Everyman

Introduction

It is a play of the late 15th century; it is representative of genus, and a well known play. It is considered that the poem is the translation of Dutch play name as Elcjerlijc, although many scholars have attempted to prove the priority of the English text. It is the culmination of a long series of experiments with a nonrepresentational, allegorical drama on the problem of salvation; it transcends the limits of its era to become one of the great plays of all time. However, the success of the play with modern audiences is a tribute to the universality of its thematic elements and to the artistry of its dramatic structure.

Thesis Statement

In this poem, the perception of the author in everyman was that the people who have died in the past, their life in hereafter will be presented in front of God in accordance with their deeds and personality they had in the world and their treatments will be determined accordingly.

Discussion

The first dramatic incident in Everyman is an encounter of its hero with Death, who has come suddenly upon the stage to summon him for the final reckoning with God. This event is a restrained but stark confrontation between the soul and the heavenly messenger, and the journey upon which Everyman sets out so reluctantly is an adaptation of the processional Dance of Death. Relentlessly fulfilling his task, Death refuses delay, but concedes that Everyman may have as a companion on the journey anyone bold enough to undertake it (Jerome, 1972, 201).

There follows a series of encounters with allegorical representations of Everyman's associates and possessions (Fellowship, Kindred, Worldly Goods, etc.), all of whom decline the dubious honor of the invitation. Deserted by all but Good Deeds, Everyman belatedly attempts preparation for death, aided by Knowledge (i.e., self-knowledge) and Confession.

Accompanied to the edge of the grave by such physical powers as Strength, Five Wits, and Discretion, Everyman enacts a powerful denouement in which he commends his soul into the hands of God. Structurally, the play is a series of recognitions, each followed by a reversal. Without postulating that the author had knowledge of Greek drama, one can nonetheless find in the play these essentials of dramatic design that are universal elements of famous theater. Recognition to every individual is an illumination that Everyman has been evading, and each one serves to increase the tension of his conflict with the antagonist, Death, who remains present as an invisible force; although the personified character withdraws after delivering the initial summons.

The recognition of betrayal by one earthly value after another creates corresponding momentum in the direction of spiritual gain, and thus the falling line of Everyman's substantial defeat is counterbalanced by a rising action that culminates in the salvation of his soul. The tension of each crisis is followed by a brief respite as Everyman's self-knowledge assesses the material loss and prepares for the next spiritual gain. The perilous encounters maintain audience suspense until the denouement, the final release of tension.

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