Political and social protest writing: exemplar student response

An exemplar student response to a Section A question in the specimen assessment materials, followed by an examiner commentary on the response. 

Paper 2B, Section A, A man for all seasons

Question

Explore the significance of the elements of political protest in this extract. Remember to include in your answer relevant detailed analysis of the ways Bolt has shaped meanings.

Band 4 response

Bolt creates baited-breath type tension in this scene, which is only to be expected given its context of one of the most influential and studied periods of English history. 'A Man for All Seasons' is set during the tumultuous period of the Reformation, in which Henry VIII stamped his authority on the Church, a time when opposition of all kind was increasingly dangerous in the eyes of the emerging tyrant. However, this scene contains many political nuances, especially with regards to shifts and clashes of power between particular individuals, complicating the audience's perspective of who might be in charge.

First, one of the key political debates in this scene, indeed the whole subject matter of the play, is symbolised through the personal power of both Cromwell and More, and their tense argument. Bolt parallels the two characters in both their speeches and in body movement, representing the equal intimidation from the former and defensive response from the latter. At first, Cromwell is directed as 'approaching More, behind him' which immediately suggests threat, and More's vulnerability. Cromwell's cunning and shiftiness comes through here, he stands exactly where the prisoner can't see his face, the perfect back-stabbing position. At this moment, the murky duplicity of politics thrives; indeed politics itself could be said to be a kind of theatre. Cromwell at first has the upper hand as More physically shies away from eye contact: 'he turns his head away from Cromwell'. However, Bolt levels More with Cromwell, as he later 'faces Cromwell, his eyes sparkling with suspicion.' He goes on to belittle Cromwell subtly in his speech, calling him 'Mr Secretary' rather than 'Master', reminding him of his real position, subservient to the King, and mocking his role. Bolt also compares the characters through their speeches, equalling engaging and eloquent. Both use personification, More in his description of death ('Death …comes for us all…he will neither kneel nor make them any reverence…but roughly grasp them by the very breast') and Cromwell in his evaluation of silence ('so silence can…speak'). The level, opposing politics and personalities of the two men are heightened by Bolt's use of dramatic suspense, constantly putting off the climax of the scene with intense, pedantic debate.

Indeed the intellectual struggle between them, and the very fussiness of the case (More's life depends on a mere technicality, the meaning of his silence) could possibly be symbolic of the King's Great Matter and the Reformation hinted at in the play, the overarching political problem in this play. It was a long, arduous legal battle. In terms of the divorce especially, it centred around trying to find a loophole in the Pope's dispensation, which had allowed Henry to marry Catherine of Aragon. The following arguments over minutiae which exploded into the dramatic event of the Reformation are reflected perfectly by More and Cromwell's sparring over the legal interpretation of silence. Bolt's symbolic microcosm works to clarify and deepen the gravity of the umbrella political issue.

The captive argument between Cromwell and More also serves to emphasise the absence of the 'Supreme Head of the Church in England', the King, and one wonders whether this also means an absence of royal authority. On the one hand, Bolt's decision to absent the person around whom it all revolves is a clever way of actually increasing the ominous strength of his presence, one's sense of awe. His power can be read through the attitude of the Duke of Norfolk, who on the one hand is clearly sympathetic to More: ('leaning forward urgently' 'Your life lies in your own hand, Thomas, as it always has'). This momentary slip from professional distance suggests previous acquaintance with More, as is noticeable by the intimate body language and his ceasing to say 'Sir Thomas': instead, just 'Thomas'. Bolt creates a direct contrast here with the Duke's speech to Cromwell, which is brusque and snappy, suggesting a withheld dislike. He curbs Cromwell's drawn out cruelty to More, exclaiming, 'Master Secretary, read the charge!' However, he never attempts to defend More, and he fades easily from the conversation towards the end of the scene, adding to the impression of the weakness of his character. Ultimately, he gives himself over to loyalty, or fear, of the King, which would be the wisest, safest political move. Hence, Henry's power seeps through without him needing to be there.

However, another possible reason for his minimal influence in the scene is to emphasis Cromwell's growing, dangerous authority, and a key element of political protest writing. He has utter control over the scene, despite the fact that Norfolk is supposedly presiding over the trial. Cromwell is at ease, maliciously toying with his victim: '…The late Bishop Fisher I should have said.' He indulges himself in his musings, voicing his thoughts to the room, telling it 'let us say it is in the dead of night – there's nothing like darkness for sharpening the ear.' He is even sinister in setting the scene of his own ponderings. Whilst he finds pleasure in antagonising More, Henry, well known to have been a friend and admirer of his Chancellor, perhaps cannot muster the strength to involve himself too closely. Cromwell, only too happy to prey on this weakness in his master, is happy to take over. It could be, then, that this scene is a foretaste of developments between the King and Cromwell, raising questions as to who drives crucial decisions in this time: who manipulates who?

In conclusion, I think the significance of political elements in this extract is that it presents power in all forms: suppressed, challenged, lost and undermined. Bolt's use of stage directions, suspense, speech, parallels, contrasts and perhaps even symbolism serve to muddy the political waters, particularly in terms of the extent of Cromwell's power and whether it is beginning to overstep that of a 'secretary'.

Examiner commentary

This is a clearly written response which begins very well. The first two paragraphs focus very sharply on the task and there is excellent discussion of drama, Bolt and political elements. After this though, the answer is less sharp and there is rather too much focus on material outside of the extract and too much of a commentary on events and characters. In the second half of the answer there is less focus on Bolt as the dramatist and in places the candidate writes about the characters as real.

AO1

The candidate's response is articulate and there is a shape to the writing. The answer is technically accurate and ideas are well organised. The introduction is helpful in contextualising the passage though the momentum is not sustained through the whole response and the conclusion is a little list like and repetitive.

AO2

There is engagement with authorial methods and how these shape meanings such as the manner in which Bolt uses suspense and the way Cromwell's musings set the scene. The second paragraph is very strong on the effects of staging. However, there is less detailed analysis of dramatic methods in the second half of the answer.

AO3

There is a clear focus on the political and historical contexts of the scene. There are also insightful comments on politics as a 'kind of theatre'. Sometimes the focus on historical context though takes the candidate away from the passage and the task. The candidate's discussion of the absence of the king does not quite work here as there is little sense that Bolt is following history rather than himself choosing for Henry not to be present at the trial.

AO4

There is some perceptive exploration of connections to the genre of political protest writing with some depth of understanding shown in the analysis of the power dynamics at work on stage. At times this could have been a little better supported though.

AO5

There is some range of ideas evident here and the candidate clearly offers an often perceptive interpretation of how power politics work in this scene.

Overall

This answer seems to be operating in the top half of Band 4. A best fit mark would be appropriate here. The first part of the answer has qualities of Band 5 but much of the rest of the answer is Band 3 or Band 4.

• This resource is part of the 'Elements of political and social protest writing' resource package.