The play; Everyman.

Everyman by Unknown

Read the play Everyman. Think of a 20th or 21st century drama (play, film or television show) that best resembles a medieval morality play with a modern “everyman.”

Write a paper (about 750 words) analyzing a modern “everyman” morality play, explaining why it contains elements of a morality play and why the main character is an “everyman.” Discuss the characteristics of the modern “everyman” and the journey he/she takes (it may be towards Death, or it may not). Identify the other characters in the drama and what they might represent. Conclude by comparing the historical and cultural context of both dramas and how it influences the setting, characters and plot (problem and resolution) of each.Medieval Movie Review Paper Planner
Introduce by stating title of movie and brief plot summary
1-2 sentence plot summary
After viewing the movie, evaluate the medieval elements you noticed in the film. State what the element
was, elaborate on why it is medieval, and evaluate how accurate you think the filmmaker was in his/her
depiction of medieval times.
Overall review of the movie/conclusion
IDENTIFY and EVALUATE
Emphasis on religion?
Feudalism?
Monasticism?
Courtly love/chivalry?
Christian/Islamic art?
Costuming?
Historical references?
Architecture?
Music?
Other medieval elements?

Sample Solution

Everyman is a morality-based depiction of the life and death of the metaphorical Everyman, who exemplifies all of humanity. This play presents death as warning Everyman of the consequence of God’s judgment after his death. In horror, Everyman seeks out his friends at a local fellowship but they desert him. In disappointment, Everyman seeks solace from his properties but his goods are sorely limited. Everyman then turns to his Good Deeds, but they have been rendered ineffectual by his sins. Everyman ultimately reaches Heaven buoyed by his fairer attributes, but realizes that only his Good Deeds will come with endure.

Ostensibly, Henrik Ibsen’s A Doll’s House and Rabindranath Tagore’s The Home and The World are two texts that are disparate in form and subject matter, each dealing with the consequences of a rapidly changing world in different ways. However, both texts share a concern with exploring the diametric relationship between the home and the outside world. This piece aims to demonstrate how the distance between the two spaces is gradually corroded by the influence of external forces. In order to achieve this, there will first be a focus on the initial harmony of the household in each text. By comparing both Bimala and Nora’s domestic spaces it will be emphasised that Ibsen’s doll house, unlike Bimala’s marital home, bears the marks of capitalism and financial consciousness from the outset. The discussion will then branch towards exploring the roles of Sandip and Krogstad as invasive forces that corrupt the interior of the household by introducing foreign ideas and concepts to both women. This segment will focus specifically on the ideological corruption levelled at Bimala, and the introduction of capitalist ideals that reduce Nora’s private household to a public spectacle. At this point, the essay will turn towards assessing Nora and Bimala’s situations at the end of each text. It will reveal that they are dislodged from the sanctity of the household and must attempt to reconcile with the perils of the outside world alone. This conclusion will ultimately assert that the divide between the home and the outside world is corroded as an irreversible process of modernity.

At the outset of each text, Bimala and Nora are firmly gro

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