(_d_) THE MORALITY-PLAY registered a further advance. In such plays virtues and vices were presented on the stage as allegorical creations, often of much liveliness. Abstractions such as Justice, Mercy, Gluttony, and Vice were among the commonest characters. An important feature of this class of play is the development of characterization. It is almost crude; but it is often strongly marked and strongly contrasted, with broad farcical elements. The favorite comic character was Vice, whose chief duty was to tease the Devil. _Everyman_ (about 1490), perhaps the best of the morality-plays, is represented by the brief extract here given. The characters are simply but effectively drawn, and the play does not lack a noble pathos. _Everyman._ O all thing faileth, save God alone; Beauty, Strength, and Discretion; For when Death bloweth his blast, They all run from me full fast. _Five-Wits._ Everyman, my leave now of thee I take; I will follow the other, for here I thee forsake. _Everyman._ Alas! then may I wail and weep, For I took you for my best friend. _Five-Wits._ I will no longer thee keep; Now farewell, and there an end. _Everyman._ O Jesu, help, all hath forsaken me! _Good-Deeds._ Nay, Everyman, I will bide with thee, I will not forsake thee indeed; Thou shalt find me a good friend at need. _Everyman._ Gramercy, Good-Deeds; now may I true friends see; They have forsaken me every one; I loved them better than my Good-Deeds alone. Knowledge, will ye forsake me also? _Knowledge._ Yea, Everyman, when ye to death do go: But not for no manner of danger. _Everyman._ Gramercy, Knowledge, with all my heart. (_e_) THE PLAY-CYCLES. As the plays developed, so did the demands upon the stagecraft of the performers. At first the priests were equal to it. Quite elaborate erections were used. In the very early productions a popular setting was an erection in three stories. The top represented heaven, with the heavenly inhabitants, the “middel erde” was in the center, and lowest of all were the flames of hell, tenanted by cheerfully disposed devils. In the course of time the acting passed from the priests into the hands of the craftsmen, the students, and the schoolboys. The merchants’ guilds, in particular, were the most consistent supporters of the drama. A curious feature was the fashion in which the plays ran in cycles or groups, each of which became associated with some town. The earliest is the Chester play-cycle (1268–76), comprising twenty-four plays; others are the York, with forty-nine; the Townley, with thirty-two, acted at the fairs at Widkirk; and the Coventry, of which only one play survives. Each member of the play-series was connected in theme with the others, and the complete cycle illustrated Bible history in all its stages.