As the most ingenious Dr Percy has given an analysis of this and the following moralities, they are, with his permission, prefixed to the present edition:--"The subject of this piece is the summoning of man out of the world by death; and its moral, that nothing will then avail him but a well-spent life and the comforts of religion. This subject and moral are opened in a monologue spoken by the Messenger (for that was the name generally given by our ancestors to the prologue on their rude stage). Then God is represented, who, after some general complaints on the degeneracy of mankind, calls for Death, and orders him to bring before his tribunal Everyman, for so is called the personage who represents the human race. Everyman appears, and receives the summons with all the marks of confusion and terror. When Death is withdrawn, Everyman applies for relief in this distress to Fellowship, Kindred, Goods, or Riches, but they successfully renounce and forsake him. In this disconsolate state he betakes himself to Good Deeds, who, after upbraiding him with his long neglect of her, introduces him to her sister Knowledge, and she leads him to the holy man Confession, who appoints him penance; this he inflicts upon himself on the stage, and then withdraws to receive the sacraments of the priest. On his return he begins to wax faint; and, after Strength, Beauty, Discretion, and Five Wits, have all taken their final leave of him, gradually expires on the stage; Good Deeds still accompanying him to the last. Then an angel descends to sing his _requiem_; and the epilogue is spoken by a person called Doctor, who recapitulates the whole, and delivers the moral. DOCTOR. 'This moral men may have in mind; Ye hearers, take it of worth old and young, And forsake pride, for he deceiveth you in the end, And remember Beauty, Five Wits, Strength, and Discretion. They all at the last do Everyman forsake; Save his Good Deeds there doth he take: But beware, and they be small, Before God he hath no help at all.' "From this short analysis it may be observed that Everyman is a grave, solemn piece, not without some rude attempts to excite terror and pity, and therefore may not improperly be referred to the class of tragedy. It is remarkable that in this old simple drama the fable is conducted upon the strictest model of the Greek tragedy. The action is simply one, the time of action is that of the performance, the scene is never changed, nor the stage ever empty. Everyman, the hero of the piece, after his first appearance, never withdraws, except when he goes out to receive the sacrament, which could not well be exhibited in public; and during this, Knowledge descants on the excellence and power of the priesthood, somewhat after, the manner of the Greek chorus. And, indeed, except in the circumstance of Everyman's expiring on the stage, the 'Samson Agonistes' of Milton is hardly formed on a severer plan."[74]