Of the half dozen extant English moralities which can with any plausibility be assigned to the fifteenth century, two are based upon a motive akin to that of the Dance of Death. These are the fragmentary _Pride of Life_, which is the earliest of the group, and _Everyman_, which is by far the finest[444]. In the former Death and Life contend for the soul of _Rex Vivus_, the representative of humanity, who is only saved from the fiends by the intervention of the Virgin. In the latter, God sends Death to summon Everyman, who finds to his dismay that of all his earthly friends only Good Deeds is willing to accompany him. The Conflict of Vice and Virtue is resumed in the moral of _Mundus et Infans_ and in the three morals of the Macro manuscript, the _Castle of Perseverance_, _Mind, Will and Understanding_, and _Mankind_. In all four plays the representative of humanity, _Infans_ or _Humanum Genus_ or _Anima_ or Mankind, is beset by the compulsion or swayed this way and that by the persuasion of allegorized good and bad qualities. At the end of the _Castle of Perseverance_ the motive of the Reconciliation of the Heavenly Virtues is introduced in a scene closely resembling that of the _Ludus Coventriae_ or the earlier essays of Guillaume Herman and Stephen Langton. A somewhat unique position between miracle-play and morality is occupied by the Mary Magdalen drama contained in the Digby manuscript. The action of this, so far as it is scriptural or legendary, has already been summarized[445]; but it must now be added that the episodes of the secular life of the Magdalen _in gaudio_ are conceived in a wholly allegorical vein. The ‘kyngs of the world and the flesch’ and the ‘prynse of dylles’ are introduced with the seven deadly sins and a good and a bad angel. The castle of Magdala, like the castle of Perseverance, is besieged. The Magdalen is led into a tavern by _Luxuria_ and there betrayed by Curiosity, a gallant. We have to do less with a mystery beginning to show morality elements than with a deliberate combination effected by a writer familiar with both forms of drama.