Every Man: The Morality Play Written In The 15th Century

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Every Man, the amorality play, was written in the 15th century and serves as a moral allegory emphasizing the importance of good deeds for salvation. Similar to other Christian plays from that period, it depicts the journey of an ordinary man who must confront his mortality and attain salvation by embodying virtues and repenting for sins. The play illustrates the various traits and possessions that humans value—such as beauty, discretion, strength, and material wealth—and highlights that these are ultimately insignificant compared to the virtue of good deeds, which are the true measures of a righteous life as judged by God. Throughout his journey, Everyman learns that what truly matters in life is the accumulation of good deeds and moral integrity, rather than worldly possessions or superficial qualities.

One of the most symbolic statements in the play is: “Here begins a treatise how the high Father of Heaven sends Death to summon every creature to come and give account of their lives in this world, and is in the manner of a moral play.” This line symbolizes God's authority and His role as the ultimate judge who calls upon each individual to account for their life actions. The play reflects the theological belief that despite God's blessings and guidance, humans often take His grace for granted. When Death arrives, Everyman attempts to bribe or evade it, but ultimately, he cannot escape divine judgment. Instead, he is allowed to seek allies—virtues and qualities that can aid him in his spiritual journey—yet these companions abandon him when most needed, underscoring the idea that only genuine repentance and good deeds are truly reliable.

Everyman’s initial companions are symbolic of worldly attachments and social relationships. For example, his cousins and Fellowship represent family and friends, respectively, but they all desert him, illustrating that in the moment of death, worldly relationships are insufficient for salvation. This signifies that individuals are ultimately responsible for their own salvation, independent of others’ support. Facing this reality, Everyman turns to Goods, representing material possessions. However, Goods refuse to accompany him, emphasizing that material wealth cannot save a person from death; instead, it can hinder spiritual progress if misused. Goods' refusal is an allegory of how materialism and greed can obstruct one’s moral journey, and how divine judgment is affected by how wealth has been allocated during life, especially in caring for the needy.

Subsequently, Everyman seeks the help of Good Deeds, who initially appears weak and feeble due to neglect in life but agrees to accompany him upon his plea for forgiveness. This signifies that genuine repentance and moral virtue are essential for salvation. Knowledge, another symbolic character, joins him, representing awareness of good and evil, reinforcing the idea that understanding moral principles guides humans toward righteous living. The play underscores the importance of confession and repentance, symbolized by the journey to ‘Confession, that cleansing river,’ which signifies absolution and divine mercy. Only after sincere repentance does Good Deeds gain strength enough to support Everyman through death to the afterlife.

As the play progresses, worldly traits such as beauty and strength—symbolizing superficial qualities and physical prowess—fade away, illustrating their transience. Knowledge, too, diminishes after death, symbolizing that intellectual awareness cannot persist beyond mortal life. Ultimately, when Everyman dies, he is accompanied by Death and Good Deeds, and they are welcomed into heaven by angels for judgment. The play vividly teaches that only virtue, particularly Good Deeds, carries eternal significance, and that moral integrity and repentance during life determine one’s fate in the afterlife. The overarching moral is clear: living a life rooted in good moral actions is imperative, as these deeds are the true measure of worth before God.

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Every Man, a quintessential example of medieval morality plays, encapsulates the spiritual journey of the individual and emphasizes the preeminence of good deeds over worldly possessions and superficial qualities. Composed in the 15th century, the play employs allegorical characters and symbolism to convey its central moral lesson—namely, that salvation depends primarily on one's moral actions and repentance, rather than material wealth or external beauty. Its enduring relevance lies in its clear portrayal of the human condition and the moral choices individuals face concerning life, death, and divine judgment.

The play opens with a powerful invocation of divine authority: “Here begins a treatise how the high Father of Heaven sends Death.” This statement introduces the divine judicial process where every soul must account for their earthly life. The arrival of Death symbolizes the inevitable reality of mortality faced by all humans, regardless of their social status or possessions. The play vividly depicts how individuals attempt to escape or delay death—Everyman’s attempt to bribe Death highlights human reluctance to confront mortality and the moral accountability that follows. Importantly, the play underscores that such attempts are futile, reaffirming the Christian doctrine that salvation is earned through moral righteousness rather than earthly riches or social connections.

In the narrative, Everyman seeks allies among worldly and social virtues—fellowship, kinship, and goods—but each abandons him when death approaches. His cousins and friends symbolize fleeting relationships rooted in worldly attachments, which prove inadequate at the moment of divine judgment. Their desertion emphasizes the Christian teaching that personal salvation is ultimately an individual pursuit, dependent on one's internal moral state rather than external relationships. Material possessions, represented by Goods, are similarly dismissed, illustrating the transient nature of wealth and the necessity of spiritual wealth—embodied in Good Deeds—to secure salvation.

The character of Good Deeds, initially weak and feeble due to neglect, gains strength through the act of repentance. Her eventual support signifies the importance of active moral effort—confession and sincere repentance—in preparing the soul for judgment. Knowledge's inclusion underscores the importance of moral awareness and understanding in guiding one's actions during life. The journey to Confession, depicted as a cleansing river, symbolizes divine forgiveness and renewal, emphasizing that sincere penance restores the moral virtues necessary for salvation. Only after this process does Good Deeds become strong enough to accompany Everyman in the final journey to eternal life.

The play also explores the fleeting nature of worldly traits such as beauty and strength—metaphors for physical attractiveness and vitality—which fade with age and death, illustrating their insignificance in the face of eternity. Knowledge, too, diminishes after death, symbolizing that intellectual understanding cannot transcend mortal life. The narrative culminates with Everyman’s death, where he is met by angels and guided toward judgment. The moral lessons conveyed emphasize that living a virtuous life marked by good deeds, moral insight, and repentance is essential for salvation. The play’s concluding message advocates for a life grounded in spiritual virtues, recognizing that worldly pursuits are ultimately inconsequential compared to moral integrity and divine grace.

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