Submitted by

Name: Rezwana Haque Ritu

Student ID: 2012003148

Year: 4th

Semester: 1st

Session: 2019-20

Course Name: Twentieth Century Drama

Course No.: 403

Submitted to

Md. Sakhawat Hossain

Professor

Department of English

University of Rajshahi

Topic: Write on Eliot's dramatic style of diction and versification.

for his innovative approach to both form and content. His dramatic style is a synthesis of

traditional and innovative elements, utilizing precise and varied diction and diverse

versification. He integrates colloquial and elevated language, irony, understatement,

and symbolism to generate dramatic tension and ambiguity. His flexible use of

traditional forms and free verse captures the nuances of human emotion and thought.

Eliot also employs dramatic monologue, fragmentation, and intertextuality to delve into

characters' inner lives and provide commentary on social and cultural issues. Eliot’s

foray into poetic drama, particularly Murder in the Cathedral (1935), reflects his belief

that verse could elevate theater beyond the confines of realism, reviving the tradition of

poetic drama. It exemplifies the playwright's distinctive dramatic style. The play is

renowned for its poetic language and masterful use of verse, which create a rich and

evocative atmosphere. His manipulation of language heightens dramatic tension,

deepens characterization, and explores profound theological themes.

First and foremost, T.S. Eliot's diction is notable for its precision and range,

seamlessly blending colloquial and elevated language to create dramatic tension that

reflects the complexities of modern life. His frequent use of irony and understatement

conveys deeper meanings, while his symbolism adds layers of ambiguity to his work.

Eliot’s diction is deliberately elevated, reflecting the play’s solemn themes of faith,

martyrdom, and divine will. The language of the play oscillates between the lofty

rhetoric of the Chorus and the Archbishop, and the more grounded speech of the

Tempters and the common people. This juxtaposition of linguistic registers serves to
highlight the contrasting perspectives and social strata within the play. Drawing from his

Anglican faith and his appreciation for religious liturgy, Eliot employs a ritualistic tone

that imbues the play with a sense of sacred grandeur. The Chorus, representing the poor

women of Canterbury, speaks in a heightened poetic style that blends prophecy with

lamentation. The frequent use of biblical allusions and ecclesiastical terminology

creates an atmosphere of reverence and solemnity, while also underscoring the

Archbishop's unwavering faith.

To establish a sense of timeless seriousness, Eliot frequently uses formal structures

and archaic language. Becket's dialogue, for example, mirrors medieval sermon

rhetoric, which strengthens his position as a spiritual leader facing martyrdom. The

repetition and declarative sentence structure in his Christmas sermon declaration — “A

Christian martyrdom is never an accident, for Saints are not made by accident” —

highlight Becket’s theological conviction. Though his speech is often didactic, similar to

the sermons of medieval churchmen, Eliot’s controlled diction prevents it from becoming

overly rhetorical.

Having discussed Eliot's diction, it is important to consider Eliot's versification, which

is both diverse and innovative, demonstrating mastery over traditional forms like blank

verse and rhymed couplets, while also experimenting with free verse and irregular

rhythms. This flexibility allows him to capture the nuances of human emotion and

thought.Furthermore, his masterful use of versification, specifically enjambment and

caesura, creates a sense of urgency and immediacy, significantly contributing to the

auditory experience that mirrors the play's shifting emotional and thematic landscape. A

key metrical pattern is blank verse, mainly used for the Archbishop's speeches. Its

unrhymed iambic pentameter lends gravity and authority to his words, highlighting his

spiritual leadership and unwavering faith. The steady rhythm creates a sense of calm

and control, even as he faces martyrdom.

In contrast, the Tempters' dialogues have irregular rhythms and metrical variations,

reflecting their manipulative and deceptive nature. Their speeches also feature more

enjambment, creating a sense of urgency and restlessness that mirrors their attempts to

unsettle the Archbishop. Eliot's strategic use of rhyme includes full rhyme, half rhyme,

internal rhyme, and assonance, creating a subtle musicality. Full rhyme creates closure

and resolution, while half rhyme creates ambiguity and uncertainty. Internal rhyme adds

texture and complexity, while assonance creates fluidity and cohesion. The interplay of

these rhyming devices reinforces the play's themes. For instance, full rhyme in the

Chorus's speeches creates a sense of communal unity, while half rhyme in the

Tempters' speeches creates disharmony and discord.

The Chorus's speeches have a musical and hypnotic quality, achieved through the

use of anaphora, alliteration, and parallelism. These techniques also convey a sense of

both resignation and foreboding, as seen in the example, “We do not wish anything to

happen. We are not ignorant of what is happening. We are afraid of what may happen.”

The Chorus's language is also grounded in the physical world through the use of natural

imagery and elemental references, which enhances the spiritual themes of the play.
Eliot's versification is enriched by the fusion of Greek choral tradition with Christian

liturgical rhythms, with the Chorus serving as both a narrative device and a means of

poetic intensification.

T.S. Eliot strategically incorporates prose into his play, Murder in the Cathedral, to

distinguish specific moments. For instance, Becket's Christmas sermon is written in

prose, setting it apart from the predominantly verse-based structure of the play. This

change in form signifies a direct address to the audience, mirroring a priest's

communication with his congregation. Similarly, after assassinating Becket, the Knights

employ contemporary prose to justify their actions:"We have been accused of a brutal

act, but let us consider the circumstances." Their prosaic defense starkly contrasts with

the poetic elevation of Becket's martyrdom. This contrast underscores the disparity

between the mundane nature of political rationalization and the profound significance of

spiritual sacrifice.

Considering the two aspects; diction and versification; it becomes evident that, in

Murder in the Cathedral, T.S. Eliot masterfully combines them to craft a dramatic

experience which is both intellectually stimulating and emotionally resonant. The

interplay of sound and meaning reinforces the grandeur of religious faith and the

complexities of human experience, creating a dramatic style that is both rich and

textured. Eliot's precise and evocative language illuminates the human soul,

showcasing his deep understanding of the power of words. For example, the

Archbishop's speeches, delivered in lofty diction and measured blank verse, reflect his
unwavering faith and moral authority. In contrast, the Tempters' dialogues, marked by

colloquial diction and irregular rhythm, mirror their deceptive nature and attempts to

undermine the Archbishop's resolve. Through this skillful manipulation of language,

Eliot's dramatic style reaches its pinnacle in Murder in the Cathedral.

In summation, T.S. Eliot's Murder in the Cathedral exemplifies his mastery of poetic

drama, utilizing a sophisticated blend of diction and versification to amplify its thematic

influence. The elevated, ritualistic language, use of archaic words, and innovative verse

structures culminate in a work that is both dramatic and contemplative. Eliot's fusion of

blank verse, free verse, choral speech, and prose produces a play that is both

historically authentic and experimental, a distinguishing characteristic of modernist

theater. His linguistic artistry has established Murder in the Cathedral as a monumental

work of 20th-century poetic drama, demonstrating the enduring power of verse in

theatrical expression.