The concrete element so noteworthy in Mankynd is further developed in the "_Goodly Interlude of Nature_, compylyde by" Archbishop Morton's chaplain, Henry Medwall, between 1486 and 1500. This author must have possessed a remarkably vivid imagination, or have enjoyed a closer acquaintance than might be expected of one of his cloth with the seamy side of London; for there are few racier or more realistic bits of description in our early literature than the account given by Sensuality of Fleyng Kat and Margery, of the perversion of the hero by the latter, and of her retirement when deserted to that house of "Strayt Religyon at the Grene Freres hereby," where "all is open as a gose eye." Though the plot is not remarkable, nor the mechanism of it, for almost the only device availed of is that of feigned names, still the author's insight into the conditions of low life, his common sense, his proverbial philosophy, his humorous exhibition of the morals of the day, and his stray and sudden shafts at the foibles of his own religious class, would alone suffice to attract attention to this work. And even more remarkable than this in the history of comedy is Medwall's literary style: his versification excellent and varied, his conversations witty, idiomatic, and facile. Indeed, he is so far beyond the ordinary convention that he writes the first bit of prose to be found in our drama. Several of the characteristics of _Mankynd_ are carried forward also in the moral "interlude," named, not for its hero Free Will, but for its Vice, _Hyckescorner_. It appears to have been written between 1497 and 1512. The upper limit of production is fixed by the reference to Newfoundland, and perhaps by the fact that in the same year Locher's translation of the _Narrenschiff_ appeared; the lower limit by the mention of the ship _Regent_, which would not probably have been referred to as existing after 1512.[63] Indeed, the mention of the ship _James_ may associate the lower limit with 1503, the date of the Scotch marriage. The tendency of this moral is distinctively didactic,--to denounce the folly that scoffs at religion,--but in quality it smacks more of comedy than any preceding play. Its value was long ago acknowledged by Dr. Percy. "Abating the moral and religious reflections and the like," says he, "the piece is of a comic cast, and contains a humorous display of some of the vices of the age. Indeed, the author has generally shown so little attention to the allegorical that we need only to substitute other names to his personages, and we have real characters and living manners." The plot is insignificant, but the situations are refreshingly humorous, and one of them, the setting of Pity in the stocks, is new. The local references are frequent, and the dialogue is more sprightly than even that of _Nature_. _Hyckescorner_ is in many ways the model of another important play of which we shall soon have reason to speak, the _Interlude of Youth_.