The relationship in this play between God and the Devil is made clear by their conversation towards the start of the play. God summons Death: “Where art thou, Death, thou mighty messenger?” (line 63, 66). Death’s reply demonstrates his total subservience to God: Death, in this morality play, only has power through the good offices of God: Almighty God, I am here at your will, Your commandment to fulfil. (64 - 65, 66)
God tells Death to take Everyman on a “pilgrimage” in order to prepare himself for the “sure reckoning” that awaits him - the decision on whether he should go to Heaven or Hell when he dies. Death’s reply is consistent with catholic doctrine in that he stresses Everyman’s obsession with “richesse” and that he “liveth beastly,” but he also gives a hint that Everyman can be saved in line 78 on page 67 - “Except that Alms be his good friend”: alms are acts of charity to the poor and are one of the good deeds that Everyman must turn to in order to escape the fires of Hell.
Table of Contents
- The Presentation of Death in the Morality Play, Everyman
- West European Medieval Drama
- The Ubiquity of Memento Mori
- Catholic Doctrine and Salvation
- God, Death, and Everyman's Journey
- Death's Initial Encounter with Everyman
- Death's Implacability and Everyman's Fate
- Everyman's False Friends and the Necessity of Individual Accountability
- The Legacy of Everyman in Elizabethan Theatre
Objectives and Key Themes
This paper analyzes the morality play Everyman within the context of medieval drama, exploring the portrayal of Death and its significance in shaping the play's narrative and thematic concerns. It examines the play's consistent adherence to Catholic doctrine concerning salvation and explores the relationship between God, Death, and Everyman. The paper also touches upon the play's lasting impact on subsequent dramatic traditions, particularly within Elizabethan theatre.
- The presentation of Death in medieval drama and its cultural context.
- The role of Death as a catalyst for Everyman's journey towards redemption.
- The alignment of the play's depiction of Death and salvation with Catholic doctrine.
- The exploration of the dynamic between God, Death, and Everyman.
- The enduring influence of Everyman on later dramatic works.
Chapter Summaries
The Presentation of Death in the Morality Play, Everyman: This introductory section establishes the context of the paper, situating Everyman within the broader landscape of medieval morality plays. It highlights Death's pivotal role as the catalyst for the play's events and foreshadows the examination of the play's consistent adherence to Catholic doctrine. The section introduces the key themes of memento mori and the inevitability of death in shaping the play's narrative. It briefly mentions the play's enduring legacy and influence on later writers such as Shakespeare.
West European Medieval Drama: This chapter provides a background on the three types of West European medieval drama: Mystery, Miracle, and Morality plays. It emphasizes their religious context and the profound influence of the Church. The chapter also touches upon the gradual secularization of drama in the 16th century and the lingering influence of morality plays on subsequent writers like Shakespeare and Marlowe. The chapter sets the stage for understanding the specific genre conventions and thematic concerns that shape Everyman.
The Ubiquity of Memento Mori: This section delves into the pervasive presence of the memento mori theme in medieval culture, evident in both visual arts and drama. It discusses the high frequency of morality plays, emphasizing Death's central role. The chapter references scholarly opinions on Death's ambiguous origin (God or Devil), contrasting this ambiguity with Everyman's portrayal of Death as subservient to God. The section then examines the depiction of Death in woodcuts from early printed versions of the play, connecting these visual representations to the play's thematic concerns.
Catholic Doctrine and Salvation: This chapter analyzes the play's theological underpinnings, demonstrating its unwavering adherence to pre-Reformation Catholic doctrine. It contrasts the Catholic concept of salvation as a personal choice based on one's actions with the Protestant doctrine of predestination. The chapter explores the significance of "Good Deeds" as an allegorical figure enabling salvation through repentance and highlights the play's didactic aim of reinforcing Catholic beliefs on mortality and the path to salvation. The chapter emphasizes the importance of actions in life shaping one's destiny.
God, Death, and Everyman's Journey: This section examines the interaction between God, Death, and Everyman. It analyzes the dialogue between God and Death, revealing Death's complete subservience to God's will. The chapter details God's command for Death to take Everyman on a pilgrimage toward his final reckoning, underlining the importance of individual preparation for death and judgment. The chapter highlights the play's consistent adherence to Catholic beliefs and the clear delineation of divine authority.
Death's Initial Encounter with Everyman: This chapter focuses on the initial, ironic encounter between Death and Everyman. The dramatic irony stemming from the audience's awareness of Death's purpose contrasts with Everyman's initial disbelief and attempts to postpone his reckoning. The section highlights the play's didactic message regarding the unexpected nature of death and the importance of constant piety. Everyman's initial resistance underscores the common human tendency to avoid confronting mortality.
Death's Implacability and Everyman's Fate: This section depicts Death's unwavering resolve in the face of Everyman's pleas and attempts at bribery. Death's impartiality, regardless of wealth or status, reinforces the universality of mortality. The chapter emphasizes the inevitability and unpredictability of death and reinforces the play's central message about the importance of living a virtuous life. The image of Everyman as a wealthy merchant, despite the play's title, is noted as a point of potential irony.
Everyman's False Friends and the Necessity of Individual Accountability: This chapter examines how Everyman's false friends abandon him upon learning of his impending death, emphasizing the ultimate solitude of the individual in facing death and judgment. The actions of Fellowship and Cousin highlight the importance of genuine faith and good deeds over superficial relationships. This section underscores the central theme of individual responsibility in the face of mortality.
Keywords
Everyman, Morality Play, Medieval Drama, Death, Memento Mori, Catholic Doctrine, Salvation, Repentance, Good Deeds, God, Elizabethan Theatre, Allegory, Dramatic Irony, Original Sin, Mortality.
Frequently Asked Questions: Everyman - A Morality Play
What is the main focus of this analysis of *Everyman*?
This analysis focuses on the morality play Everyman, exploring its portrayal of death within the context of medieval drama and Catholic doctrine. It examines the play's themes, narrative structure, and lasting impact on subsequent dramatic traditions, particularly Elizabethan theatre. The analysis also investigates the play's depiction of God, Death, and Everyman's journey towards redemption.
What are the key themes explored in *Everyman*?
Key themes include the inevitability of death (Memento Mori), the importance of individual accountability, the nature of salvation according to Catholic doctrine, the relationship between God, Death, and the individual, and the enduring legacy of the play's dramatic structure and thematic concerns.
What is the significance of Death's portrayal in *Everyman*?
Death serves as the central catalyst for the play's action, forcing Everyman to confront his mortality and the consequences of his life. The analysis explores Death's implacability and impartiality, emphasizing the universality of death regardless of social status or wealth. The ambiguity of Death's origins (God or Devil) in some interpretations is contrasted with *Everyman*'s portrayal of Death as subservient to God's will.
How does *Everyman* relate to Catholic doctrine?
The play strongly adheres to pre-Reformation Catholic doctrine concerning salvation, emphasizing the importance of good deeds and repentance as pathways to redemption. The analysis contrasts this with the Protestant doctrine of predestination, highlighting the play's didactic aim of reinforcing Catholic beliefs about mortality and the afterlife.
What is the role of God in *Everyman*?
God is depicted as the ultimate authority, commanding Death to summon Everyman and overseeing the process of judgment. The interaction between God and Death reveals Death's subservience to God's will, reinforcing the divine order and the importance of individual preparation for death and judgment.
What is the significance of Everyman's "false friends"?
Everyman's abandonment by his false friends (Fellowship, Cousin, etc.) upon learning of his impending death highlights the ultimate solitude of the individual in facing death and judgment. This underscores the importance of genuine faith and good deeds over superficial relationships and emphasizes the theme of individual responsibility in the face of mortality.
What is the historical context of *Everyman*?
The analysis situates *Everyman* within the broader context of West European medieval drama, specifically morality plays. It examines the religious influences of the Church on this type of drama and traces the play's influence on subsequent dramatic traditions, particularly Elizabethan theatre. The three types of medieval drama (Mystery, Miracle, and Morality plays) are discussed in relation to *Everyman*.
What is the lasting impact of *Everyman*?
The analysis discusses *Everyman*'s enduring influence on later dramatic works, particularly within the Elizabethan theatre. The play's themes and dramatic techniques are considered as influences on writers such as Shakespeare and Marlowe.
What are the chapter summaries provided in the analysis?
The analysis provides chapter summaries covering the presentation of death in *Everyman*, West European medieval drama, the ubiquity of memento mori, Catholic doctrine and salvation, the dynamic between God, Death, and Everyman's journey, Death's initial encounter with Everyman, Death's implacability and Everyman's fate, and Everyman's false friends and the necessity of individual accountability. Each summary briefly outlines the key points and arguments presented in the respective chapter.
What are the keywords associated with this analysis of *Everyman*?
Keywords include: Everyman, Morality Play, Medieval Drama, Death, Memento Mori, Catholic Doctrine, Salvation, Repentance, Good Deeds, God, Elizabethan Theatre, Allegory, Dramatic Irony, Original Sin, Mortality.
- Quote paper
- David Wheeler (Author), 2012, The Presentation of Death in the Morality Play 'Everyman', Munich, GRIN Verlag, https://www.grin.com/document/193288
