There are some obvious differences between the morality and the miracle plays. The
latter did stress moral truths besides teaching facts of the bible, but on the whole did
not lend themselves to allegorical formulation except when there was no well –
defined Bible story to be followed. A good example in this case is the life of Maria
Magdalen, before she was converted. The miracle play dealt with what were believed
to be historical events and its main characters were for the most part ready- made for
the playwright by the Bible and inherited tradition.
The morality play on the other hand, stood by itself, unconnected to a cycle, and the
plots were extremely stereotyped. “They afforded less scope for original creation
than those of the miracles, which were crowded with major and minor characters,
Herold, Pilate, Pharaoh, Noah’s wife, Satan, Adam and Eve,” (Kinghorn 1968:
p.116) and a host of others, both scriptural and non-scriptural. As far as the
characters in the morality plays are concerned one could say that these characters,
like for instance the Seven Deadly Sins, did only offer very limited opportunities for
development. “Gluttony could hardly be other than a fat lout, Sloth a half- awake
lounger, Luxury an overdressed woman, Avarice a grasping old man and Anger
continually in a rage”( Kinghorn 1968: p.116).
As far as allegorical formulations are concerned it has to pointed out that the
morality play characters were always personified vices and virtues, producing a
conflict of sorts and providing enough material for a plot. The Christian Virtues, the
Seven Deadly Sins, Pride of Life, World, Flesh Youth, Age, Holy Church, Wealth,
Health, Mercy, Learning and, of course, Mankind are just a few examples for
personages which were made to behave as though they were human by the didactic
aim of the author ( Kinghorn 1968: p.116), but all these characters are always
contained within their own narrow definition. Since these allegorical personages
were not characters but walking abstractions, they provided the playwright only very
limited opportunities for development. Everything that was said and done by these
characters showed clearly the moral truth which was of course the subject of the plot. The late medieval morality plays mark a well - defined movement away from the
religious drama towards the completely secular drama in England. [...]
Table of Contents
1. Basic facts about Mankind
1.1 Characters in the Morality Plays
1.2 The Author of Mankind
1.3 Sources and Analogues
1.4 The Staging of Mankind
2. A Summary of the Plot
3. The Significance of Mankind
3.1 An Interpretation of the “Court Scene”
4. The genesis of Shakespeare’s theatre in Mankind
Objectives and Topics
This paper examines the medieval morality play "Mankind" to analyze its structure, thematic content, and role in the evolution of English drama. The primary research goal is to demonstrate how the play transitions from rigid religious didacticism toward a more professional, secularized, and entertaining form of theatre, foreshadowing later developments in Shakespearean drama.
- Characterization and the use of allegorical personages
- The authorship and potential staging conditions of the play
- Narrative structure and the moral conflict within the plot
- The significance of the "Court Scene" as a social and literary critique
- The early origins of professional theatre and audience engagement
Excerpt from the Book
3.1 Interpretation of the “Court Scene”
The "court scene" begins with Nowadays announcing the judge. In the tradition of English morality plays, the characters are named for certain concepts or characteristics. Nowadays proclaims:
Oyez, oyez, oyez! All manner of men and common women
To the court of Mischief either come or send!
Mankind shall return; he is one of our men. (Lines 666-669)
It is interesting to note that judges are still announced in modern courts in this medieval manner, "O yes, O yes, O yes." Mischief is, of course, the judge and all men and "common" women are invited to attend. Nought is called forth by Mischief to be the "Steward” of the Manor (Line 669), and then the court calls Mankind. Newguise orders Mankind to remove his jacket. Mankind readily complies. Newguise promises to return the jacket, and Nought is occupied busily writing. Nought hands what he has just written to Mischief. Nought instructs him to read it, which Mischief does: "Blottibus in blottis, Blottorum blottibus istis" (Line 679).
Summary of Chapters
1. Basic facts about Mankind: This chapter introduces the historical and artistic context of the play, comparing morality plays to miracle plays and exploring the anonymous author's background and theatrical techniques.
2. A Summary of the Plot: This section provides a detailed walkthrough of the narrative arc, from Mercy’s initial sermon to the intervention of the vices, the fall of Mankind, and the eventual restoration.
3. The Significance of Mankind: This chapter analyzes how the play marks the beginning of professional English drama by shifting focus from pure moral instruction to audience entertainment.
3.1 Interpretation of the “Court Scene”: This subsection performs a close reading of the mock trial, highlighting the use of Latin, social satire, and the subversion of institutional authority.
4. The genesis of Shakespeare’s theatre in Mankind: This final chapter connects the bawdy, irreverent, and professional nature of the play to the later dramatic traditions perfected by William Shakespeare.
Keywords
Mankind, Medieval Drama, Morality Play, Allegory, Mercy, Mischief, Titivillus, Court Scene, Professionalism, Shakespeare, Middle English, Didacticism, Social Satire, Secular Drama, East Anglian
Frequently Asked Questions
What is the central focus of this academic paper?
The paper explores the medieval morality play "Mankind," focusing on its role as a transitional work that bridges late medieval religious drama and the burgeoning secular professional theatre in England.
What are the primary thematic areas explored?
Key themes include the shift from religious didacticism to entertainment, the use of allegorical characters representing vices and virtues, and the socio-historical context of late 15th-century English drama.
What is the primary research objective?
The aim is to analyze the play's unique blend of moral instruction and vulgar, realistic humor, and to evaluate how these elements provided the foundation for later Elizabethan dramatic standards.
Which methodology is applied in this study?
The study employs a literary analysis methodology, utilizing close readings of the text, examination of historical performance practices, and comparison with other contemporary sources and secondary academic literature.
What content is covered in the main body of the work?
The main body examines character roles, authorship, the specific staging requirements, a plot summary, a detailed interpretation of the "Court Scene," and the influence of the play on Shakespearean theatre.
Which keywords characterize the work?
The most important keywords include Mankind, Morality Play, Allegory, Professionalism, Social Satire, and Medieval Drama.
How does the "Court Scene" function within the play?
The "Court Scene" serves as a satirical mock trial that uses Latin gibberish to ridicule authority figures, while simultaneously forcing the protagonist, Mankind, into sinful behavior under the guise of legal proceedings.
What evidence supports the claim that this was a professional play?
The author highlights the "passing round of the hat" scene as a key indicator of commercial intent, suggesting the actors performed for money rather than purely religious purposes.
- Quote paper
- Torben Schmidt (Author), 2001, Mankind - An Interpretation of a Medieval Morality Play, Munich, GRIN Verlag, https://www.grin.com/document/10210
