Morality play
A morality play is a genre of drama that emerged in the fifteenth and sixteenth centuries, characterized by its focus on the moral and spiritual dilemmas faced by an archetypal character, often representing humanity as a whole. These plays typically showcase the struggle between good and evil, with the protagonist, often named "Everyman" or "Mankind," encountering personified virtues and vices in their quest for salvation. The narratives are allegorical, emphasizing the internal battle of the soul and the consequences of moral choices.
One of the most famous morality plays is "Everyman," written around 1500, which portrays the titular character's journey toward death and his quest for companionship and redemption. Other notable examples include "Mankind" and "The Castle of Perseverance." Morality plays served both educational and entertainment purposes, distinct from earlier biblical mystery plays, and remained popular until around the mid-sixteenth century. Over time, these plays evolved into more secular dramas, leading to a transformation in both character types and themes. The legacy of morality plays continues to influence modern theater, reflecting the ongoing exploration of moral and existential themes.
On this Page
Subject Terms
Morality play
A morality play is a type of drama that flourished in the fifteenth and sixteenth centuries, focusing on the plight of an average man or "everyman." Morality plays provide an enactment of the trials and tribulations of a person living during this time. The main player’s spiritual or existential journey is tabulated via the dramatic medium and depicts the soul’s battle against good and evil. Contextually, the religious framework is set against a Christian lifestyle, with the protagonist representing all of mankind. The most famous morality play is Everyman. Written in approximately 1500, it continues to be studied in schools and universities in the twenty-first century. Other examples of medieval morality plays include Pride of Life, The Castle of Perseverance, and Mankind, written in 1410, 1425, and 1475, respectively.
Brief History
Morality plays were especially popular from approximately 1400 to 1550. They followed the previous predominantly religious theater mode of mystery and miracles plays and predated the more secular plays that were to follow. While the mystery plays were strictly biblical in content, morality plays sought to educate (and entertain) in a dramatically allegorical way. The mystery plays were performed as cycles, whereas the morality play was presented as an individual drama.
By the latter part of the sixteenth century, the morality play began to be transformed into a secular dramatic medium. Rather than dealing with man’s personal plight within the context of a religious battle, the drama shifted toward a more public debate. Issues regarding effective rule or educational needs transposed the earlier internal spiritual issues. As a result, characters changed. No longer in need of the personification-character types of the morality play, new character personalities came into effect alongside the new subject matters. In time, this resulted in the characters becoming more real, befitting the stories and plot lines that were being created.
Eventually, the complete secularization of the morality play occurred. This manifested in conjunction with a move toward a professional system of theater. Professional troupes of theater players became common, acting in contemporary, largely secular dramas. The period of the morality play appeared to have reached its demise. English playwright Christopher Marlowe’s Doctor Faustus, first published in 1604, was highly influenced by the morality play. This is evident in Faustus being urged to repent prior to his death and in the manner in which angels representing good and bad sides preside over his soul.
Other morality-inspired plays being experimented with in the twenty-first century include an Edinburgh Festival fringe play Everyman, billed as a medieval morality play meeting the twenty-first century and performed through physical theater. In a recent 2016 musical rendition, Lazarus by David Bowie, eerie echoes of Everyman were perceived as he chronicled his personal journey as he stared at death.
Overview
A morality play is written as an allegory of the moral trials experienced by man. The temptations he experiences and the moral or spiritual dilemma this imposes is evident in the ebb and flow of the literary realms of his encounters. This man is all men (or all women). A generic kind of name is given to the leading character. He may be "Mankind" or "Everyman."
A battle between good and evil makes up the drama. The characters who enact the struggle include the main protagonist (such as Mankind, Everyman) and his opponents. These opponents are characters who act as personifications of good and evil. They may be angels, both good and bad, who try to tempt the protagonist to succumb to his lusts, or dissuade him from veering off the path of spiritual purity. The seven virtues or the seven deadly sins may be seen on stage interacting in the drama that takes place. Other stock characters are likewise personifications of good virtues like mercy and good deeds or knowledge. Contrarily, they may be the embodiment of death or mischievous shenanigans or traits, such as pride, or trappings like wealth. Vice may be utilized as a counterpart of the play’s serious nature, albeit in a satirical manner. Played with a relative level of humor, this "character" may hold up to ridicule the contemporary norms of the day.
The struggle between good and evil and where the protagonist finds himself on the moral scale form the central thesis of the morality play. The soul of man is the essential focus of the drama, in an attempt to ascertain who will win the battle between the forces of his inner drives. At first, the mankind character falls prey to the temptation of "sin" as he is lured to these vices. Thereafter he repents, with Perseverance and Repentance leading the way. Finally, salvation takes place, and the protagonist receives the ultimate pardon from a merciful God.
Everyman is the most well-known of the morality plays. Written as a short 900-line play, it may have derived from a Flemish version of Elckerlijc (1495). This morality play centers on Everyman getting ready for his death. The subject and plot are highly focused on this preparation. It deals with a specific time period. Everyman has a desperate desire for someone to accompany him on his journey to death, yet finds no one along the way willing to join him. Finally, having faced himself as he encounters the flashing by of his life, he is joined by Good Deeds. From despair and fear, the path clears toward redemption. Everyman is ready for salvation as he steps to his final moment.
Bibliography
Brockett, Oscar G. The Theatre. An Introduction. Texas: Wadsworth Publishing, 1979. Print.
"European Theatre and Drama in the Middle Ages." European Drama in the Middle Ages. Scott Robinson, 2010. Web. 11 May 2016.
Jokinen, Anniina. "Everyman: An Introduction." Luminarium: Anthology of English Literature. Anniina Jokinen, 21 Jan. 2010. Web. 11 May 2016.
"Medieval Drama: An Introduction to Middle English Plays." Excerpted from: Fletcher, Robert Huntington. A History of English Literature. Boston: Badger, 1916: 85–91. Luminarium: Anthology of English Literature. Anniina Jokinen, 4 April, 2012. Web. 11 May 2016.
Paulson, Michael. "After David Bowie’s Death, ‘Lazarus’ Holds New Meaning for Fans." New York Times. New York Times, 13 Jan. 2016. Web. 11 May 2016.
Taylor, Amy. "Everyman." The List. The List, 5 Aug. 2013. Web. 11 May 2016.
Watson, G.J. Drama: An Introduction. London: MacMillan, 1983. Print.
Zamon, Rebecca. "David Bowie’s Final Video, ‘Lazarus’, Was His Message to the World About Death." Huffington Post Canada. TheHuffingtonPost.com, 11 Jan. 2016. Web. 11 May 2016.