In his essay entitled ‘Poetry and Drama’, T. S. Eliot states that ‘a mixture of prose and verse in the same play is generally to be avoided’. The reason, says Eliot, lies in the fact that ‘each transition makes the auditor aware, with a jolt, of the medium’ (p. 13). Alternating use of prose and verse within the same work of art is justified, he adds, only when the author's specific purpose is to produce just such ‘a jolt’ in his audience. The case of Lorca's Blood Wedding and its recent 1990 Israeli production calls for a reassessment of Eliot's analytical approach.