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
1. The Presentation of Death in the Morality Play, Everyman
Objectives and Topics
This paper examines the role and presentation of Death in the medieval morality play Everyman, positioning the work within the broader context of medieval drama and Catholic doctrine. It explores how Death serves as the primary catalyst for the narrative, investigating the theological implications of salvation and the pervasive influence of memento mori in medieval culture.
- The historical and generic context of medieval morality plays.
- The allegorical function of Death as a catalyst for redemption.
- The alignment of the play's themes with Catholic doctrine regarding salvation and repentance.
- The analysis of dramatic irony and the human reaction to mortality in the face of judgment.
- The relationship between medieval morality theatre and later dramatic traditions, including Shakespeare.
Excerpt from the Book
The Presentation of Death in the Morality Play, Everyman
This paper puts Everyman in the wider context of medieval drama and discusses the ubiquity of memento mori in medieval culture – in the visual arts and in drama. It goes on to examine the ways in which is presented as the catalyst for all the events in the play and demonstrates that the presentation of Death i s wholly consistent with Catholic doctrine – which is also examined in full. Death’s interaction in the play with God and with Everyman is examined and finally there is reference to Shakespeare and his alleged debt to the Morality play tradition.
West European medieval drama consisted of three types of play: Mystery plays, Miracle plays and Morality plays. All three genres were related to religion and testify to the power and influence of the Church in Western Europe. In England, it was only in the 16th century that drama gradually became more secular and writers such as Shakespeare and Marlowe appear – although some experts see in their work the lingering influences of the plays of the medieval era – especially the Morality play. Despite the eponymous hero – Everyman – and the brief appearance of Death, it could be argued that Death is one of the most important characters in the play: he is certainly the catalyst for the play’s plot and Everyman’s journey to redemption.
Hundreds of morality plays exist from English, Flemish, Dutch and German medieval theatre. It was a very popular genre, Daniell points out the centrality of death by stating:
In morality plays, death is ever-present. It was accepted that Death was the penalty paid for the original sin of Adam and Eve in the Garden of Eden.... Whether Death was sent by God, or the Devil, was unclear, with no universal agreement. (56),
Summary of Chapters
1. The Presentation of Death in the Morality Play, Everyman: This chapter analyzes the thematic significance of Death as a divine messenger, the ironic nature of Everyman's encounter with mortality, and the play's didactic commitment to Catholic doctrines of repentance and salvation.
Keywords
Everyman, Morality Play, Medieval Drama, Death, Memento Mori, Catholic Doctrine, Salvation, Repentance, Redemption, Allegory, Reckoning, Dramatic Irony, Original Sin, Pilgrimage, Medieval Culture
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper focuses on the character and function of Death in the medieval play Everyman, exploring how it serves as a vehicle for didactic moral instruction within the context of Catholic theology.
What are the central themes discussed in the analysis?
Key themes include the ubiquity of death in medieval culture, the necessity of repentance, the concept of memento mori, and the theological doctrine of individual salvation through good works.
What is the main research question or objective?
The objective is to demonstrate how the representation of Death in the play acts as the catalyst for the narrative and remains entirely consistent with the Catholic orthodoxy of the period.
Which scientific or analytical methods are applied?
The paper utilizes literary analysis of the primary text, historical contextualization of medieval drama, and a comparative study of theological doctrines alongside contemporary critical commentary.
What topics are covered in the main body of the work?
The text explores the hierarchy between God and Death, the irony inherent in Everyman's initial resistance, and how the play reflects the fragility of life and the inevitability of the final judgment.
Which keywords best describe this research?
The work is characterized by terms such as Everyman, morality play, memento mori, salvation, Catholic doctrine, and dramatic irony.
How does the author interpret the irony of Everyman's encounter with Death?
The author argues that the irony lies in the audience's awareness of Death's mission versus Everyman's immediate, earthly concerns with "fleshly lusts" and material wealth, highlighting his unpreparedness.
What role does the "reckoning" play in the morality of the story?
The "reckoning" functions as the central didactic element, forcing the protagonist to realize that death can occur unexpectedly, thereby justifying the need for a constant state of holy living.
Does the author suggest that the play is influenced by the Protestant Reformation?
No, the author explicitly argues that the play's theology reflects a period prior to the Protestant Reformation, characterized by a lack of ecclesiastical challenge to Catholic orthodoxy.
- Citar trabajo
- David Wheeler (Autor), 2012, The Presentation of Death in the Morality Play 'Everyman', Múnich, GRIN Verlag, https://www.grin.com/document/193288
