Bolt illustrates More’s strong sense of himself by presenting his unchangeable beliefs about various subjects, which makes the audience aware of More’s clear opinions that he has made himself without the influence of other characters – “when a man takes an oath he’s holding his own self in his hands.”
More’s thorough knowledge of himself is accompanied by his knowledge of the law that helped him to avoid trial as long as he did – “You will find it very ably set out and defended, Master Secretary, in the King’s book”, “You cannot lawfully harm me further.” He stays consistently ‘safe’ in his replies to questioning, which shows his opinions do not alter, and he is not easily intimidated – “I understood I was not to be asked that again,” “silence is not denial.”
Bolt also uses More’s actions to show his self-discipline and restraint – “there is no honour which the King would be likely to deny you”. He is not a selfish or materialistic character but much more concerned with being true to himself – “a man’s soul is his self,” which sums up how he is entirely familiar with himself and believes he should be.
Bolt also uses the other characters in the play to demonstrate More’s unchanging principles – “you’re known to be honest”, “he’s an innocent man.” The fact that the other characters know Sir Thomas’s way of thinking so well and are conscious of his obedience to his ethics expresses to the audience how adamant More is to himself – “if you could just see facts flat on, without that moral squint…” This attribute of how steadfast More is, is well respected by the other characters, as he is well spoken of, which demonstrates that he has always been known, even before the issue of Henry’s divorce, as a man with unwavering beliefs – “He doesn’t know how to be frightened!” “He was the only judge since Cato who didn’t accept bribes!”
Bolt uses More’s relationships with other characters to show how well he knows himself and how passionately he believes in staying true to his conscience. The audience can clearly see how close he is to King Henry as his Chancellor and friend – “you are my friend are you not?” and yet More still will not give his blessing for the divorce to the King as his loyal subject or friend because he does not believe it to be morally right – “Your conscience is your own affair; but you are my Chancellor!”
Bolt uses More’s relationship with Norfolk to demonstrate how important friendship is to More – “Affection goes as deep in me as you I think,” and yet More chooses to follow his conscience rather than the advice of his friends – “you must cease to know me.” This emotional scene shows the audience how obedient More is to himself, and how he sacrifices his relationships that are extremely important to him in order to stick to his principles of following his conscience – “I can’t give in…you might as well advise a man to change the colour of his eyes”.
The relationship that best displays More’s adamantine sense of himself, is with his family. Bolt presents More’s family as inquisitive about his work – “what did he want, Thomas?” yet More will tell them very little for his and their protection – “silence is my safety under the law, but my silence must be absolute, it must extend to you.” Bolt best illustrates More’s obedience to his own self when More sees his family for the last time in prison. It is shown how much he misses his family and cares for them, yet he feels that following his conscience is vital – “except keeping me from you, my dears, its not so bad.” Bolt uses stage directions to show how physically weak More is and how his body is ready to give in – “(flinching)”, “(breathlessly)”. He describes Margaret’s attempts to get him to give in as torture – “The King’s more merciful than you. He doesn’t use the rack.” Most significantly, however, is More’s desperation to have his family’s support – “(just hanging on to his self-possession) Alice, if you can tell me that you understand, I think I can make a good death, if I have to.” Bolt demonstrates how More is sacrifices all the things he holds dear to him; his life, friends and family, all for the sake of holding onto what he believes. Bolt shows the audience that More’s martyrdom was not by choice or intention as he clearly loved his family and friends and did not want to leave them, but felt that “a man’s soul is his self.”
Additionally, Bolt uses imagery to illustrate More’s dedication to himself. More describes himself as “a forester” in the law. The imagery of water that is used throughout the play to describe change is never used to refer to More, but rather he is referred to as the land, which never changes – “I’m no voyager.” More uses imagery himself to describe what is important to him - “when a man takes an oath, Meg, he’s holding his own self in his hands. Like water…and if he opens his fingers then - he’s unlikely to find himself again. Some men aren’t capable of this, but I’d be loathe to think your father one of them.”
Bolt also makes use of More’s appearance to emphasise his loyalty to his sense of right and wrong. More does not change his appearance for anyone, not even the King – “d’you propose to meet the King disguised as a parish clerk?” which demonstrates his unchanging ideology. Also the use of stage direction – “(he has aged and is pale)” shows the stress his stance is causing him, yet he still remains determined – “(his manner though wary is relaxed).”
Bolt leaves us with the final impression, as he wrote in the author’s preface, that More “ knew where he began and left off, what area of himself he could yield to the encroachments of his enemies, and what to the encroachments of those he loved.” He displays this by More’s comment to the woman he judged before – “if I had to give sentence now I assure you I should not alter it.” More’s confidence that he is going to heaven assures the audience how strong his faith in God and himself was – “Friend, be not afraid of your office. You send me to God.” The audience therefore is left with reminders of More’s bravery, understanding of himself and loyalty to his conscience.
