In ‘The Song of Songs in the Valley of Bones’, he takes to the stage to give the audience at The Palace Theatre in London brief guidelines to what he calls an ‘immensely learned, profound, comprehensive, allusive masterpiece’ – The Waste Land [6]. Within this piece, Hughes translates Eliot’s epigraph – the cry of the Sybil of Cumae– along with the Sanskrit words ‘Datta’ (Give), ‘Dayadhvam’ (Sympathize) and ‘Damyata’ (Control) and, indeed, Hughes provides a ‘translation’ of the entire poem by ‘highlighting prominent structural features [of the poem] that might be useful to a listener’ [7]. This theme of ‘translating’ Eliot is also taken up by Hughes at the end of ‘A Dancer to God’ in which he claims to