ul appear upon the
scene. Soul calls on Mercy for assistance; but the Evil Angel takes
_Humanum Genus_ on its back and departs with him along the road to Hell.
In this critical position of affairs the well-known argument begins,
where Mercy and Peace plead before God on the one side, and Justice and
Truth on the other. God decides in favour of Mercy; Peace takes the soul
of _Humanum Genus_ from the Evil Angel, and Mercy carries it to God, who
then pronounces the judgment--and afterwards the epilogue of the play.'

The plot of _Everyman_ is as follows.

Everyman, in the midst of life's affairs, is suddenly summoned by Death.
Astonished, alarmed, he protests that he is not ready, and offers a
thousand pounds for another twelve years in which to fill up his
'Account'. But no delay is possible. At once he must start on his
journey. Can he among his friends find one willing to bear him company?
He tries. But Fellowship and Kindred and Cousin, willing enough for
other services, decline to undertake this one. Goods (or Wealth)
confesses that, as a matter of fact, his presence would only make things
worse for Everyman, for love of riches is a sin. Finally Everyman seeks
out poor forgotten Good-Deeds, only to find her bound fast by his sins.
In this strait he turns to Knowledge, and under her guidance visits
Confession, who prescribes a penance of self-chastisement. The
administration of this has so liberating an effect on Good-Deeds that
she is able to rise and join Everyman and Knowledge. To them are
summoned Discretion, Strength, Beauty and Five-Wits--friends of
Everyman--and all journey together until, as they draw near the end, the
last four depart. At the grave Knowledge stays outside, but Good-Deeds
enters with Everyman, whose welcome to Heaven is announced directly
afterwards by an angel. The epilogue, spoken by a Doctor, supplies a
pious interpretation of the play.

Such are the stories of the two best known Moralities. From them we can
judge how great a change had come over the drama. Nowhere is there any
incident approaching the nature of 'The Sacrifice of Isaac', nowhere is
there any character worthy to stand beside the Mary of the Miracle Play.
Those are the losses. On the other hand, we perceive a new
compactness--still loose, but much in advance of what existed
before--whereby the central figure is always before us, urged along from
one act and one set of surroundings to another, towards a goal which is
never l