The earlier English moralities[4]--from the reign of Henry VI. to that of Henry VII.--usually allegorize the conflict between good and evil in the mind and life of man, without any side-intention of theological controversy. Such also is still essentially the purpose of the extant morality by Henry VIII.'s poet, the witty Skelton.[5] _Everyman_ (pr. c. 1529), perhaps the most perfect example of its class, with which the present generation has fortunately become familiar, contains passages certainly designed to enforce the specific teaching of Rome. But its Dutch original was written at least a generation earlier, and could have no controversial intention. On the other hand, R. Wever's _Lusty Juventus_ breathes the spirit of the dogmatic reformation of the reign of Edward VI. Theological controversy largely occupies the moralities of the earlier part of Elizabeth's reign,[6] and connects itself with political feeling in a famous morality, Sir David Lyndsay's _Satire of the Three Estaitis_, written and acted (at Cupar, in 1539) on the other side of the border, where such efforts as the religious drama proper had made had been extinguished by the Reformation. Only a single English political morality proper remains to us, which belongs to the beginning of the reign of Elizabeth.[7] Another series connects itself with the ideas of the Renaissance rather than the Reformation, treating of intellectual progress rather than of moral conduct;[8] this extends from the reign of Henry VIII. to that of his younger daughter. Besides these, there remain some Elizabethan moralities which have no special theological or scientific purpose, and which are none the less lively in consequence.[9] Transition from the morality to the regular drama. Heywood's interludes.