The author uses Death as a character to express truth that everyone will, inevitably, come in contact with death. In the play Everyman, death is embodied as a representative of God that visits the plays central character, Everyman. "Death" takes hold of the readers’ interests because it is such a profound word. It is a burdened, aggressive, penetrating word that replicates an actuality that every human will have to come to accept. Death is an adversary in the play that signifies physical death. The author recognizes the consequences of death and uses that knowledge to bring in the reader. In Everyman, the author portrays the character Death as a symbolic exemplification of human death and the reader sees that “Death” does not surpass anyone, it is in God’s hands, and it convicts ones heart.
Death does not give exceptions to anyone. Eventually everyone will experience death sooner or later. We see that the author of, In Everyman: A Structural Analysis, a top discussion of the play is "the inevitability of death"(Van Laan). The inevitability of death can be seen all throughout the play. In the play, Death states, "Everyman I arrest and no man spare, for it is God's commandment that all to me should be obedient" (Everyman). The author talks about a biblical truth because the author of Hebrews 9:27 notes, "Just as people are destined to die once, and after that to face judgment," (New International Version). Death is unstoppable and even lectures Everyman for trying to bribe his way out of death. Van Laan notes that even though "Death has left the stage, his continued authority asserts itself"(Everyman: A Structural Analysis). Even though Death is no longer present at that time, the people know that he will make his presence known aga...
... middle of paper ...
...h becomes him." Commonweal 133.13 (2006): 20+. Literature Resource Center. Web. 27 Mar. 2011.
3) Habermas, Gary R. The Risen Jesus & Future Hope. Lanham: Rowman & Littlefield Pub, 2003. Print.
4) Harper, Elizabeth, and Britt Mize. "Material economy, spiritual economy, and social critique in Everyman." Comparative Drama 40.3 (2006): 263+. Literature Resource Center. Web. 27 Mar. 2011.
4) The Holy Bible, New International Version. Grand Rapids: Zondervan House, 1984. Print.
5) "Overview: Everyman." Gale Online Encyclopedia. Detroit: Gale, 2011. Literature Resource Center. Web. 27 Mar. 2011.
6) Van Laan, Thomas F. "Everyman: A Structural Analysis." Publications of the Modern Language Association 78.5 (Dec. 1963): 465-475. Rpt. in Literature Criticism from 1400 to 1800. Ed. Michael L. LaBlanc. Vol. 87. Detroit: Gale, 2003. Literature Resource Center. Web. 27 Mar. 2011.
Harmon, William, William Flint Thrall, Addison Hibbard, and C. Hugh Holman. A Handbook to Literature. 11th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. Print.
"Morton, Thomas - Introduction." Literary Criticism (1400-1800). Ed. Thomas J. Schoenberg. Vol. 72. Gale Cengage, 2002. eNotes.com. 2006. 21 Feb, 2011
6th ed. New York: St. James Press, 1996. Literature Resource Center. Web. 26 Jan. 2014.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
Works Cited and Consulted Anonymous, “Sir Gawain and the Green Knight” in The Norton Anthology of English Literature, ed. Abrams, et al., et al. New York: Norton, 1993, 200. Carl Gustav Jung, “The Principle Archetypes” in Critical Tradition: Classic Texts and Contemporary Trends, ed. David H. Richter (New York: St. Martin’s Press, 1989), 666.
Heberle, Mark. "Contemporary Literary Criticism." O'Brien, Tim. The Things They Carried. Vol. 74. New York, 2001. 312.
Harmon, William, and C. Hugh Holman. A Handbook to Literature. New Jersey: Prentice Hall, 1996.
Harmon, William, and C. Hugh Holman. A Handbook to Literature. 8th ed. Upper Saddle River, NJ: Prentice Hall, 1999.
Schoenberg, T. J. (2001). Bradford, William - Introduction. "Literary Criticiem (1400-1800). Retrieved March 2011, from enotes.com/literacy-criticism: www.enotes.com/literary-criticism/bradford-williams
2.Richard J. Mouw, He Shines in All That's Fair: Culture and Common Grace (Grand Rapids: Eerdmans, 2001), p. 9.
Forum 19.4 (Winter 1985): 160-162. Rpt. inTwentieth-Century Literary Criticism. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 192. Detroit: Gale, 2008. Literature Resource Center. Web. 30 Nov. 2013.
Everyman is English morality play written by an anonymous author in late fifteenth century. The play’s represent the values that Everyman holds on to by its characterization. The spiritual life of Everyman was neglected by him, but he is quickly repents of his sins as the play develops. After realizing Everyman is summoned by Death, he doesn’t want to die and die alone for that matter. Everyman soon realizes that when he is seeking for a companion to go on a journey that he wants to go but there is no one available. He soon comes to terms that everyone will soon abandon him who accompanied him on earth. The play is in allegorical characters that represents variety of concepts such as (Knowledge, Good Deeds etc.)
Everyman 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. Throughout the play Everyman asks the characters to accompany him on his journey to death. He starts with Fellowship, his friends, who promises to go with him until they are informed of the destination.
22 of Studies in English Literature, 1500-1900. Rpt. in Studies in English Literature, 1500-1900. N.p.: n.p., n.d. N. pag.