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Early British Survey

  • Early British Literature
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    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
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      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
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    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
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      • Femininity In Everyman
      • Femininity In Doctor Faustus
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    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
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    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
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    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Allegory in the Middle Ages: Everyman

By: Claire Noring

“Everyman” from History of Literature

I’ve chosen the play Everyman as a prime example of the treatment of allegory in the Middle Ages. Everyman, whose author is unknown, is a morality play. Morality plays all employed allegory to describe the moral struggles inherent in every person. In this case, the play is about a man called Everyman who must prepare himself for his death. This text is a wonderful example of allegory because the meaning of the piece is deeply tied to its figurative meaning. Just as I’ve mentioned before, its figurative meaning is more important than the literal meaning of the piece. The text required Medieval readers to recognize the symbolism of the embedded moral metaphor.

            A good example of the figurative meaning superseding the plot occurs when Everyman asks Good Deeds, who lies “cold in the ground,” to help make the journey to death:

“EVERYMAN Therefore I come to you my moan to make: I pray you, that ye will go with me.

GOOD DEEDS I would full fain, but I cannot stand, verily.

EVERYMAN Why, is there anything on you fallen?

GOOD DEEDS Yea, sir, I may thank you for all;

If ye had perfectly cheered me,

Your book of account full ready now had been” (496-502)

A basic level of analysis reveals a slightly ridiculous situation that has no foothold in reality. A man talks to a woman lying on the ground and she tells him that she can’t get up because he hasn’t made her happy enough. However, this passage takes on a whole new level of importance and meaning when viewed allegorically.

One needs to have done good deeds to help themselves when they are judged, but because they have not done any in their lifetime, good deeds cannot save them. The moral lesson urges the reader to collect good deeds while they are still living so that they don’t have to fear going to hell when they die. This lesson refuses to be constrained to one character in a play, instead becoming immediately applicable to the whole of the audience.

“Death approaches Everyman” from https://en.wikipedia.org/wiki/Everyman_(play)

The names of the characters are essential to this attribute. In this text, Everyman and Good Deeds stand for exactly what their names mean. Other names such as Knowledge, Strength, Confession, and Beauty function in the exact same way. Names function to make the characters universal, make explicit the real-world application of the allegory, and are constant reminders of the ultimate moral lesson of the play.

This is the power of allegory when it’s used to its full potential. Allegory captures all of humanity in one fell swoop, offering a breathtaking example of relatability.

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