By Patrick Grant
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Hastings's position is the reverse: he takes the knight's statement at face value, and thinks it ironically pleasing that the priest is not appropriate. Finally, the narrator moralises on the scene, providing yet another way of looking at it. Likewise, when Richard at 'Baynardes Castell' greets the delegation coming to offer him the kingship, his reaction is partly cautious and distrustful (p. 77). More's syntax in describing th e episode is complex to a fault, but the sense seems to be that Richard is to some degree genuinely startled by such a large group coming upon him suddenly, even though he sees that they are coming for reasons that suit his purpose.
More isolates the volatile interplay of intent and circumstance, observes it precisely, and asks us to appreciate that it is th e texture of experience itself. Or consider the humiliation of Mistress Shore, forc ed to walk the London streets 'out of al array save her kyrtle only' (p. 54), with a taper in her hand, and walking before a cross. The people (and other observers) are titillated - voyeuristic and prurient, 'more amorous of her body then curious of her soule' (p. 55). Richard of course counts on this , for he is devising and exploitative, arranging the spectacle because his previous accusations of sorcery are so badly received.
54) matters otherwise, he uses 'colour' (pp. 59,66) craftily to suggest the illegitimacy, and the Queen is worried because the princes are put 'in duresse with out colour' (p. 36) and may likewise be killed 32 Literature and the Discovery of Method without cause. Shaa undertakes to 'frame' (p. 58) the city to accommodate Richard's plan, things are 'oute ofal frame' (p. 68) when the sermon goes wrong, Buckingham expects a response from an audience that 'the Mayer had framed before' (p. 75), and Hastings advises the lords not to raise objections that might put things out ofjoint so that they 'shold never be brought in frame agayne' (p.