THE LORD CHAMBERLAIN’S MAN 227
The German artist Hans Holbein
captured More’s intelligence and
dignity in this extraordinarily vivid
portrait of 1527, painted when More
was a rising star at Henry’s court.
came in the first third of the play
where Londoners riot against
foreigners. He appears to have been
most concerned over public order.
An unwieldy play
The play’s failure to reach the stage
may have been due to practical as
well as political reasons. It has
59 speaking parts, which would
have severely taxed any theater
company, with many actors playing
three or more roles. Probably only
the roles of Sir Thomas More and
perhaps the Earls of Shrewsbury
and Surrey, could have been played
by actors with no other parts.
More’s life is split into three
parts—his rise, his chancellorship,
and his fall. The early part of the
play shows More as Sheriff of
London, and stresses his wisdom
and moderation. When a group of
Londoners rise in rebellion against
foreigners in their midst, More ends
the riot with quiet persuasion.
It is thought that the key scene
in this part of the play was written
by Shakespeare. It seems likely
that Shakespeare had not seen the
rest of the play and was simply
given a brief by the editor, since
there are characters he just names
as “other” or even “o,” and the entry
of More seems confusing. But what
he writes stands out in a generally
mediocre play.
Tolerance for foreigners
In Shakespeare’s script, More
calmly stands before the rioters
in St. Martin’s Gate. He makes
a passionate plea for the tolerance
of refugees. Painting a poignant
picture of the foreigners (strangers)
bullied out by the rioters, More
tells them that this brings only
the idea that bullying prevails:
“Imagine that you see the wretched
strangers, / Their babies at their
backs, with their poor luggage, /
Plodding to th’ ports and coasts for
transportation, / And that you sit as
kings in your desires...What had
you got? I’ll tell you: you had taught /
How insolence and strong hand
should prevail” (6.84–87, 90–91).
More asks what will stop bullies
preying on them. “With selfsame
hand, self reasons, and self right, /
Would shark on you, and men like
ravenous fishes / Would feed on
one another” (6.95–97). Moreover, More goes on, if the
king is driven to banish the rioters
themselves, surely they would
expect to be treated decently
abroad: “Would you be pleased /
To find a nation of such barbarous
temper” (6.145–146).
More carries his constancy
through to his own death. He
cannot change his mind and sign
the articles that recognize Anne
Boleyn and her heirs as legitimate.
Yet he calmly accepts his fate.
“No eye salute my trunk with a sad
tear,” More says to end the play
as the axeman prepares to behead
him, “Our birth to heaven should
be thus: void of fear.” ■