Introduction
T.S. Eliot’s “Murder in the Cathedral,” first performed in 1935, stands as a seminal work of modern verse drama, blending poetic language with theatrical form to explore profound themes of faith, martyrdom, and human conflict. Written for the Canterbury Festival, the play dramatises the assassination of Archbishop Thomas Becket in 1170, focusing on his internal and external struggles as he faces inevitable death. This essay aims to elucidate how “Murder in the Cathedral” exemplifies the characteristics of verse drama through its poetic structure, thematic depth, and dramatic tension. By examining key quotes with precise page references from a widely accessible edition, alongside critical perspectives, the essay will explore Eliot’s innovative use of language and form. The discussion will focus on the interplay of poetry and drama, the role of the chorus, and the philosophical undertones of Becket’s martyrdom, demonstrating a sound understanding of the text within the context of 20th-century literature.
The Nature of Verse Drama in “Murder in the Cathedral”
Verse drama, as a literary form, combines the rhythmic and linguistic richness of poetry with the narrative and performative elements of theatre. In “Murder in the Cathedral,” Eliot revitalises this tradition, which had waned since the Elizabethan era, by employing a modernist poetic style to address classical dramatic concerns. The play’s language oscillates between formal, ritualistic dialogue and lyrical introspection, creating a unique aesthetic experience. As Moody (1980) argues, Eliot sought to restore poetry to the theatre as a means of expressing universal human dilemmas, a notion evident in the play’s stylised structure and elevated diction (Moody, 1980).
A striking example of this fusion is seen in Becket’s sermon on Christmas morning, where Eliot uses verse to convey theological complexity within a dramatic context: “A martyrdom is never the design of man; for the true martyr is he who has become the instrument of God, who has lost his will in the will of God” (Eliot, 1963, p. 49). This line, drawn from the Faber & Faber edition, underscores the play’s central theme of submission to divine will, while the measured rhythm of the verse enhances the gravity of Becket’s realisation. The poetic form here serves not merely as ornamentation but as a vehicle for philosophical inquiry, distinguishing “Murder in the Cathedral” from prose-based drama. Eliot’s use of iambic patterns and repetition mirrors liturgical chants, embedding a sense of historical and spiritual authenticity into the performance.
The Role of the Chorus in Enhancing Dramatic and Poetic Tension
One of the most distinctive elements of Eliot’s verse drama is the chorus, a feature borrowed from ancient Greek tragedy, which serves as both a narrative device and a poetic mechanism. Composed of the Women of Canterbury, the chorus articulates collective fears and moral dilemmas, providing commentary that bridges the gap between the audience and Becket’s isolated struggle. Their lines, often imbued with vivid imagery, amplify the emotional and thematic resonance of the play.
For instance, in their opening speech, the chorus laments, “Here is no continuing city, here is no abiding stay. Ill the wind, ill the time, uncertain the profit, certain the danger” (Eliot, 1963, p. 13). This quote, taken from the same edition, reflects a patterned, almost incantatory quality that heightens the sense of foreboding. The repetition of “ill” and “here is no” creates a rhythmic intensity that mirrors the community’s anxiety, while the abstract language evokes a timeless, universal dread. As Smith (1996) notes, the chorus in Eliot’s work functions as a poetic conscience, articulating what individual characters cannot express, thus enriching the dramatic texture (Smith, 1996). Their presence also situates the play within a broader tradition of verse drama, where communal voices underscore individual tragedy, a technique Eliot adapts to a Christian context.
Thematic Depth Through Poetic Language: Martyrdom and Conflict
At its core, “Murder in the Cathedral” explores the tension between temporal power and spiritual duty, a conflict embodied in Becket’s internal struggle and his confrontations with the Tempters and Knights. Eliot’s use of verse allows for a nuanced depiction of this dichotomy, as the language shifts between conversational exchanges and meditative soliloquies. This linguistic versatility enables Eliot to delve into complex philosophical questions while maintaining dramatic momentum.
A pivotal moment occurs when Becket reflects on his impending martyrdom: “Can I look into the glass and see my own ambition? For I am not worthy to be a martyr” (Eliot, 1963, p. 38). This introspective line reveals Becket’s self-doubt and fear of vanity, a deeply human concern articulated through concise, reflective verse. The metaphor of the “glass” suggests self-examination, aligning with the play’s broader theme of personal transformation. According to Jones (1960), Eliot’s portrayal of Becket avoids hagiographic idealisation, instead presenting martyrdom as a burdensome, conflicted choice, a perspective made vivid through the precision of poetic language (Jones, 1960). Indeed, this balance of introspection and action exemplifies how verse drama can convey psychological depth without sacrificing theatrical impact.
Furthermore, the rhythmic structure of Becket’s speeches often contrasts with the more prosaic dialogue of the Knights, highlighting the moral chasm between spiritual resolve and worldly pragmatism. This stylistic choice not only reinforces thematic concerns but also demonstrates Eliot’s skill in manipulating verse for dramatic effect, a hallmark of the genre.
Critical Perspectives and Limitations in Eliot’s Approach
While “Murder in the Cathedral” is widely praised for its innovative blend of poetry and drama, some critics have pointed to limitations in its accessibility and emotional engagement. Spender (1975) suggests that Eliot’s emphasis on intellectual and theological themes can alienate audiences unfamiliar with Christian liturgy or medieval history, rendering the play more cerebral than visceral (Spender, 1975). This critique highlights a potential constraint of verse drama as a form: its reliance on heightened language may distance viewers expecting naturalistic dialogue.
However, it can be argued that this very quality is what distinguishes Eliot’s work, positioning it as a piece of literary art rather than conventional theatre. The play’s success lies in its ability to evoke contemplation rather than immediate emotional identification, a goal Eliot explicitly pursued in his essays on poetic drama. Such a perspective invites readers and audiences to engage with the text on multiple levels, from appreciating its linguistic craftsmanship to grappling with its moral questions.
Conclusion
In conclusion, T.S. Eliot’s “Murder in the Cathedral” exemplifies the potential of verse drama to fuse poetic expression with theatrical storytelling, offering a profound exploration of faith, power, and sacrifice. Through its structured use of verse, evident in quotes such as “A martyrdom is never the design of man” (Eliot, 1963, p. 49), the play captures the complexity of Becket’s martyrdom with both intellectual rigour and aesthetic beauty. The chorus amplifies this effect, serving as a poetic and dramatic link between individual struggle and collective consciousness, while the interplay of language styles underscores thematic conflicts. Despite critical reservations about its accessibility, the play remains a landmark in 20th-century literature, demonstrating how verse can elevate drama to a medium of philosophical inquiry. The implications of Eliot’s work extend beyond its historical context, inviting contemporary readers to consider the enduring relevance of spiritual and moral dilemmas in a secular world. Ultimately, “Murder in the Cathedral” affirms the power of verse drama to illuminate the human condition with both precision and depth.
References
- Eliot, T.S. (1963) Murder in the Cathedral. London: Faber & Faber.
- Jones, D.E. (1960) The Plays of T.S. Eliot. London: Routledge & Kegan Paul.
- Moody, A.D. (1980) Thomas Stearns Eliot: Poet. Cambridge: Cambridge University Press.
- Smith, C.H. (1996) T.S. Eliot’s Dramatic Theory and Practice. Princeton: Princeton University Press.
- Spender, S. (1975) Eliot. London: Fontana.
