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 5 response

In this extract from A Man for All Seasons, Robert Bolt carefully constructs language and visual effect for the audience to explore political themes, including the nature of power and its relationship to the individual, notions of justice, and guilt. The choice of a trial scene also allows an examination of the entrapment of the individual at the hands of a ruthless state. From the start of the extract the playwright's language and register seems to befit the setting of the scene in terms of its historical context and being in a court of law, with phrases such as "betokened" and "traitorously". This provides a convincing scene for the audience, in which Bolt can explore more universal political ideas.

First, Bolt examines the nature of power through the language he chooses, particularly with regard to the power invested in the prosecutor. For example, Cromwell's charge against More includes three examples of tautology: "traitorously and maliciously", "deny and deprive" and "undoubted certain". The use of excessive emotive language and rhetorical devices demonstrates Cromwell's ability to launch an emphatic and powerful charge revealing his bullying and perhaps also his lust for power. The fact that Bolt gives the prosecutor in a court such a facility with language gives Cromwell power and authority in the court, leaving the defendant in some ways at a disadvantage. Indeed, directors staging this scene could emphasise Bolt's stage direction of 'formal' to indicate how the words should be delivered to show the linguistic strength Cromwell has. Bolt packs Cromwell's speech full of rhetorical devices. Much is made of the word 'silence', upon which More stands. Cromwell's points are driven home with the use of hypotheses, rhetorical questions, imperatives, minor sentences and emotive language, for example: 'Consider first the silence of a man when he is dead....What do we hear? Silence. What does it betoken, this silence? Nothing. This is silence, pure and simple'.

Furthermore, Bolt goes on to illustrate the power of language by having More include the Latin maxim 'qui tacet consentire' in his reply to Cromwell's claim that More's silence does not betoken silence at all but 'most eloquent denial'. Bolt ensures that More is addressing 'Mr Secretary' when he speaks the Latin words, before he turns to the 'Common Man' (and Bolt's modern audience who might well not know Latin) and offers a translation: 'Silence gives consent'. The stage direction reinforces Bolt's examination of how knowledge of legal language can offer power to individuals, as in this example knowledge of a classical and perhaps revered language adds strength to More's defence. However, it could be argued that Bolt criticises the tendency of academics and those who access this power through language and knowledge by giving the direction that More speaks 'with some of his academic's impatience' and 'very carefully' when he translates. This might indicate that More is patronising those who do not understand Latin and thus empowering himself, although the extent to which this interpretation is felt by the audience would depend on how much the actor and director chose to emphasise it.

In the scene, Bolt explores key elements of political protest writing: the relationship between the power of authority and the powerlessness of the individual and the defiance of an individual who wants his voice to be heard. When Cromwell speaks to More he is threatening and aggressive. He suggests that More's punishment will be more serious than imprisonment. Although More is clearly powerless in the sense he is on trial he has courage and integrity, seen in his crisp yet softly cutting reply: 'Death... comes for us all, my lords. Yes, even for Kings he comes'. Here, Bolt includes reference both to lord and king, to emphasise More's argument that although those with great political power might believe in their immortality, no one can escape death. Bolt presents this dichotomy using both courtly and violent imagery vividly personifying death. First, he describes the fact that death will not 'kneel' as all men must before the king, and will not make kings 'any reverence', despite their  'Royalty and brute strength'. In his explanation of what will happen, the phrases 'roughly grasp them' and 'rattle them until they be stark dead' are almost onomatopoeic and convey a visceral image of the fact that the real 'brute strength' lies with death, not political power. In this way the ordinary man offers an impressive challenge to the authorities that judge him.  This examination of the conflict between earthly power and the force of nature is emphasised by the dramatic pause of the ellipsis after 'Death' and 'judgement'. Therefore, Bolt demonstrates to his audience that political power is in fact an illusion, and that the reality that all individuals die is not removed by titles or wealth.

Moreover, Bolt uses the scene to explore the political protest elements of justice and guilt. Bolt begins by examining the conflict between personal issues and public situations, here specifically the demands and desires of the king. Cromwell begins the trial by breaking the news of Bishop Fisher to More, and "clinically" observes the 'violent shock, then grief' of the accused. The moment polarises the personal and the public with Cromwell's attempts to manipulate More and exert power by referring directly to the Bishop's death. The public and private worlds are also foregrounded by Norfolk. While Norfolk reads the charges he addresses More formally with 'Sir Thomas'. However, when More seems to be unyielding, Norfolk leans towards him and simply appeals to him as 'Thomas'. The public and private spheres are developed further by More himself who draws attention to the microcosm of the court and the macrocosm of 'the world', saying, 'the world must construe according to its wits. This court must construe according to the law'. Here, More indicates that justice and moral issues may function differently depending on whether in a public or private setting. Indeed, this is apparent in the fact that Cromwell addresses the 'Gentlemen of the Jury' while More addresses 'Mr Secretary, suggesting that there are different criteria for making moral and legal judgements, whether 'the court' (represented by the secretary) or 'the world' (represented by the common people of the jury).

Finally, the justice of the entire proceeding is challenged by Bolt's use of stage direction and structure. Cromwell uses the underhand tactic of the personal shock to More at the very start of the trial, and does so 'behind him' and 'informally'. Dramatic convention leads audiences to mistrust characters who deploy themselves behind others, perhaps influenced by pantomime. This leads Cromwell to appear sly and evil, attempting to stab More in the back before the trial even begins. Indeed, Bolt uses the existing belief among many English people that Cromwell was indeed Machiavellian, which is an assumption that has recently been challenged by Hilary Mantel's Wolf Hall. When presenting to an English audience, therefore, Bolt can take advantage of the fact that some are likely to be prejudiced against Cromwell, casting him in an even more negative light. The fact that the scene is set in a trial allows Bolt to consider the results of transgression against the state. The trial is unfair, and the law is inconsistent. As a result, Bolt could be suggesting that opposition to the state is futile, as within a private context it will end in a rigged trial and condemnation. Of course Bolt was dramatising a known historical situation, but the ideas here could apply to power politics of any era. However, one might argue more plausibly that More is celebrated in the play –which is named in his honour -, as he is shown to be intelligent through his language and the stage directions indicate that his eyes sparkle with suspicion, suggesting that he knows exactly what game is being played. Though difficult to act, this detail presents More as bright and energetic, and thus one could argue that he is being celebrated for his defiance. Of course, More cannot be rewarded  as Bolt is restricted by the historical fact that More was beheaded after an unfair trial, but he is nonetheless given the last word in this extract.

Examiner commentary

This is a very thorough response and the candidate explores many ideas about political protest writing in the extract. The second half of the answer is rather better than the first. At times (particularly in the first half) the candidate gets bogged down with micro-analysing words. It might have helped if there had been more of an overview at the start rather than an immediate focus on language choices. However, as the answer progresses, the student is able to step back and focus more on the drama as a whole, seeing how Bolt interrogates political conflicts. There is some perceptive work here.

AO1

This is an articulate and structured response with a clear argument though points could have been made a little more concisely. The candidate regularly uses technical terms whilst analysing the scene. The introduction sets up the response quite well and the answer is neatly worked to the conclusion.

AO2

The depth of the analysis is very impressive here. There is perceptive understanding of the author's language choices and a good sense of other dramatic methods, though perhaps more could have been done with stage action and a little less on language. The focus is clearly on the author throughout and there is real depth to the exploration of the impact of Bolt's choices.

AO3

There is perceptive understanding of various contexts both in terms of the courtroom drama and ideas associated with justice. The candidate is also aware of the historical context of the play. Some very insightful points are made about Cromwell and the candidate makes some contextual points which it is not necessary for candidates to know. However, the response clearly demonstrates that this individual is well-read and able to integrate contextual understanding into an astute argument.

AO4

A range of points about political protest writing are perceptively made and well developed; there is excellent use of supporting detail and a clear sense of the political significance of this scene. There is both implicit and explicit connection with the genre.

AO5

A range of interpretations emerge and the candidate writes confidently before reaching an assured conclusion.

Overall

The answer seems to comfortably fit into Band 5.

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