Sir Thomas More

Sir Thomas More INTRODUCTION from these three pages) is in a variety of other Shakespeare composed only a very small part of the hands. Other evidence corroborated the handwrit- play Sir Thomas More. The rest was probably written ing: Hand D uses uncommon spellings (including by his fellow dramatists Anthony Munday, Henry straing for modern strange and scilens for modern Chettle, Thomas Heywood, and Thomas Dekker. silence) that appear in early printed plays by Shake- The collaborative writing of plays was not unusual, speare, and the scene written in Hand D is stylisti- but this is one of only two known plays (the other cally similar to ones by Shakespeare. is the play Edward III) where Shakespeare contrib- The play tells of the rise of the historical fig- uted little more than one scene to others’ work. ure More (1478–1535) from being one of the two The date of composition of the play is uncertain; undersheriffs of London to becoming a knight and a it was probably sometime between 1593 and 1603. privy counsellor and finally gaining the Lord Chan- It might not all have been written at one time but cellorship, one of the highest government offices in rather in two stints separated by several years. England, which brought him close to King Henry The play is remarkable for one reason: Schol- VIII. The second half of the play charts More’s fall ars believe that in the existing manuscript, Shake- from power, arising from his refusal to sign a docu- speare’s portion of the play is written in his own ment accepting Henry VIII’s assertion of himself hand. The manuscript, classified as Harley 7368, as the head of the newly formed Church of Eng- is held in the British Library in London and com- land. The play does not name or depict the king prises 22 leaves of paper—44 pages, not all written and does not make specific the circumstances of on and in different sizes. It became the subject of More’s moral dilemma—it comes down to whether great excitement in the early 20th century when it to obey his king or his religious conscience—so was revealed to be, at least in part, one of Shake- presumably these details were thought to be well speare’s play manuscripts. Until then, it had been known to playgoers. More’s book Utopia, written thought that all Shakespeare’s play manuscripts in Latin and first published in 1516, had been pub- were lost, presumed destroyed, leaving us only lished in three English-language editions by the his signatures on certain nondramatic documents time the play was written, and his fame appears to (including his will) to show what his handwriting have been widespread. In particular, More’s role in looked like. Comparison of those signatures with the calming of a riot against foreigners in London the writing on three pages of Harley 7368 con- (the so-called Ill May Day uprising of 1517), dra- vinced experts that their handwriting, formerly matized in Shakespeare’s contribution to the play, known only as Hand D, was Shakespeare’s (see Pol- seemed especially relevant to people in the 1590s as lard et al., 1923). The rest of the manuscript (apart xenophobic tensions rose in the capital. 1735 1736 The Facts On File Companion to Shakespeare FPO #31a Facsimile of a page added to the manuscript of Sir Thomas More. The handwriting here is believed to be Shakespeare’s. Sir Thomas More 1737 The topic was clearly a sensitive one, since the The historical More found himself unable to manuscript contains extensive annotations by the follow Henry’s volte-face in 1534 and chose instead state censor, the master of the revels, who checked to be executed for the treason of denying the king’s every play script before it was performed. The mas- religious supremacy, for which martyrdom he was ter at this time was Edmund Tilney. Having made made a saint by the Catholic Church in 1935. small changes to the ethnic identification of the Henry VIII’s daughter Mary I returned England foreigners (Lombards, Frenchmen, or generically to Catholicism from 1553 to 1558, after which her “strangers”), he decided against any depiction of half-sister Elizabeth I returned it to Protestantism, the riot. The Lombards came from what we now the official religion of the country to this day. The call Italy, so using this label projects the aliens’ experience of three changes of official religion— origin far into mainland Europe, while the rioters each of which criminalized the religious beliefs of a themselves refer to their enemies being French and sizable proportion of the population—was still raw Dutch, people from places on the western seaboard in the 1590s. Curiously, however, the state cen- of Europe and hence much closer to England. The sor seems not to have objected on principle to this resulting manuscript contains multiple alterations Catholic martyr’s life being dramatized but was and rewrites of scenes, making it an especially dif- gravely concerned about the representation of riot- ficult task for editors to present the play to modern ing in London. In the 1590s, there was consider- readers. able antipathy toward European exiles in London, The account of the play given here is dependent in particular Protestants known as Huguenots flee- on John Jowett’s forthcoming Arden 3 edition, ing persecution in Catholic France and Spanish- which he generously let the author see in advance of controlled Holland, and there were notable riots publication, although quotations are from Jowett’s (partly xenophobic, partly economic) by apprentices text of the play in the Oxford Complete Works of (Pollard et al., 1923, 33–40). Inevitably, a dramati- 2005. Jowett divides the play into scenes, numbered zation of the Ill May Day riots of 1517 (which were 1 to 17, but not into acts (as below). As this play essentially about economics, not religion) would contains relatively few lines actually by Shakespeare, in the 1590s take on fresh topical associations of it is here discussed in a somewhat abbreviated entry. religious strife, especially when tied to the story of More’s martyrdom for refusing to abandon the BACKGROUND Roman faith and take up Protestantism. A play telling the life story of Thomas More was The main sources of the play are the 1587 edi- bound to be controversial in the 1590s. More tion of Raphael Holinshed’s Chronicles, which is was the most famous English public figure to used particularly heavily for the first half of the suffer from the cataclysmic political and religious play, and Nicholas Harpsfield’s Life of Thomas More, events known as the English Reformation, when which provided much of the second half. Harps- a new Protestant Church of England was created field’s biography was derived in part from material and broke from the authority of the pope and the provided by More’s son-in-law William Roper, who Roman Church to make the monarch (Henry VIII is present as a character in the play, and it circu- himself, and each successor) the supreme religious lated privately among secret Catholics in manu- ruler. Before Henry fell out with Rome, More had script form in the second half of the 16th century. long served him by hunting and executing hereti- Anthony Munday, the main author of the play, cal Protestants, which religious zeal was markedly could have had access to Harpsfield’s biography via at odds with the religious tolerance that More his employer, Richard Topcliffe, who certainly had appeared to advocate in his fictional prose narra- a copy that he found while working for Elizabeth tive Utopia published in 1516. The Utopians allow I’s regime hunting down, torturing, and executing freedom of conscience to all faiths, condemning secret Catholics and extreme Protestants (Munday only outright atheism as a crime. 1990, 6–11). One of the extraordinary facts of the 1738 The Facts On File Companion to Shakespeare play is Munday’s involvement in it, since he had ers decide to set fire to them and make good their published in the early 1580s a series of vehemently escape while the Lord Mayor is having his men put anti-Catholic tracts, having previously stayed for out the fires. More discovers that some of the riot- a while in the English College in Rome. Munday ers have broken open the prisons and swelled their may have stayed at this seminary for training Cath- insurrection with the criminals they have released, olic priests because he was genuinely attracted to and he proposes a parley with the riot’s ringleaders. Catholicism, or else he may have been under cover Approaching the rioters, More rescues a sergeant- so he could later detect the priests that Rome was at-arms whom they are attacking, and he calls sending to London. them to listen to him. For all their antipathy to the foreigners and the authorities that have let them SYNOPSIS down, the rioters respect Sheriff More and listen Foreigners from Europe residing in London early intently to a speech in which he persuasively argues in 1517 are abusing the local population, abduct- that their rebellion is an offense against their king ing citizens’ wives, and stealing their goods. Lon- and hence against God who put the king in power doner John Lincoln makes out a bill of complaint over them. Moreover, if for their rebellion the riot- to be read in public as an incitement to riot against ers were banished from the kingdom, More points the foreigners. Lincoln attracts a group of follow- out, they would be foreigners in another country ers including Doll Williamson, who was nearly and would want to be tolerated by the natives.

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