A Consideration of The Rock

A CONSIDERATION OF THE ROCK TOBY A. OLSHIN Unlike most recent essays On Eliot, this one need not begin with an apology. His second poetic drama The Rock (1934) has received little attention, partially because he himself considered only the choruses a legitimate part of his canon, and partially because there is something about it which makes even the most interpretive critics become evaluative when they confront it.' It is my purpose here to ask for a new approach to The Rock and to clear the way through a threefold method: a gathering of evidence about the real nature of Eliot's collaboration; a close textual study of the drama - especially the neglected prose passages - to identify the central theme; and a glance at the meaning of this theme in light of Eliot's classification as a Romantic by both Northrop Frye2 and GK. Stead.' Obviously, One of the reasons for critical neglect of The Rock is that Eliot preserved only the choruses in The Ccnnplete Poems and Plays (I952), allOwing the published book of the 'pageant play' to go out of print after One edition. Because the work is not easily available and also because it prOvides the best piece of evidence with which to begin an analysis of Eliot's collaboration, I quote his prefatory note in full: I cannot consider myself the author of the 'play: but only of the words which are printed here. The scenario, incorporating some historical scenes suggested by the Rev. R. Webb-Odell, is by Mr E. Martin Browne, under whose course for the sentiments expressed in the choruses I must assume the responsibility. I should like to make grateful acknowledgement of the collaboration of Dr Martin Shaw, who composed the music. To Mr F.V. Morley I am indebted for one speech for which technical knowledge of bricklaying was required; to Major Bonamy Dobree for correcting the diction of the Christopher Wren scene; to Mr W.F. CachemailIe-Day for information concerning the relations of architects, contractors and foremen. The Rev. Vincent Howson has so completely rewritten, amplified and condensed the dialogue between himself ('Bert') and his mates, that he deserves the title of joint author.' Volume XXXIX, Number 4, July 1970 A CONSIDERATION OF The Rock 311 To By in the face of such a statement with the insistence that the work be restored to the canon takes a firm belief in the role of the interpretive critic and at least several pieces of evidence about authorship. Let us begin with the latter. First, Eliot allowed the work to be published with his name alone on the title page, albeit as part of a curious phrase: 'Book of Words by T.S. Eliot.' As we shall see, what this expression means is that while the actual words were his own, the form which they covered was not. The fact to be remembered, however, is that Eliot created 'the words' and those words appeared in publication under his Own name. Second, we have two essays by E. Martin Browne in which he discusses the occasional nature of the drama and his role as collaborator." The Forty-Five Churches Fund, a group whose purpose was to build and endow new churches in the growing suburbs of London, approached Browne with suggestions for the production of a pageant.' Browne relates, They had conceived it on the conventional pattern of Church History.... I persuaded them ... that a fresh approach was needed and got them to invite T.S. Eliot to write a work which they insisted must incorporate the scenes already allotted [to various parishes]. It was not a prepossessing proposition: SOme millstones round his neck, and no alternative form, which could offer an adequate opportunity to a poet, as yet devised. But to my joy, he accepted." Browne goes on to describe their joint search for 'a form in which to cast the show' but calls the inspiration for a 'revue' format his own. This scenario was accepted by the Fund group at the last moment, and Browne notes, T he author of 'the words' [as he correctly puts it] ... had to work against time.'8 The point here is that Browne, despite...