Furthermore, the transparency of the trial is once again questionable upon the revelation of a statement that Cromwell makes to the court, and becomes one of the biggest arguments of the prosecution.
“But, Gentlemen of the Jury, there are many kinds of silence… Suppose
I were to draw a dagger from my sleeve and make to kill the prisoner
with it [and the lordships did not cry out]. What would that betoken?”
This is a strong dramatic irony, since as the trial progresses it becomes clearer that Cromwell wants nothing less than to see More eradicated and out of the picture completely. The fact that, at the end of the scene, the jury also decide to hand down a verdict of ‘guilty’ without even retiring to consider the facts is the exact ‘murder’ Cromwell refers to, just in another form. This section is well-written by Robert Bolt, as it delivers a stunning shock to the audience upon realisation.
The changes that occur in Richard Rich are also paramount to the overall fabric of this scene. Whilst the main battle of character is undoubtedly Cromwell, it is very important to note that without Rich’s relentless abuse of his position, More would have no doubt won the battle between them. The fact that Rich has to commit the ‘holy crime’ (lying under oath) in order to finally suitably incriminate More is testament to More’s self-assurance and complete faith in his religion and his God. The final betrayal of More, at the hands of Rich’s false testimony, leads More to a final grimace of pain, as he comes to the realisation that Rich has sold his soul not for the whole world, but for a post of meagre power.
“Why, Richard, it profits a man nothing to give his soul for the whole
world… But for Wales!”
This highlights how saddened More is by this final betrayal, and this is very effective in the scene as a whole as it illustrates how More’s ‘acquaintanceships’ become his ultimate downfall, no matter how many he tried to sever (like Norfolk’s).
The Common Man has a seemingly docile and benevolent role to play in the drama up until this scene – from this point onwards, the intention of the playwright to install the Common Man as a person who will go out of his way to save himself, even at the expense of great men such as More, as well as liken him to the audience themselves. The fact that the roles that the Common Man begins to take become increasingly more malevolent towards More, from the completely innocent boatman, through to the jailer, foreman of the jury and eventually even the executioner in the next, conclusive, scene, shows this. The playwright also wishes to highlight just how easy they fold to any type of pressure, particularly from powerful power, in this scene. This is most apparent during the closing sections, when Cromwell challenges the need for retirement and consideration of the verdict from the jury.
“Considering the evidence it shouldn’t be necessary for them to retire.
(Standing over FOREMAN) Is it necessary?”
These powers of intimidation from a very powerful man are more than enough to coerce the foreman (who is assumed by the Common Man) to bend under his will. This also highlights the fragility of the justice system in these turbulent times, and how even the laws of the Magna Carta, the sacred laws of the people, can be bent and even completely broken if a powerful man, such as Cromwell, so desires.
Another intriguing factor in this section of the play is the comparisons made between the main characters and the people present at the death of Jesus Christ. This actually resembles an extended metaphor that continues through the scene. More’s struggles and completely untainted, Christ-like clarity of conscience draw comparisons between him and Jesus Christ, made even more profound by fact that this is who More is struggling in the name of. A good example of this occurs during the opening speeches, when More directly links the events.
“…dare we for shame desire… when Our Lord entered with so much
pain?”
Cromwell can frequently be construed as a complete antichrist in this scene, and seems hell-bent on More’s destruction, symbolising him as a satanic figure within the play. Rich also has a dynamic part to play in the scene, and comparisons between him and Judas can easily be made – a man betraying, utterly betraying, another just for status and wealth. The fact he has been made ‘Attorney-General for Wales’ illustrates how Rich has no interest in the great man of More, much akin to Judas’ selfish interest in Jesus.
A final interesting issue of note is the polar opposition that the main characters in the scene are set against and, even more importantly, how either of them show little capacity for movement. Without Rich’s false testimony, the sheer difference in thoughts and motives would have resulted in complete stalemate. The amount of fruitless bargaining from one side to the other, despite the clear iron-clad resolution that both sides hold, is interesting to witness. Cromwell in particular never gives up on convincing More to sign the document, despite how staunch More is in defending his position. In fact, in a final section of the court scene, Norfolk gives More one last chance which he totally rejects.
“…I am empowered to tell you that even now –
No no. It cannot be.”
The sheer volume of rhetoric from either side shows just how the case has already been decided and there is little need for deliberation. This is interesting and the playwright seems to wish to highlight how unnecessary the entire scene is made, and how pointless a court system is when the decision has been made behind closed doors.
The court scene of ‘A Man For All Seasons’ is interesting in that it offers a multitude of insights into a couple of the most interesting characters in modern written drama. The characters of More, Cromwell and Rich all have very intriguing nuances in their characterisation that make this scene, and its setup as a clash of, in particular two, heavily opinionated and heavily driven characters. In terms of logistics, this scene depicts a realistic court of the time superbly, but beneath the surface of it lie some of the most contentious issues – and most intriguing characters – in the modern English language.
