We have said that Moralities gave to the drama originality in plot and in characters. This statement invites qualification, for its truth is confined to rather narrow limits, in fact, to the early days of this new kind of play. Let a few Moralities be produced and the rest will be found to be treading very closely in their footsteps. For there are not possible many divergent variations of a story that must have for its central figure Man in his three ages and must express itself allegorically. Nor is the list of Virtues and Vices so large that it can provide an inexhaustible supply of fresh characters. However ingenious authors may be, the day is quickly reached when parallelism drives their audience to a wearisome consciousness that the speeches have all been heard before, that the next step in the plot can be foretold to a nicety. Something of this was perceived by the author of _Everyman_. With bold strokes of the pen he drew a line through two-thirds of the orthodox plot, crossed off from the list of characters the hackneyed Good and Bad Angels, and, against the old names that must still remain, seems to have jotted for himself this reminder, 'Try human types.' So, at least, we may imagine him doing. The figures that occupy the stage of the old Morality are for the most part, like the two Angels, mere mouthpieces for pious or wicked counsels. Fellowship and his companions, on the other hand, are selected examples from well-known and clearly-defined classes of mankind. They are not more than that. All we know of Fellowship is his ready faculty for excusing himself when help is needed. He has no traits to distinguish him from others of his kind. If we describe to one another the men or women whom he recalls to our memory we find that the descriptions differ widely in all but the one common characteristic. In other words, he is a type. The step which brings us to the Interludes is the conversion of the type into an individual with special marks about him peculiar to himself. It is an ingenious suggestion, that the idea first found expression in an attempt to excite interest by adding to a character one or two of the peculiarities of a local celebrity (miser, prodigal, or beggar) known for the quality typified. If this was so, it was an interesting reversion to the methods of Aristophanes. But it is only a guess. What is certain is that in the Interludes we find the 'type' gradually assuming a greater complexity, a larger measure of those minor features which make the ordinary man interesting. Significantly enough, the last thing to be acquired was a name such as ordinary men bear. A few characters attained to that certificate of individuality, but even Heywood, the master of the Interlude, preferred class names, such as Palmer, Pardoner, or Pedlar. This should warn us not to expect too much from the change. To the very end some features of the earliest Moralities are discernible: we shall meet Good Angel and Bad Angel in