Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Everyman a morality play
The meaning of life and death in literature
Academic analysis of Everyman
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Everyman a morality play
“Then I heard a voice from heaven say, ‘Write: Blessed are the dead who die in the Lord from now on.’ ‘Yes,’ says the Spirit, ‘they will rest from their labor, for their deeds will follow them’" (Rev 14:13 NIV). The well-known, late fiftieth century morality play, Everyman, depicts the essence of the correlation between performing good deeds and death. Morality plays were allegorical dramas used to instruct audiences in the morals and promises of the Christian faith by using personification. Although, the author of Everyman remains unknown; it is believed to have been the Dutchman, Elckerlijk. In Everyman, the protagonist, represents all of humanity. Additionally, the author “wanted to challenge the audience to do good works in order to win God’s love and acceptance”. Death, Fellowship, and Good Deeds represent personified characters in which the author uses to present the audience with a play where death is perceived as the inevitable fate of every human; therefore Death should be treated with the same fear which God is accredited.
In Everyman, the author perceives death as the inevitable fate of human souls by exhibiting how life is nothing more than a loan from God. The play opens with a messenger addressing the audience and preparing the way for God to enter the scene. God speaks providing a brief catechism and reprimand. “How that all creatures be to me unkind, living without dread in worldly prosperity…Drowned in sin, they know me not for their God.” God professes his displeasure for how people live for their own pleasure. God continues to speak, “My law that I showed, when I for them died, they forget clean, and shedding of my blood red; I hanged between two, it cannot be denied; to get them life I suffered to be dea...
... middle of paper ...
...remember we must die.”
Works Cited
Adu-Gyamfi, Yaw, and Mark Ray Schmidt. Literature and Spirituality. Boston: Longman, 2011.
English 102. “Lesson 25 Introduction to English Medieval: Morality Drama” (Online Presentation). Lecture, Liberty University, Lynchburg, VA. Accessed May 6, 2014.
English 102. “Lesson 26 Everyman: A Morality Play” (Online Presentation). Lecture, Liberty University, Lynchburg, VA. Accessed May 6, 2014.
Paulson, Julie. "Death's Arrival and Everyman's Separation." Theatre Survey 48, no. 1 (05, 2007): 121-41, http://search.proquest.com/docview/211162380?accountid=12085.
Rosenberg, Judith Church. "Parallels: The Morality Play Everyman and Selected Tales of Nathaniel Hawthorne." Order No. 1462903, Texas Woman's University, 2008. In PROQUESTMS ProQuest Dissertations & Theses Full Text, http://search.proquest.com/docview/304321002?accountid=12085
Chase, Richard (1996). “The Ambiguity of the Scarlet Letter.” Readings on Nathaniel Hawthorne (pp. 145-152). San Diego: Greenhaven.
“Nathaniel Hawthorne.” The Norton Anthology: American Literature, edited by Baym et al. New York: W.W. Norton and Co., 1995.
Hawthorne, Nathaniel. �Young Goodman Brown.� Responding to Literature: Stories, Poems, Plays and Essays. Fourth Edition. Ed. Judith A. Stanford. Boston, 2003. 161-171.
Everyman does not resist death and even prepares for it by performing the religious rituals of the seven blessed sacraments and scourging himself. Through the performance of rituals Everyman is trying to attain the ultimate goal of reaching Heaven. He finds that the only character that will accompany him on his journey is Good Deeds, but she is weak. This represents the idea that he has not done enough good during his life and must now do something to change.
Hawthorne, Nathaniel. “The Scarlet Letter”. American Literature: Volume One. Ed. William E. Cain. New York: Pearson, 2004. 809-813. Print
Lang, H.J. “How Ambiguous is Hawthorne?” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
He begins by looking at the very common views of death that are held by most people in the world, and tells us that he will talk of death as the "unequivocal and permanent end to our existence" and look directly at the nature of death itself (1). The first view that
Sources Buckler, John; Hill, Bennet D.; McKay, John P.; A History of Western Society; pgs 485-562; Houghton Miffin Company; 1999 Hieatt, A. Kent; William Shakespeare; Encarta 98; 1998 Shakespeare, William; Much Ado About Nothing; Bantam Books; New York, New York; 1993
Death is an eternal mystery and the most controversial subject stemming from human inexperience. Its inescapability and uncertainty can give insights on the core principles and vulnerability of human nature. In Shakespeare’s tragedy Hamlet he skilfully makes use of death as a lashing force to explore the depths of his characters along the way illustrating man’s continual dilemma “To be or not to be”?
Being that death is a universally explored topic, William Shakespeare, a master of English literature, opted to thoroughly investigate this complex notion in his play Hamlet. Shakespeare cleverly and sometimes subtly brings the reader/viewer through a physical and spiritual journey of death via the several controversial characters of Hamlet. The chief element of this expedition is undoubtedly the funerals. Every funeral depicts, and marks, the conclusion of different perceptions of death. Shakespeare uses the funerals of the several controversial characters to gradually transform the simple, spiritual, naïve, and somewhat light view of death into a much more factual, physical, serious, and down to earth outlook.
The "right to die" argument is building moral, ethical and legal issues. The proponents for physician aid in dying are arguing from the perspective of compassion and radical individual autonomy. However, we cannot take the life of another human being in our hands and play the role of God. The case against physician-assisted suicide, which is essentially a moral case ("thou shall not kill; thou shall not help others to kill themselves"), is straightforward and clear.
...ningham, and Reich 40). In addition, it pays no respect to one’s material status. Death, as depicted, also takes no notice of ones beauty and knowledge. Due to these reasons, death is greatly feared for it is considered a tragedy.
The theme of death is present in many works of literature. It is given metaphors and cloaked with different meanings, yet it always represents an end. Every end signifies a new beginning, and every death gives rise to a new birth. Physical death “...is mere transformation, not destruction,” writes Ding Ming-Dao. “What dies is merely the identity, the identification of a collection of parts that we called a person. What dies is only our human meaning” (49). Figuratively speaking, death symbolizes a change, an interruption or cessation of regular routine. In this sense, death can be viewed as a more positive occurrence, because change leads to new experience, which, in turn, leads to knowledge and a better understanding of life. The plays Othello and A Doll House both encompass the theme of death. While the former deals with physical death, the latter depicts a change, a transformation of a period of time and a way of life.
The theme of death is portrayed in both Geoffrey Chaucer’s ‘The Pardoner’s Tale’ and Christopher Marlowe’s Doctor Faustus. Whether it be death itself, or a personified representation of it. Allegory characters such as the Seven Deadly Sins have been used, as well as the notion good and evil, as a way to corrupt characters which lead to their deaths. Chaucer and Marlowe have achieved this by using elements such as language and structure, imagery and macabre. These elements and themes have been used in my own creative writing work.
The play “Everyman” is about a complacent Everyman who is informed by Death of his approaching end. The play shows the hero’s progression from despair and fear of death to a “Christian resignation that is the prelude to redemption.” Throughout the play Everyman is deserted by things that he thought were of great importance portrayed by characters that take the names of the things they represent.