On May 18, the Departamento de Filologías Extranjeras y sus Lingüísticas (UNED) held a one-day seminar to publicise its research projects, including “T. S. Eliot’s Drama from Spain: Translation, Critical Study Performance (TEATREL-SP).” One of its researchers, Natalia Carbajosa Palmero, gave the lecture “The Translation into Spanish of T. S. Eliot’s Verse Drama: Precedents and Present Proposals.” Finding the right form, both equivalent to the original and also connecting with contemporary verse drama in Spanish, requires tracing Eliot’s search for the “perfect line”.
The need to adopt suitable means of expression became more pressing when Eliot evolved into drama still poetic and set in the present, but essentially realistic in its presentation of characters and situations. From The Cocktail Party onwards, Eliot used verse lines with a caesura dividing three or four main stresses. Although the verse line need not have a specific number of syllables, rhythmical regularity tends to make length similar. As with a set of scales, the poet placed stresses on each side, to keep balance.
This basic unit proved equally versatile for scenes of dramatic intensity (Sir Claude discussing personal fulfilment through art in The Confidential Clerk) as for the triviality of comic relief (Mrs. Piggot chatting away with Lord Claverton in The Elder Statesman). It would also serve the purpose of advancing dramatic action, avoiding moments of poetic stagnation – a priority for Eliot when he wrote his comedies. Finally, Eliot’s line could make speech sound natural while subtly sustaining a constancy of rhythm, like a faint or distant beating.
Eliot’s choices at this stage of his career as a dramatist were based on the assumption that realistic drama was incompatible with language that sounded “too” poetic. In other words, poetry without a clear dramatic function was not desirable for the stage, since it defeats the object of realism and is not easily assimilated by the general audience, which Eliot was aspiring to reach. He achieved his goal of popularity, albeit ephemeral, with The Cocktail Party and, to a lesser extent with The Confidential Clerk and The Elder Statesman.
Paradoxically, the more the playwright applied himself to the refinement of his dramatic poetry, the more prosaic it sounded. The functional plainness of the verse is one of the reasons why the lines of Eliot’s last two comedies sound somewhat unappealing. Conversely, the plays that have best stood the test of time are those written before Eliot’s generalised use of his basic “perfect line,” those containing markedly poetic passages in terms of prosody and imagery: Murder in the Cathedral and The Family Reunion.