Introduction
This essay seeks to elucidate T. S. Eliot’s *Murder in the Cathedral* (1935) as a verse drama, a significant contribution to modern English literature. Written as a play in poetic form, it dramatises the assassination of Thomas Becket, Archbishop of Canterbury, in 1170. The essay will explore the characteristics of verse drama as a genre, examine how Eliot employs poetic language and structure to enhance dramatic effect, and consider the thematic depth that distinguishes the work. Through this analysis, the piece will demonstrate a sound understanding of Eliot’s text and its place within twentieth-century drama, while engaging with relevant academic perspectives to support the arguments presented.
Defining Verse Drama and Its Historical Context
Verse drama, as a literary form, combines the elements of poetry with theatrical performance, using rhythmic and often metrical language to convey narrative and emotion. Historically, it has roots in ancient Greek tragedy and Elizabethan theatre, with playwrights like Shakespeare and Marlowe mastering the form. By the twentieth century, however, prose drama dominated the stage, rendering verse drama less common. Eliot, influenced by modernist ideals, sought to revive this tradition, believing that poetic language could elevate drama to a higher level of artistic and spiritual significance (Ackroyd, 1984). In *Murder in the Cathedral*, commissioned for the Canterbury Festival in 1935, Eliot utilises verse to explore profound moral and religious questions surrounding Becket’s martyrdom, aligning the form with the play’s historical and ecclesiastical setting.
Poetic Structure and Language in Murder in the Cathedral
Eliot’s use of verse in *Murder in the Cathedral* is central to its dramatic impact. The play employs a variety of poetic forms, including free verse and more structured rhythms, to differentiate characters and convey internal conflict. For instance, the Chorus—representing the common people of Canterbury—speaks in a collective, lyrical voice that contrasts with Becket’s introspective, measured speeches. This technique not only highlights thematic tensions between individual will and communal fear but also mirrors the ritualistic nature of religious ceremony (Smith, 1963). Furthermore, Eliot’s language is dense with biblical allusions and imagery, such as references to martyrdom and sacrifice, which enrich the text’s spiritual dimension. While effective, this can occasionally alienate modern audiences unfamiliar with such references, a limitation noted by some critics (Jones, 1960).
Thematic Depth Through Verse
Beyond its stylistic elements, *Murder in the Cathedral* uses verse drama to delve into complex themes of faith, power, and moral struggle. The rhythmic dialogue intensifies Becket’s internal debate over whether to accept martyrdom for spiritual reasons or resist for worldly ones, a conflict that prose might not capture with the same emotional resonance. Eliot also integrates modernist sensibilities, such as fragmentation and ambiguity, into the verse, reflecting the era’s disillusionment with absolute truths (Ackroyd, 1984). This blending of traditional and contemporary elements demonstrates Eliot’s innovative approach, though arguably, it demands a level of engagement that not all viewers or readers may possess.
Conclusion
In conclusion, *Murder in the Cathedral* exemplifies T. S. Eliot’s mastery of verse drama, using poetic language and structure to heighten the play’s dramatic and thematic impact. By reviving a historical form within a modernist context, Eliot explores profound questions of faith and sacrifice, while his stylistic choices underscore the ritualistic and emotional weight of Becket’s martyrdom. Although the density of language and allusion may pose challenges, the work remains a significant achievement in twentieth-century literature. This analysis affirms the relevance of verse drama as a vehicle for complex ideas, suggesting its potential applicability to other historical or spiritual narratives in modern theatre studies.
References
- Ackroyd, P. (1984) T. S. Eliot: A Life. Hamish Hamilton.
- Jones, D. E. (1960) The Plays of T. S. Eliot. Routledge & Kegan Paul.
- Smith, C. H. (1963) T. S. Eliot’s Dramatic Theory and Practice. Princeton University Press.
