<i>Velle sibi fieri in forma hac</i>: symbolic acts in the Becket dispute
Timothy Reuter|Janet L. Nelson
In this paper, I consider medieval politics as a game. Various more or less suitable metaphors could be used here. Chess may seem particularly apposite, bearing in mind its strict rules, and repertoire of generally recognised moves: openings, combinations endgames. The Becket dispute can also thought theatre. But if stress here the theatrical element history dispute, that means something quite different from what, since Tennyson's time, has been hallmark way these events have represented stage-plays. For Tennyson, Eliot, Anouilh Fry, conflict was first foremost moral one: either it about differing conceptions law public interest (thus, Tennyson Fry), or, age totalitarianism, rediscovery absolute principles by an individual who had spent long years service state presenting itself embodiment highest values, hence fundamentally immoral depicted political compromise making pact with evil, also, up to point, Anouilh). film directed Peter Glenville, often shown on German television, loosely based Anouilh's play, but fact veered between those two representations. All creative works were concerned exploring, exposing, understanding, drama, real apparent contradictions ‘character’ Becket.
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