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Themes are the fundamental and often universal ideas explored in a literary work.
In his preface, Robert Bolt addresses the apparent contradiction between Thomas More’s upright moral sense and his periodic attempts to find legal and moral loopholes. More strongly opposes Henry’s divorce, yet he hopes to avoid rather than speak out against the Oath of Supremacy. More explains his actions when he says to Will Roper, “God’s my god. . . . But I find him rather too . . . subtle.” More respects God’s law above all else, but he also does not pretend to understand it. Therefore, he sees man’s law as the best available guide to action, even if it occasionally contradicts God’s law or lets some evildoers off the hook.
In his approach to moral action, More is thoroughly pragmatic, but not, like Cromwell or Rich, at the expense of his beliefs. If More sometimes seems hypocritical, it is because he is trying to balance his respect for the law and society with his deep-rooted sense of self. He obeys the law fully, and, in the end, the prosecution has to come up with false charges to execute him.
More’s pragmatic maneuvering through society contrasts with what More calls Roper’s “seagoing” principles. Roper follows ideals instead of a his conscience or the law, and More argues that attempting to navigate high-minded ideals is akin to being lost at sea. Roper switches willy-nilly from Catholicism to Lutheranism and back again, each time utterly convinced of his own righteousness. Bolt implies that because we cannot comprehend the moral alignment of the universe, much less wrap it up in a tidy theory, we should focus our energy on improving ourselves and our society.
A Man for All Seasons focuses on the rise of Richard Rich as much as it follows the fall of Sir Thomas More. As More’s steadfast selfhood earns him a spot on the chopping block, Rich acquires more and more wealth and greater status by selling out his friend and his own moral principles. Although Rich at first bemoans his loss of innocence, by the end of the play he has no qualms about perjuring himself in exchange for a high-ranking position.
In Act One, scene eight, Rich gives Cromwell information about the silver cup in exchange for a job. Rich laments that he has lost his innocence, and the scene suggests that Rich has sold his soul to the devil. Cromwell himself evokes the devil as he craftily cajoles Rich into selling out before cramming Rich’s hand into a candle flame.
Although Act One, scene eight recalls many cautionary religious tales about the seductive powers of the devil, Bolt does not depict Rich’s corruption to warn us that people like Rich go to hell. Rather, Rich’s corruption, set against More’s hard and fast sense of self, shows the damage Rich has done to his own life. Rich has sacrificed the goodness of his own self, which the play argues is the only thing for which life is worth living.
How does Thomas More differ from Thomas Cromwell on religion and politics?
Why do the characters in the reading react as they do to Richard Rich reading Machiavelli and knowing Cromwell?
How does More differ from Wolsey in his opinion on the King’s divorce?
How does Thomas More feel towards Henry VIII?
How does Henry VIII try to persuade More to change his mind?
How does More resemble Henry VIII?
How do Cromwell’s words and actions with Richard Rich demonstrate his political and moral Machiavellianism?... Read more→
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"He maintains that if he does not speak his opinion concerning his disapproval of the king’s intention to divorce his wife, then, according to the Bible, his silence will connote consent, not dissent."
This scene is from late in act 2, in his trial. But the argument about qui tacet consentire - silence gives consent - is not a matter of the Bible, but a matter of law: “’The maxim is “qui tacet consentire”…. “Silence Gives Consent”. If therefore you wish to construe what my silence “betokened”, you must construe tha
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