CHERYL FROST
PERFORMANCE
EVER YMAN IN
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morality
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ofof
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Although Everyman
of medicourses
tertiary
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a
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literature.
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studies
aeval
even
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and Renaissance
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less important
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death
andand
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problems—of
humanproblems—of
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to these
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judge
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willnow
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onon
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and
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performedby
from
suggests
translatedfrom
Eve,yman was
Everyman
was translated
evidence
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suggests
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play,E/ckerlijc,
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the
oraafew
the Dutch
1519,or
in 1519,
of
the precedence
forprecedence
argument
Eveiyman
view
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whether
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for the
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whether
accepted,
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1480
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is preferred,
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dating
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was
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not
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the
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when
Everyman
conclusion
Everyman
was
the
not affect
as they
just
diversified,
extremely
ditions
in in
England
were
extremely
diversified,
just as
they
were
England
plays
stagingplays
forstaging
ditionsfor
conventions,
staging
major
to isolate
are
possible
to isolate
two two
major
staging
conventions,
possible
however,
is,however,
today.ItItis,
are today.
Wickham
as Glynne
2
by writers
described
which
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described
by writers
suchsuch
as Glynne
Wickham2
been
already
havealready
which have
anies
3 :: there
travellingeomp
Bevington
DavidBevington3
and
professional
travelling
companies
and David
professional
small
weresmall
therewere
and there
indoors,
usually
who
single
playing
areas,
usually
indoors,
and there
were were
areas,
playing
single
on
performedon
who performed
who performed
of amateurs,
larger
apparently
made
up mainly
of amateurs,
who performed
up mainly
made
apparently
companies,
largercompanies,
doors.
of
out
usually
on
detached
or
multiple
stages,
usually
out
of
doors.
stages,
on detached or multiple
pointed
Bevington
proBetween
and
1520,
as as
Bevington
has has
pointed
out44 ,, out
the
the pro1520,
and
1460
Between1460
They inaudiences.
and popular
fessional
entertained
bothboth
eliteelite
and popular
audiences.
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companies
fessionalcompanies
as
plays,
popular
The
cluded
purely
popular
plays,
suchsuch
as Mankind,
purely
The
Mankind,
repertoires
theirrepertoires
intheir
cludedin
Youthand
World
Child,Youth
theChild,
plays
andthe
and Hyckescorner;
plays
scholarly
Worldand
orscholarly
Hyckescorner;humanist
humanistor
Medwall's
Henry
as
such
suitable
also
for
popular
performance,
such
as
Henry
Medwall's
Nature,
Nature,
performance,
popular
for
also
suitable
Elements,
John
Rastell'sThe
,FourElements,
theFour
JohnRastell's
ofthe
and
tri-triNatureof
The Nature
Heywood's
JohnHeywood's
and John
. , Witty
logy—The
Husband.
the
Jo/ian
Johan
the
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.. ,. and
Witless;
Johan
andWitless;
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and
Witty and
FourP's,
logy—TheFour
as Medwall's
such
features,
and
with
popular
features,
such
as Medwall's
and
Fulgens
popular
with
Fulgensand
plays
courtlyplays
and courtly
Lucres
Lucres and
Magnificence.
plays
professional
Skelton's
theprofessional
Magnificence. The
JohnSkelton's
and John
The playsofofthe
than six,
more
by small
companies
characterized
above
all by
casts,casts,
never never
more than
six,
allsmall
above
characterized
are
companiesare
and
instance,
oneinstance,
Child,as few
inone
theChild,
and in
andthe
The
few as
astwo.
two.Sometimes,
Sometimes,
Worldand
The World
39
achieved
was
actors
inin
actors
was
achieved
by by
and Magnificence,
Magnificence, this
economizing
this economizing
in Nature and
as in
as
the opposite
of
5 , length
argues
length of
Wickham
extensive
Although
Wickham
argues
the opposites
Although
doubling.
extensivedoubling.
distinguishing
feature
a primary
been
to have
performance
not
seem
to have
been
a primary
feature
distinguishing
seem
not
does
performancedoes
stages.
on multiple
those
from
("interludes")
single
("interludes")
from
those
on multiple
stages.
Some Some
productions
setproductions
singleset
long,
quite
interludes,
those
by by
Medwal
I, areare
quite
long,
whilewhile
somesome
mul- mulMedwall,
those
example
forexample
interludes,for
the small
for
playsintende
of the
Most
tiple-stage
quite
short.
Most
of the
plays
ntended for d
the
small
short.
quite
are
playsare
tiple-stageplays
inprobably
were
scenes,hich
troupes
robust
or bawdy
comic
scenes, which were probably incomic
or bawdy
robust
include
troupesinclude
numaudience
maintain
to
need
spired
in
part
by
the
professional
players'
need
to
maintain
audience
numplayers'
professional
the
by
spired in part
,
bers.
bers.
stages,
Castle
on separate
The
The Castle
performance
Of
forfor
performance
on separate
stages,
suitable
playssuitable
theplays
Of the
by
preceded
The
It was
(1400-1425) is
It was
preceded
by The
known.
bestknown.
thebest
of Perseverance
is the
Perseverance (1400-1425)
century
fifteenth
the
end
theend
1350) and
and followed,
ofof
the
fifteenth
century
or or
Pride of Life
Life (c.
(c. 1350)
followed,atatthe
the Digby
e plays
multiple-stag
the
sixteenth,
by by
thethe
multiple-stage
plays
of theofDigby
sixteenth,
the
beginningofofthe
the beginning
ConverThe Converand The
Magdalene and
manuscript, The Killing of the Children, Mary Magdalene
sion of Saint Paul.
Paul.
elaborate
Productions
separate
stages
werewere
muchmuch
more more
elaborate
than than
stages
separate
using
Productionsusing
limits
firm on
nolimits
those
sets.
There
seem
to have
beenbeen
no firm
the on
sizethe
of size of
to have
seem
There
sets.
single
onsingle
thoseon
Complicated
not cultivated.
were
the
forfor
doubling
were
not cultivated.
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doubling
opportunities
andopportunities
casts,and
the casts,
thirusual.
thirrequired
were
Mary
Magdalene, for
effects
staging
were
usual.
instance,required
Méry Magdalene,
for instance,
andeffects
stagingand
circumwhich
ship,
a
and
flames,
in
teen
scaffolds,
two
of
which
went
up
in
flames,
and
a
ship,
which
circumup
went
which
of
two
teen scaffolds,
Paul has
times.
Saint Paul
has
of Saint
three
The
area
navigated
area
three
times.
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playing
The Conversion
theplaying
navigatedthe
read:
stage
read:
which
directionswhich
stage directions
off
falleth
Here
with
great
tempest,
andand
SaulSaul
falleth
downdown
off
tempest,
great
with
fervent
comethaafervent
Herecometh
in heaven.
speaketh
his
that done,
Godhead
speaketh
in heaven.
Godhead
done,
horse;that
his horse;
(at
(at 1.182)
1.182)
and
and
above
appears
a dove]
Here
the
form
of of
a dove]
appears
above
him.him.
form
the
Spirit[in[in
HolySpirit
theHoly
Here the
(at
1.291)
(at 1.291)
ge plays
of detached-sta
Comedy
pervasive
feature
of detached-stage
plays
than it than
is of, it is of
feature
pervasive
less
Comedyisisaaless
single-set
The
Life, with
characor or
characThe Pride of Life,
scenes
productions.
comicscenes
nocomic
single-setproductions.
with no
multiple-stage
extant
longest
ters,
pattern
early.
Of the
two two
longest
extant
multiple-stage
Of the
early.
pattern
this
establishedthis
ters, established
in Castle
scenes
plays,
few
comic
scenes
in The
comic
few
are
Perseverance and
only
of Perseverance
thereare
and only
Castle of
plays,there
The
one
manuscriptin Mary Magdalene. The
one in
plays
of the
Digby
manuscript—
Digby
of the
plays
shorter
twoshorter
The two
The
Children—each conthe Children—each
of the
Conversion of Saint Paul and
conand The
Killing of
The Conversion
The Killing
tains only
scene.
scene.
comic
onecomic
onlyone
tains
of plays
staging
Beyond
difficult totogeneralise
about
thethe
staging
of plays
in- inabout
generalise
this,ititisisdifficult
Beyondthis,
that
casts suggest
largesuggest
tended
sets.
Their
elaborateness
andslarge
that
and casts
elaboratenes
Their
sets.
multiple
formultiple
tendedfor
the provincial
guilds
the trade
they had
thethe
resources
of the
guilds
in thein
provincial
of trade
resources
disposal
theirdisposal
attheir
hadat
they
the mystery
that
t from
cities,
staging
was
a development
from
that of
theof
mystery
a devetopmen
was
staging
their
thattheir
andthat
cities,and
this typeof
plays
cycles.6
the
other
hand,
at
least
two
of
the
extant
plays
of
this
type—
extant
the
cycles.6 On
of
two
least
at
On the other hand,
Perseverance and
Paul—were definitely
intended
and The
definitelyintended
Conversion of Saint Paul—were
The Conversion
to
prepared
actors
of the
for
The
identity
of the
actors
who who
werewere
prepared
to
identity
The
companies.
travellingcompanies.
for travelling
question.
intriguing
tour
such
complex
productions
is
an
intriguing
question.
an
tour such complex productions is
Although
is as
among
contemporary
English
y English
Although Everyman
contemporar
Eve,yman is
among
anomalous
asanomalous
evidence
the comparative
ofcomparative
plays
asas
it is
in other
areas,
most
of the
evidence
most
areas,
in other
it is
staging
instaging
playsin
the
stages.
on detached
suggests
earliest
productions
werewere
on detached
stages.
Dating Dating
the
productions
earliest
thatitsits
suggeststhat
40
40
play as late as 1519 does not exclude this, since the three multiple-stage
plays of the Digby manuscript could also well be early sixteenth-century
productions. Furthermore, a scene 7 which was added to The Conversion
of Saint Paul in a hand perhaps belonging to the reign of Mary proves that
interest in multiple-stage productions persisted until quite late. 8
When Everyman summons Discretion, Strength. Beauty and Five
Wits at 1.668,there are, with Good Deeds and Knowledge, seven characters
on stage. In addition, at least one of the characters with a fixed positionGod, Goods or Confession—would probably be unavailable for another role
at this point. This gives a minimum cast of eight, two more than the usual
maximum in the professional troupes at this time.
On the other hand, the fact that Eve,yman is so obviously adapted
for the doubling of roles would, if there wereno contrary evidence, tend
to link it with the professional troupes. Although the doubling can begin
very_early, if the actor playing the Messenger, for instance, also takes the
part of Death, and then reappears as Kindred or Cousin, or even as Fellowship, the division of work among the cast is more equal if the doubling
begins nearer to the centre.
With a cast of only eight, either Cousin or Kindred must be played
by an actor who has already appeared in a different role, since Goods and
Good Deeds are fixed on stage from the beginning. Thereafter all new
parts, with the exceptions of Goods and Good Deeds, must be doubled,
thus:
Roles
Messenger
God
Death
Eve ryman
Fellowship
Cousin
Kindred
Goods
Good Deeds
Players
Roles
1
2
3
4
5
6
12
Knowledge
Confession
Discretion
Beauty
Strength
Five Wits
Angel
Doctor
7
8
Players
32
22
52
62
72
13
6
73
By this arrangement, Goods must exit after he has played his part, but the
actor playing Confession is not obliged to re-appear. Three players, 1, 6
and 7, have three roles each.
By adding two to the cast, an almost exactly symmetrical division of
work can be achieved. Careful productions of the early sixteenth-century
probably followed this plan:
41
Roles
Messenger
Messenger
God
God
Death
Death
Everyman
Everyman
Fellowship
Fellowship
Cousin
Cousin
Kindred
Goods
Goods
Deeds
GoodDeeds
Good
P/ayers
Players
I
1
2
3
4
5
6
7
8
9
Roles
Knowledge
Knowledge
Confession
Confession
Discretion
Discretion
Beauty
Beauty
Strength
Strength
Wits
Five Wits
Angel
Doctor
Doctor
Players10
22
22
12
12
62
62
32
52
52
722
7
82
82
are longest
who
Knowledge,
Deeds
Good
Here,
Everyman,
Good
Deeds
and and
Knowledge,
who are
longest
Everyman,
actorsofof
theactors
Here,the
first half—for
the half—for
of first
actors
minor
while
on
part,
while
thethe
minor
actors
of the
part,
one
onlyone
haveonly
stage,have
on stage,
to prepare
ample
re given
Kindred—agiven
example,
Kindred—are
ample
time time
to prepare
for a for a
Fellowship,
God,Fellowship,
example,God,
An ictor
Angel.
the
or
Wits
Confession,
second
as as
Confession,
FiveFive
Wits or the Angel. An actor
role—perhaps
minorrole—perhaps
secondminor
, and
re-entrance
and
entrance
his
g
rememberin
would
have
no
difficulty
in
remembering
his
entrance
and
re-entrance,
and
in
would have no difficulty
in
have
doubling
would
would have
scheme
the
viewthe
ofview
from his
scheme
forfor
doubling
in Everyman
pointof
his point
from
in different
reappearan
random
almost
been
to to
thethe
almost
random
reappearances
in ces
different
preferable
muchpreferable
beenmuch
the professional
productions
in some
roles
occurred
in some
productions
of theofprofessional
occurred
have
musthave
whichmust
roles which
troupes.
troupes.
seem
l troupes
professiona
troupes
seem
smallprofessional
thesmall
PerformancesofofEveryman by
by the
Performances
means
obvious
some
exploit
playwright
unlikely
the
playwright
did did
not not
exploit
some
obvious
means
the
because
alsobecause
unlikelyalso
,
Messenger
the
of
parts
peripheral
of
actors.
The
peripheral
parts
of the Messenger, AngelAngel
The
actors.
on
economizingon
of economizing
this has
way,
in some
reduced
been
and
Doctor
could
presumably
have
been
reduced
in some
way, but
thisbut
has
have
presumably
and Doctor could
done.
9
not
beendone.9
not been
plays
typesofof
thetypes
link
ofthe
plays
anyof
Eve,yman with
Everyman
with any
evidence
There
toto
link
noevidence
isno
There is
companies.
l
professiona
the
by
Eve,yman
Everyman
performed
listed
asas
performed by the professional companies.
Bevington
byBevington
listedby
the popular
is separated
courtly,
is
or or
courtly,
andand
it is itseparated
from from
the popular
humanist
obviouslyhumanist
not obviously
is not
characterisanother
is, however,
canon
seriousness.
This
is, however,
another
characteris. This
seriousness
prevailing
itsprevailing
byits
canonby
sets.
multiple
of the
plays
the
tic which
the
plays
of the
multiple
sets.
with
shareswith
whichititshares
had perforthe poet
view
Internal
also
supports
thethe
view
that that
the poet
had perforsupports
also
evidence
Internalevidence
for three
script
mances
stages
in mind.
TheThe
script
calls calls
for three
distinctdistinct
loca- locain mind.
stages
detached
ondetached
manceson
the bespeaks
which
from
(1.153)
lities—"the
celestyall"
(1.153)
from
which
GodGod
speaks
in theinbecelestyall"
sete
hyesete
lities—"thehye
Everyleads
Angel
the
which
to
ginning;
above"
(1.895)
to which the Angel leads Every(1.895)
above"
"here
position"here
theposition
ginning;the
That the
.
Confession
of
abode
the
man's
soul;
and
the
House
of
Salvation,
the
abode
of
Confession.
That
the
Salvation,
of
House
the
and
soul;
man's
are thought
really
above"
House
and
thethe
place
"here
above"
really
are thought
of as of as
"here
place
and
Salvation
ofSalvation
Houseof
two processions,
theprocessions,
bytwo
is proved
places
the
main
playing
area
is proved
by the
area
playing
main
the
from
distinctfrom
placesdistinct
Knowledge
and
Everyman
by
first
the
each
lines,
the first by Everyman and. Knowledge to theto the
lines,
ten
forten
lastingfor
each lasting
the gifts
and
by Everyman
second
House
of
Salvation
(11.535-44),
and
the the
second
by Everyman
and the
gifts
, and
(11.535-44)
House of Salvation
the grave
forgrave
position
likely
most
. The
of
(11.780-89).
The
most
likely
position
for the
(11.780-89)
grave
thegrave
tothe
natureto
of nature
above".
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is
place
"here
above".
place
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is underneath
entfeatureofof
cueingofof
Another
Everyman is
is the
entheavycueing
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the heavy
Another distinctive
Five
and
Discretion
Beauty,
rances.
Death,
Kindred
and.
Cousin,
Strength,
Beauty,
Discretion
and
Five
Strength,
Cousin,
and
Kindred
Death,
rances.
entrance
Fellowship's
on stage.
Wits,
are
actually
called
on stage.
Fellowship's
entrance
is par- is parcalled
actually
are
instance,
forinstance,
Wits, for
Fellowship's
mentions
pointedly
ticularly
Everyman
pointedly
mentions
Fellowship's
Everyman
for.
preparedfor.
wellprepared
ticularly well
Everyman
since
1202,
by
audience
name
at
1.197,
and
he
is
visible
to
the
audience
by
1.202,
since
Everyman
the
name at 1.197, and he is visible to
42
in a position
not apparently
isapparently
", but
says,
hym
yonder,
certaynely",
but
he ishe
not
in a position
certaynely
yonder,
hym
se
says, "I"1se
Similarly,
still.
later
lines
four
until
from
four
lines
later
still.
Similarly,
Everymanuntil
toEveryman
talkto
totalk
whichto
from which
not very
d in some
is announce
mass
Everyman's
after
attending
mass
is announced
in some
not very
attending
after
return
Everyman'sreturn
lines:
meaningful
meaningfullines:
Wyttes:
V. Wyttes:
V.
Dedes:
Good
Good Dedes:
come,
. . . Pes!
Everyman
I se
Everyman
come,
I se
yonder
Foryonder
Pes!For
satysfaccyon.
true
Which
true
satysfaccyon.
made
hathmade
Whichhath
dede.
heinin
Me
dede.
thynkeititisishe
Me thynke
(11.769-71)
(11.769-71)
(11.295Fellowship
, notably
characters
Exits,
bebe
slow.
Many
characters,
notably
Fellowship
(11.295Many
slow.
tendtoto
also,tend
Exits,also,
exit
0)
(11.794-85
nature
of
gifts
302),
and
thethe
gifts of nature (11.794-850) exit with with
and
(11.373-76),
Cousin(11.373-76),
302), Cousin
the move.
onmove.
while
spoken
lines,
of
an
exceptional
number
of
lines,
spoken
while
on the
number
l
an exceptiona
that
exits suggest
the lengthy
Taken
the
heavy
cueing
and and
the lengthy
exits suggest
that
cueing
heavy
the
together,
Takentogether,
distance
some
"off-stage"
waswas
some
distance
awayaway
from from
's conception
playwrightconception
theplaywright's
"off-stage"ininthe
set, seems
outdoor
probably
therefore
the
area.
A large,
andand
therefore
probably
outdoor
set, seems
A large,
area.
playing
mainplaying
the main
early perthatperview
the that
supports
further
to
and
thisthis
further
supports
the view
early
, and
envisaged
beenenvisaged,
havebeen
to have
stages.
detached
formances
onon
detached
stages.
were
formanceswere
virtues
is not
opposition
betweenvirtues
Everyman
not between
Everyman is
The
in in
symbolicopposition
mainsymbolic
The main
characters
between
but
plays,
morality
and
vices,
as
in
most
English
morality
plays,
but
between
characters
who who
English
most
in
as
and vices,
. God,
characters
neutral
morally
point
and
morally
neutral
characters.
God,
Good Good
and
salvation
waytotosalvation
theway
point the
to
are opposed
the Doctor
andDoctor
Angel
Deeds,
Angel
and the
are opposed
to
n, the
, Confessiothe
KnowledgeConfession,
Deeds,Knowledge,
wellless
or
more
are
who
Wits,
Five
such
Death,
Goods
andand
Five Wits, who are more or less wellGoods
Death,
as
figuresas
such figures
An obvious
indifferent.
or less
disposed
or or
more
or less
indifferent.
An obvious
way ofway of
more
Everyman
towardsEveryman
disposedtowards
staging
sixteenth-century
of early
terms
expressing
in the
terms
of early
sixteenth-century
staging
in the
opposition
thisopposition
expressingthis
structures
with raised
figures
salvation
would
toto
associate
thethe
salvation
figures
with raised
structures
associate
been
havebeen
wouldhave
ground"
area.
playing
main
and
with
thethe
main
playing
area.
The The
"cold"cold
ground"
with
figures
neutralfigures
theneutral
and the
again as
used
been
have
might
from
which
Good
Deeds
first
speaks
(1.486)
might
have
been
used
again
as
(1.486)
speaks
first
Deeds
from which Good
addresses
the Angel
fromwhich
the stage
Everyman's
placed
under
the stage
from which
the Angel
addresses
under
placed
grave,
Everyman'sgrave,
of Salvathe House
emerged
have
might
Everyman,
might
have
emerged
from from
the House
of SalvaKnowledge
andKnowledge
Everyman,and
part.
her
tion
to
play
her
part.
play
tion to
s of
even
productionof
two,
earlyproductions
Whether
Everyman
oror
even
theearly
one,two,
Everyman used
usedone,
Whetherthe
and Everyman's
ground"
Deeds'
Good
three
whether
Good
Deeds'
"cold"cold
ground"
and Everyman's
whether
and
stages,and
threestages,
. The playbe determined
cannot
structure,
grave
the
same
structure,
cannot
now now
be determined.
The playsame
the
fact
wereininfact
gravewere
contributio
their
of
one
as
,
wright
toto
the
performers,
as one of their contributions tons to
performers
the
decision
thisdecision
leftthis
wright left
this question
on question
his
work's
artistic
realization.
The
evidence
on this
whichwhich
can becan be
evidence
The
.
his work's artistic realization
is inconclusive.
ge plays
derived
and
from
other
multiple-stage
is inconclusive.
multiple-staplays
other
from
and
text
thetext
fromthe
derivedfrom
above"
"here
place
If
and
thethe
place
"here
above"
werewere
com- comand
celestya!I"
setecelesfyall"
hyesete
"thehye
If "the
play the
also
able
be
would
God
of
bined
structure,
thethe
actor
of God would be able also to playtothe
actor
structure,
single
inaasingle
binedin
grave
The
part'°,
° , thus
doubling.
Angel'spart'
of
Angel's
solving
one
of
the
difficulties
of
doubling.
The
grave
difficulties
the
of
one
thus solving
of Salvation
the House
might
beneath
thisthis
structure
and and
the House
of Salvation
would would
structure
beneath
placed
beplaced
mightbe
the staging
reproduce
extent
be
This
plan
would
to some
extent
reproduce
the staging
to some
would
plan
This
unit.
separateunit.
be aaseparate
House
the
to
of Perseverance,
Perseverance, in
equivalent
which
the
Castle
(symbolically
equivalent
to
the
House
lly
in which the Castle (symbolica
scaffold.
God's
from
of
from
God's
scaffold.
detached
Salvation)isisdetached
of Salvation)
throne,
God's
to combine
Alternatively,
bebe
possible
to combine
God's
throne,
the the
possible
would
Alternatively,ititwould
tower-like
single
a
in
grave
the
Angel's
of of
Salvation,
andand
the grave in a single tower-like
Salvation,
House
theHouse
place,the
Angel'splace,
of detaching
structure.
would
have
thethe
disadvantage
of detaching
Good Good
Deeds Deeds
disadvantage
have
would
This
structure.This
43
43
from the other salvation figures. She could not begin speaking from the
grave, since she must not be too close to the House of Salvation, to which
Knowledge must conduct Everyman. On the other hand, a single actor
would be available for God, Confession and the Angel. The stage-plan of
Perseverance differs from this arrangement in having heaven (God's scaf fold) as a separate structure, but resembles it in that Mankind's death-bed,
from under which Anima arises, is placed below the Castle. The arrangement also receives some support from the staging of The Conversion of
Saint Paul, where a single scaffold, centrally placed, probably contained
1
God, an angel, the Holy Spirit, and some càmplicated machinery.'
In staging, then, the text makes suggestions without being in any
way prescriptive; and this is further proved by the multifarious stagings of
Everyman in the present century. I shall mention two other ways in which
the script supports the perfOrmers, before considering some of the techniques by which it is likely to engage the audience.
First, the text implies a great deal about the movements and positions
of actors. Detailed stage directions could be added to many passages with
ease. An example is the following exchange, in which Fellowship realises
the full significance of Everyman's journey:
Everyman (looking at him).
Felawship (backing away).
In dede, Deth was with me here.
Now, by God that all hathe bought,
If Deth were the messenger,
For no man that is Iyuynge to-daye
I wyll not go that lothe iournaye Not for the fader that bygate me!
Everyman.
Ye promysed other wyse, parde.
Felawship (hesitantly).
I wote well I sayd so, truely;
(approaching him suddenly). And yet, yf thou wylte ete
& drynke & make good chere,
Or haunt to women the lusty company,
I wolde not forsake you whyle the daye
is clere,
Trust me veryly.
Everyman (shrugging him off and moving away).
Ye, therto ye wolde be redyl
To go to myrthe, solas, and playe
Your mynde wyll soner apply,
Than to bere me company in my longe
iournaye.
Felawshfp (making a stand). Now in good fayth, I wyll not that
waye;
(approaching him again). But and thou will murder, or
ony man kyll,
In that I wyll helpe thee with a good
wyll.
(1 1.264-82)
44
the central
withcentral
characters,
of the
grouping
the
In
the
grouping
of the
characters,
with the
half,
secondhalf,
thesecond
In the
Deeds
Good
by
rank
first
the
in
supported
figure,
being
supported
in the first rank by Good Deeds and and
being
Everyman,
figure,Everyman,
and Five
Beauty
Discretion,
Strength,
second
the
Knowledge,
inin
the
second
by by
Strength,
Discretion,
Beauty
and Five
and
Knowledge,and
arrangestage
symmetrical
effective,
visually
suggest
Wits,
visually
effective,
symmetrical
stage
arrangeprobablysuggest
willprobably
Wits, will
his confession,
centre
stands
ments
If Everyman
stands
centre
afterafter
his confession,
with with
If Everyman
director,
toaadirector.
mentsto
11.654-67
of
effect
choric
the
side,
either
on
Deeds
Knowledge
Deeds
on either side, the choric effect of 11.654-67
Good
andGood
Knowledgeand
of nature
the gifts
following,
immediately
entrance
is
entrance
immediately
following,
the gifts
of nature
their
Ontheir
enhanced.On
is enhanced.
is estabthis position
or semi-circle.
can
in a
or semi-circle.
OnceOnce
this position
is estaba row
inrow
behind,
standbehind,
thenstand
can then
to
has merely
easily.
very
flow
lished,
movements
flow
very
easily.
Five Five
Wits Wits
has merely
to
movements
subsequent
lished,subsequent
Knowwith
chat
to
and
audience
the
step
forward
in
order
to
harangue
the
audience
and
to
chat
with
Knowharangue
to
step forward in order
and the
action,
symmetrical
a single
rood
ledge;
of of
thethe
rood
cancan
be abe
single
symmetrical
action,
and the
touching
thetouching
ledge;the
balance
the grave.'Stage
Everyman
to conduct
rapidly
escort
rapidly
to conduct
Everyman
to thetograve.'Stage
balance
lineupup
canline
escortcan
and the
Wits depart,
and Five
Discretion
is
Beauty,
Strength,
Discretion
and Five
Wits depart,
and the
Strength,
Beauty,
maintainedasas
is maintained
Deeds
and Good
Knowledge
behind,
dying
behind,
withwith
Knowledge
and Good
Deeds
once once
remains
Everymanremains
dyingEveryman
to comment
forward
Knowledge
him.
again
left
of of
him.
Knowledge
can can
stepstep
forward
to comment
left
and
rightand
theright
tothe
again to
the grave.
Deeds
Good
Everyman
(11.888-93)
Everyman
andand
Good
Deeds
enterenter
the grave.
(11.888-93)asas
brief question-andof question-andmostly
consists
dialogue
Secondly,
thethe
dialogue
consists
mostly
of brief
because
Secondly,because
text suplong,
somewhat
is
part
answer,
and
because
only
Everyman's
part
is
somewhat
long,
the
textthe
supEveryman's
only
because
and
answer,
several
Furthermore,
line-learning.
demanding
ports
byby
demanding
littlelittle
line-learning.
Furthermore,
several
performers
theperformers
ports the
first place
the place
infirst
evolved
probably
were
which
of
which
were
probably
evolved
in the
for for
patterns,
dialoguepatterns,
the dialogue
of the
the actors'
of assisting
secondary
the
have
thethe
secondary
effecteffect
of assisting
the actors'
have
benefit,
audience'sbenefit,
the audience's
for instance,
Discretion
memories.
Strength,
Discretion
andand
FiveFive
Wits,Wits,
for instance,
almostalmost
Strength,
Beauty,
memories.Beauty,
symbolically
order,
is also
which
always
that
order,
which
is also
the the
order,
symbolically
ap- aporder,
that
linesinin
havelines
alwayshave
of Everyman's
patterning
Again,
exits.
propriate,
exits.
Again,
thethe
patterning
of Everyman's
individual
theirindividual
oftheir
propriate,of
learning
initial
to assist
both
likely
half
firsthalf
thefirst
soliloquies
is is
likely
both
to assist
thethe
initial
learning
of of
inthe
soliloquiesin
no close,
are
there
Although
difficulties.
lines,
actor
in in
difficulties.
Although
there
are no
close,
and and
actor
an
aidan
andtotoaid
lines,and
of a
consists
soliloquy
resemblances,
therefore
verbal
resemblances,
eacheach
soliloquy
consists
of a
verbal
confusing,
thereforeconfusing,
and an
of them,
interpretation
a moral
events,
lament,
of of
events,
a moral
interpretation
of them,
and an
recapitulation
lament,aarecapitulation
furthermore,
soliloquies,
three
first
The
idea
The
first
three
soliloquies,
furthermore,
have have
key- keynext.
donext.
whattotodo
ofwhat
idea of
all wrought!"
that
helpe,
Creator—"Lorde,
God
note
God
thethe
Creator—"Lorde,
helpe,
that all
wrought!"
apostrophes—to
note apostrophes—to
to' Jesus
and
(1.304)
helpe!"
Lady,
(1.192),
Virgin—"A,
Lady,
helpe!"
(1.304)
and to'
Jesus
Virgin—"A,
Blessed
theBlessed
tothe
(1,192),to
(1378).12
(L378).12
•
hardly
"symmetry"
and
"order"
Words
"order"
and
"symmetry"
can can
hardly
be be
"pattern",
as"pattern",
suchas
Wordssuch
including
plays,
morality
the
avoided
ofof
the
morality
plays,
including
discussions
they
indiscussions
Everyman,
andthey
Everyman, and
avoidedin
the dramatur
from
is important
What
have
used
in this
paper.
What
is important
from the
dramaturpaper.
in this
used
been
alreadybeen
havealready
endowed
playwrights
different
gical
which
thethe
different
playwrights
endowed
which
with,
lifewith,
thelife
viewpointisisthe
gical viewpoint
with moderation
andmoderation
subtly,
them
used
their
whether
they
used
them
subtly,
and with
they
whether
and
patterns,and
their patterns,
of
writer
stiffness.
or
subsequent
stiffness.
TheThe
writer
of Everyman
subsequent
handled
Everyman
handled
with
excess,with
to excess,
or to
lightness.
liveliness
unerring
his
liveliness
andand
lightness.
withunerring
patternswith
his patterns
Everyman
between
the scenes
The
the
first
half
areare
thatthat
the scenes
between
Everyman
half
first
the
dangersofof
The dangers
become
will
they
that
and
and
his
false,
friends
will
go
on
for
too
long,
and
that
they
will
become
re- relong,
too
for
on
go
will
friends
and his false
of perfection
number
at the
petitive.
scenes
of of
rejection
halthalt
at the
number
of perfection
rejection
scenes
the
is,the
Asititis,
petitive.As
a theatrical
alsoafrom
be perfect
and
which
happens
to betoperfect
also from
theatrical
happens
which
godhead—three,
thegodhead—three,
and the
in. Fellowhave
might
humour
point
had
been
more,
humour
might
have
creptcrept
in. Fellowmore,
been
had
there
view.IfIfthere
ofview.
point of
a concise
persons
in their
ship,
and
Goods
comprise
in their
persons
a concise
state- statecomprise
Goods
and
Cousin
Kindred,Cousin
ship, Kindred,
may assuage
a human
ment
aspects
of creation
with with
whichwhich
a human
may assuage
of creation
aspects
diverse
thediverse
ofthe
mentof
45
loneliness.
his loneliness.
his
andinalso in
levelalso
an obvious
on obvious
various
The
are
various
on an
visualvisual
level and
are
scenes
rejectionscenes
The rejection
Everyman
Cousin
Kindred
is alone,
their
is alone,
butbut
Kindred
and and
Cousin
meet meet
Everyman
Fellowship
dialogue.Fellowship
their dialogue.
and thereon stage,
briefly
characters,
as
lively,
comic
characters,
onlyonly
briefly
on stage,
and therecomic
lively,
are
Theyare
pair.They
as aa pair.
rejecthe first
of first
dialogue
The
Goods.
immobility
fore
of of
Goods.
The
dialogue
of the
rejectheimmobility
withthe
contrastwith
fore contrast
and re-asser
as Fellowship
tension
tion
considerable
tension
as Fellowship
assertsasserts
and re-asserts
considerable
creates
scenecreates
tion scene
lanthe obscure
to penetrate
strives
then
his
(11.212-40)
andand
then
strives
to penetrate
the obscure
lan(11.212-40)
faithfulness
his faithfulness
profesCousin's
and
Kindred's
(11.241-63).
guage
of
Everyman's
request
(11.241-63).
Kindred's
and
Cousin's
profesguage of Everyman's request
(11.319-26),
quite
hand,
other
the
sions
onon
the
other
hand,
are are
quite
briefbrief
(11.319-26),
and al-and alfriendship,
offriendship,
sionsof
to them,
plainly
even
dilemma
though
explains
hishis
dilemma
even
less less
plainly
to them,
they they
explains
Everyman
thoughEveryman
has replaywright
(11.327-44).
much
more
readily
(11.327-44).
The The
playwright
has rereadily
more
6aderstand
much
him
.iderstandhim
Felunlike
Again
means.
same
the
by
twice
frained
from
creating
tension
twice
by
the
same
means.
Again
unlike
Feltension
frained from creating
conscience-stricken
slightly
even
lowship,
and
Cousin
areare
notnot
even
slightly
conscience-stricken
over over
Cousin
and
Kindred
lowship,Kindred
Goods,
and excuses.
offers
alternative
their
comic
alternative
offers
and excuses.
Goods,
too, too,
comic
make
butmake
refusal,but
their refusal,
comprehends
and readily
quickly,
passes
the
protestations
quickly,
and readily
comprehends
Every- Everyprotestations
the
through
passesthrough
in terms
is couched
comic,
being
from
man's
refusal,
farfar
from
being
comic,
is couched
in terms
refusal,
his
buthis
plight,but
man'splight,
not see
does
presumably
himself
Goods
which
though
Goods
himself
presumably
does not
see
though
moralistic,
reallymoralistic,
arereally
which are
light.
thatlight.
in that
them
them in
in
established
contrasts
broad
of two
part
The
areare
part
of two
broad
contrasts
established
in
scenes
rejectionscenes
The rejection
3, and between
scenes1
and
3
,
and
between
characters
Everyman,
active
Eve,yman, between
and
and
active characters and scenes1
static
betweenstatic
of contrast
firstofkind
thekind
An example
scenes
many
characters.
An example
of theoffirst
contrast
characters.
many
and
fewand
offew
scenesof
figure,
mobile
extremely
is an
occurs
Death,
who
is an
extremely
mobile
figure,
entersenters
after after
who
Death,
when
earlywhen
occursearly
Death's
his stage.
moving
without
God
long
speech
without
moving
from from
his stage.
Death's
speech
long
his
givenhis
hasgiven
God has
fearsomeness:
forcefulness
mobility
create
hishis
forcefulness
and and
fearsomeness:
create
helpstoto
mobilityhelps
ouer-all
renne
worlde
theworlde
Lorde,
gogo
renne
ouer-all
wyllininthe
Lorde,IIwyll
small.
grete
bothe
And
bothe
grete
andand
small.
out-serche
cruellyout-serche
And cruelly
(11.72-73)
(11.72-73)
are associated
a well-occupied
but
mobility,
andand
alsoalso
a well-occupied
stagestage
are associated
mbbility,
play
theplay
laterininthe
but later
security.
and
healthand
with
security.
spiritualhealth
with spiritual
Cousin,
Kindred
with
Except
scene
with
Kindred
andand
Cousin,
therethere
are, inare,
the in the
scene
brief
thebrief
forthe
Exceptfor
Deeds,
to Good
counsel
fifst
Everyman
turns
for for
counsel
to Good
Deeds,
never never
more more
turns
Everyman
before
half,before
first half,
and
with Death
the scenes
Between
stage.
than
onon
stage.
Between
the scenes
with Death
and with
hiswith his
characters
twocharacters
than two
has called
he called
isolation.
frightening
left
false
is is
left
in in
frightening
isolation.
AfterAfter
he has
Everyman
friendsEveryman
false friends
him alone.
see
not again
audience
however,
on
however,
the the
audience
doesdoes
not again
see him
alone.
Deeds,
GoodDeeds,
on Good
extra stress
places
Deeds
Good
The
of Goods
andand
Good
Deeds
places
extra stress
of Goods
immobility
physicalimmobility
The physical
journey.
his
on
companions
on
their
uselessness
to
Everyman
as
companions
on
his
journey.
In
this In this
as
Everyman
to
on their uselessness
are
the play's
way
isolation
and
the the
suspense
of theofplay's
middlemiddle
sectionsection
are
suspense
and
isolation
Everyman's
way Everyman's
of Salvation
the House
to House
Knowledge
increased.
and
Knowledge
walkwalk
to the
of Salvation
and
Everyman
AsEveryman
increased.As
the long
it is recaptured
this
alleviated,
but but
it is recaptured
duringduring
the long
alleviated,
somewhat
suspenseisissomewhat
this suspense
only active
theactive
Everyman
when
prayer
and
thethe
scourging,
when
Everyman
is theisonly
scourging,
and
Trinity
theTrinity
tothe
prayerto
Goods'
Knowledge—and
figure.
Knowledge—and
GodGod
andand
Goods",
Confession,
4 if
Deeds,Confession,
GoodDeeds,
figure. Good
for
Deeds'
Good
move.
they
notnot
move.
Good
Deeds'
lines lines
givinggiving
thanksthanks
for
stage—do
onstage—do
stillon
arestill
they are
the
release
finally
penance
the
of
her
restored
mobility
on
the
completion
of
the
penance
finally
release
the
completion
her restored mobility on the
Everyman's
turning
a major
tension
centre,
andand
areare
a major
turning
point.point.
Everyman's
centre,
play's
theplay's
ofthe
tensionof
An impression
immediately.
follows
clothing
contrition
follows
immediately.
An impression
contrition
garmentofof
thegarment
inthe
clothing in
the proposed
to proposed
references
of
byby
repeated
references
to the
pilgri-pilgrirepeated
created
activityisiscreated
joyfulactivity
of joyful
,
46
occur
actually
does
this
though
eventhough
mage,
this
does
notnot
actually
occur
until until
later:later:
mage,even
shall
come
ende
journeys
youriourneys
yetotoyour
Whan
ende
come
shall
Whanye
(1.641)
(1.641)
taryenge.
without
nowwithout
gonow
usgo
And
taryenge.
letteus
And lette
(1.651)
(1.651)
thee
with
ledewith
mustlede
Yet
thee
thoumust
Yet thou
myght.
grete
personesofof
Thre
grete
myght.
Thre persones
(11.657-58)
(11.657-58)
on stage
the movement
tomovement
contribute
of nature
The
the
gifts
of nature
contribute
to the
on stage
gifts
the
entrancesofof
The entrances
mood.
lightened
muchlightened
themuch
tothe
and to
and
mood.
the pace
Knowledge
with
talk
and
Five
and
hishis
talk
with
Knowledge
slowslow
the pace
beforebefore
address
Wits'address
Five Wits'
their pilon pilof nature
Knowledge
Everyman
leads
Knowledge
andand
the the
giftsgifts
of nature
on their
leads
confidently
Everymanconfidently
the beginning
so dreaded
Everyman
grimage.
which
Everyman
so dreaded
in theinbeginning
has, has,
which
journey
Thejourney
grimage.The
of performance
a feature
in part
then,
reinterpreted,
in part
by aby
feature
of performance
reinterpreted,
radically
beenradically
then, been
with security.
a crowded
movement
which
equates
movement
andand
a crowded
stagestage
with security.
equates
consistently
whichconsistently
of
stagecraft
the superlative
of superlative
appreciation
The
forfor
anan
appreciation
of the
stagecraft
of
base
soundestbase
The soundest
the script.
toscript.
justice
does
which
production
Everyman is
is the
the witnessing
witnessing ofofaaproduction
which
does
justice
to the
Everyman
by
abstractly
at more
be arrived
However,
anan
appreciation
cancan
alsoalso
be arrived
at more
abstractly
by
appreciation
such
However,such
other
it with
contrasting
and
context
and
contrasting
it with
other
setting Everyman in
historicalcontext
its historical
in its
setting
not court
playwright
time.
same
the
about
plays
the
same
time.
TheThe
playwright
doesdoes
not court
the the
writtenabout
plays written
from the
inseparable
were
as
such
techniques,
audience
with
robust
comic
techniques,
such
as
were
inseparable
from
the
comic
robust
with
audience
stage effects,
or effects,
elaborate
there
interludes
indoors.
NorNor
are are
there
elaborate
propsprops
or stage
indoors.
staged
interludesstaged
In
stages.
for multiple
intended
plays
though
usual
in other
plays
intended
for multiple
stages.
In
in other
usual
were
thesewere
thoughthese
in favour
abandoned
been
have
Everyman gimmickry
have
been
abandoned
in favour
of a of a
spectacle
andspectacle
gimmickryand
dramaturgy.'
effective
moreeffective
andmore
subtler
dramaturgy.'
5
subtlerand
NOTES:
NOTES:
ed.,Everyman,
Cawley
Everyman, Manchester
x-xii.
Cawley,ed.,
A.C. Cawley,
1961,
A.C.
Press,
University
Press,
1961,
pp.pp.
x-xii.
Cawley
ManchesterUniversity
conclusion
Mierlo's
vanMierlo's
supports
conclusion
thatthat
Everyman was
Vorsterman's
supportsvan
from
Everyman
translatedfrom
Vorsterman's
was translated
print of Elckerlijc,
Elckerlijc, of
at variance
seriously
this
that
writes
that
this
"is "is
notnot
seriously
at variance
Hewrites
1518-25.He
c. 1518-25.
of c.
of
extant
earliest
proposed
Everyman"
1510-25
with
proposed
for for
thethe
earliest
extant
print print
of Everyman"
date1510-25
thedate
with the
- the
—
the
Pynson.
by Richard
edition
of an
Library
Bodleian
the
Douce
Bodleian
Library
of an
edition
by Richard
Pynson.
fragmentininthe
Doucefragment
writing
Everyman was
thewriting
forthe
The
ofof
datingfor
Everyman
!aterdating
in his
The later
Schoenbaum
byby
S.S.
Schoenbaum
in his
adopted
wasadopted
Harbage,
Alfred
revision
hisrevision
Supplement
of of
Alfred
Herbage,
Supplementtotohis
Annals of English Drama, 975-1700,
975-1700,
Illinois,
University,
Northwestern
Supplement,
London,
Supplement,
Northwestern
University,
Illinois,
1966,1966,
p.2. p.2.
1964;
Methuen,1964;
London,Methuen,
2
Stages. 1300 to 1600, London,
Early
Early English Stages,
1963,
Paul,
Kegan
and
and
Kegan
Paul,
1963,
Vol.Vol.
Routledge
London,Routledge
229-53.
I,I, pp.
pp. 229-53.
3
'Mankind' to
From 'Mankind'
to Marlowe,
Marlowe, Cambridge,
pp. 8-47,
1962,
Press,
University
Harvard
University
Press,
1962,
pp. 8-47,
Cambri'dge,Harvard
68-87.
68-87.
'
4 Ibid.,
Ibid., pp.
26-48.
pp. 26-48.
5 op.
Op. Cit.,
cit., p.
235.
P. 235.
47
47
6
O. Cit.,
6 op.
cit.,
7
233-34.
p. 233-34.
p.
11.412-501.
Belial,
and
Mercury
devils,Mercury
twodevils,
Betweentwo
Between
and
Belial,
11.412-501.
Scribes,
Digby
of MS.
Plays
Medieval
Late
"The
8 D.C.
"The
Late
Medieval
Plays
of MS.
Digby
133: 133:
Scribes,
Murphy,
J.L.Murphy,
andJ.L.
Bakerand
D.C. Baker
ResearchOpportunities
Opportunitiesin
inRenaissance
Renaissance Drama,
Drama, XX (1967),
(1967),
Dates
and Early
EarlyHistory",
History",Research
Dates and
154-55;
162-63.
154-55;162-63.
9
acted by
beenby
haveacted
tobeen
are unlikely
speech
of one
The
usually
of one
speech
only,only,
are unlikely
to have
usually
roles,
peripheralroles,
The peripheral
cast required.
total
thecast
reduced
would
supernumeraries,
since
thisthis
would
not not
havehave
reduced
the total
required.
The pro-The prosince
supernumeraries,
supernumeraries
employing
ceased
to have
in any
fessional
seem
in any
casecase
to have
ceased
employing
supernumeraries
seem
companies
fessionalcompanies
(Bevington,op.
reasons.
op. Cit.,
cit., p. 116)
116)
financialreasons.
early,
(Bevington,
forfinancial
early, for
10
10
treating
the action,
throughout
visible
remains
God
that
This
that
God
remains
visible
throughout
the action,
treating
than
likelythan
morelikely
is more
This is
with wooden
581)
andwith
at 11.192
example,
Everyman's
prayers
(for(for
example,
at 11.192
and 581)
wooden
prayers
impassioned
Everyman'simpassioned
at 1.637:
by Knowledge,
is supported
presence
God's
indifference.
God's
presence
is supported
by Knowledge,
at 1.637:
However,
indifference.However,
aboue.
trone
lyuynge
God
in in
hishis
trone
aboue.
thylyuynge
seeththy
God seeth
11
106.
ed.,English
1976,
English Moral Interludes,
Interludes, London,
Dent,1976,
Wickham,ed.,
G. Wickham,
G.
p.p.
106.
London,Dent,
12
12
in
Timeless
the
and
"Timeand
and Dr. Faustus", College
Cf.
the
Timeless
in Everyman
and
Kaula,"Time
DavidKaula,
Cf. David
10-11.
English,XXII
English,
XXII (1960),
(1960), 10-11.
13
13
in
symbolic
almost
in an
Endgame
immobility
Cf.
ofof
immobility
in an
almost
symbolic
way way
in Endgame
use
Beckett'suse
SamuelBeckett's
Cf. Samuel
andWaiting
Godot.
Waiting for Godot.
and
14
14
it is desirable
speaking,
on first
immobility
In
of of
hishis
immobility
on first
speaking,
it is desirable
that that
assertion
Goods'assertion
ofGoods'
viewof
In view
to him when
can gesture
Everyman
he
when
hishis
part
is completed.
Everyman
can gesture
to him when
is completed.
part
when
exit
notexit
shouldnot
he should
A
(11.699.702).
just creditors.
hiscreditors.
andjust
later
his
goods
between
the the
poorpoor
and his
(11.699-702).
A
between
goods
his
divides
hedivides
later he
has completed
Everyman
behind
remains
symbolic
if Goods
remains
behind
afterafter
Everyman
has completed
if Goods
made
pointisismade
symbolic'point
his
pilgrimage.
his pilgrimage.
15
Sixth Con.
the Condelivered
writer
which
This article
article was
from
a paper
which
the the
writer
delivered
at theat
Sixth
a paper
from
adapted
wasadapted
is This
and Renaisfor Medieval
Association
Zealand
ference
and
New
Zealand
Association
for Medieval
and RenaisNew
and
Australian
theAustralian
ofthe
ferenceof
in September,
Victoria,
Clayton,
sance
atat
Monash
University,
Clayton,
Victoria,
in September,
1977. 1977.
University,
Monash
held
Studies,held
sanceStudies,
48