In one or two cases the prophets argue with Jews who dispute with them. This primitive dialogue followed directly the third response given with the three lessons of the day. Everyman: Then be you a good friend at need; I have found you true here before. O Dethe, thou comest whan I had the leest in mynde! Tom White explains how 'illiterate' individuals encountered literary texts and traditions through textiles, wall paintings, sculptures and listening to works read aloud. Fellowship herebefore with me would merry make; And now little sorrow for me doth he take.
Women figured very rarely in the English and French presentations. For he that will say and nothing do Is not worthy with good company to go; Therefore show me the grief of your mind, As to your friend most loving and kind. Goods: Nay, Everyman, say no; As for a while I was lent thee, A season thou hast had me in prosperity; My condition is mans soul to kill; If I save one, a thousand I do spill; Weenest thou that I will follow thee? Ye shall have my maid with all my heart; She loveth to go to feasts, there to be nice, And to dance, and abroad to start: I will give her leave to help you in that journey, If that you and she may agree. But twelve year and I might have abiding, My counting book I would make so clear, That my reckoning I should not need to fear. Knowledge: And though this pilgrimage be never so strong, I will never part you fro: Everyman, I will be as sure by the As ever I did by Judas Maccabee. Everyman: Into thy hands, Lord, my soul I commend; Receive it, Lord, that it be not lost; As thou me boughtest, so me defend, And save me from the fiends boast, That I may appear with that blessed host That shall be saved at the day of doom. While the new characteristics introduced into the plays were opposed to the religious spirit, and aided in driving the drama into the churchyard, the clergy soon saw the necessity for retaining certain details of a popular nature, as essential to the Church as to the dramatic representations.
Then went I to my Goods that I loved best, In hope to have comfort, but there had I least; For my Goods sharply did me tell That he bringeth many to hell. With the development of the plays and their separation from the Church service, it is probable that more care was devoted to the adornment of the places where each individual stood, but nevertheless it seems that people were satisfied with a treatment which merely indicated the places symbolically. Everyman: In the name of the Holy Trinity, My body sore punished shall be: Take this body for the sin of the flesh; Also though delightest to go gay and fresh; And in the way of damnation thou did me brine; Therefore suffer now strokes and punishing. From this it is readily seen what effect such condi- tions must have had upon the literature of the time. Methought I walked still to and fro, And from her company I could not go : But when I waked, it was not so : In youth is pleasure, in youth is pleasure. But in any wise, be sure of mercy, For your time draweth fast, and ye will saved be; Ask God mercy, and He will grant truly, When with the scourge of penance man doth him bind, The oil of forgiveness then shall he find. In the Appendix to The English Religious Drama, Katharine Lee Bates gives a sum- mary of the plays, showing that at one time there existed cycles in London, Worcester, and Beverley; besides the four principal cycles treated of in the In- troduction, there are also extant plays from Corn- wall, Dublin, Newcastle-on-Tyne, Norfolk, Norwich, and Digby.
The Creator has mated you badly; You are tender, Adam is stern. On the appointed day the actors re- ported at seven in the morning ; some of the audience arrived at four, so eager were they for a good place near the pageant wagon. Everyman: Why, Discretion, will ye forsake me? She is so weak and helpless by means of Everyman's neglect that she cannot stand. They introduced love songs of a ribald character into plays, and many elements antagonistic to the religious spirit; they entered the churches and sang the Sanctus and Agnus Dei in such a manner as to lead the congregations astray. The Dramatis Persona are given in the order in which appearance in play is made. When Fellowship learns that Everyman is in trouble, he promises to stay with him until the problem is resolved. Full unredy I am suche rekenynge to gyve.
Now hath he made ending; Methinketh that I hear angels sing And make great joy and melody, Where Everymans soul received shall be. Now set eche of you on this rodde your honde. We learn that Vice, the companion of the Devil, wore a long coat, and was often given a dagger cut from a lath. Hence the medieval poets frequently excluded individual persons from the mass of the great procession at the play's opening. The transition period, if looked upon as a part of a continuous development of the drama, shows all the elements of the modern theatre in the germ. Both of the plays are French, and are in part still semi-liturgical, for they were represented within the shadow of the church edifice, the actors in many cases coming from the church into the yard. A typical line of the Miracle plays ; as likewise the two lines following.
Gregory Ndzian- zen, who died A. Of them all, none would approach in completeness and unity of development, the Morality play of Everyman. Then a short play was selected and a strolling com- pany was hired to give it. The development of the drama in Germany is not here considered at length, since the limits and scope of the Introduction would not allow it. Five-wits: Everyman, my leave now of thee I take; I will follow the other, for here I thee forsake. Everyman: O wretched caitiff, whither shall I flee, That I might scape this endless sorrow! In thy power it lyeth me to save ; Yet of my good wyl I gyve the, yf thou wyl be kynde, Ye, a thousande pounde shalte thou have, And u dyfferre this mater tyll another daye.
Sepet has said, consecrated to re- ligion as the terrestrial image of a celestial region. If there were nothing more in the Mystery plays than mere interest in local atmosphere, rather than in the work- manship of the playwright, we could not help but admire the stupendous effort of these medieval arti- sans to present graphically and appropriately the story of the Bible. . One by one, the prophets, coming from the cloister, advanced, guided by two clerks of the second order. The music was not decorative, however much it might have entered into the spirit of the play.
Therfore I come to you my mone to make, I praye you that ye wyll go with me. More friends — , , and — initially claim that they too will accompany Everyman on his journey. Everyman: O, to whom shall I make my moan For to go with me in that heavy journey? Everyman: O glorious fountain that all uncleanness doth clarify, That on me no sin may be seen; I come with Knowledge for my redemption, Repent with hearty and full contrition; For I am commanded a pilgrimage to take, And great accounts before God to make. Long coats richly embroidered, royal purple vestments to signify a majesty above the temporal power every- thing tended to supplement some part of the service and to vivify the impression made upon the people. But the Gild Merchant, the history of which is ably set forth by Mr.
Fellowship: In faith, Everyman, farewell now at the end; For you I will remember that parting is mourning. Instead, Everyman has been focusing more on worldly issues and riches than he should have. Messenger: I pray you all give your audience, And here this matter with reverence, By figure a moral play- The Summoning of Everyman called it is, That of our lives and ending shows How transitory we be all day. In what way do Everyman's encounters with Fellowship and Kindred follow a similar pattern? Everyman: Then I trust we need not fear; Now friends, let us not part in twain. Everyman: Alas, shall I have no longer respite? Everyman: Alas, that ever I was bore! May I add further my appreciation of the helpful suggestions received from Professor Brander Matthews, of Columbia University ; from Dr. Everyman: Ah, Good, thou hast had long my heartly love; I gave thee that which should be the Lords above. But there is no question that these monks, these playwrights, now handled material for effect; they had the sense of the artist, and though they borrowed, in many cases they im- proved upon the original; though in other instances there was a sad falling-off in workmanship.
Now, in good fayth, I wyll not that waye : But, and thou wyll murder, or ony man kyll, In that I wyll helpe thee with a good wyll. Now of penance I will wade the water clear, To save me from purgatory, that sharp fire. Everyman, my leve now of the I take ; I wyll folowe the other, for here I the forsake. Griffith's acquisition of the Everyman film meant that distribution was a low priority, and despite the Broadway success of the play, the casting of a high-profile actress, and the novelty of color, the film made little impact. The jongleurs, as these outcasts were sometimes called, were an ancient class.