquerors and conquered.)

Henry is presented more sympathetically than Becket, who is made clever but cold, obsessed with the idea of honour (not his own, but first the King's and then God's, and meaning not something chivalric but the preservation and extension of their rights). Henry, on the other hand, is passionate and entranced by the man who has shown him that there is more to life than the interests of his bestial barons: food and drink, fighting and sex. The combination of their characters - which does bear some relation to the medieval sources even if these were unlikely to think in such terms - was inevitably to prove explosive once Becket transferred his loyalty to the church.

This change of heart, the big mystery about Becket's life story, is still really left unexplained by Anouilh, though he clearly connects it to the oaths sworn on ordination. It is Henry who is the memorable and convincing character of the two even if Becket is the nominal centre of the play.

Jean Anouilh: Ardèle (1948)

Translation: Lucienne Hill, 1950 (original title Ardèle ou la Marguerite)
Edition: Methuen, 1959 (Buy from Amazon)
Review number: 1002

Ardèle is a tragic idea written in the form of a slightly absurdist French bedroom farce. Its central character is never seen or heard on the stage, which is another unusual feature. It is set in a château where a family conference has been called to discuss what can be done about Ardèle, the old maid of the family. A hunchback from her youth, she scandalises her relations when she and the new tutor, also a hunchback, fall in love.

This is an entirely hypocritical reaction, as every other family member is openly having an affair. (The exception is the General's wife, who never emerges from her room and whose periodic calling for her husband is dismissed as insanity.) Knowing that her future is under discussion, Ardèle has locked herself in her room and refuses to come out, despite the arguments made through the keyhole of her door.

The meaning with the play is connected to the right to have personal freedom, to love and be ones true self. Ardèle shocks the other characters not because of the social distance between her and the tutor, but because they have never considered her a fit person to love or be loved. Ardèle's passion is clearly far more deeply felt than the bedroom-shuffling antics of the rest of the family, and even evoked only through the words of the others she comes across the better deserving of the freedom to love.