Group+Three

= **Everyman: 1485**   =   Introduction: Created by: Kelsey Bruce, Alex Whitt, Tori Hoffman, Victoria Szwabowski and Elizabeth Epstein Everyman is a medieval morality play that was composed by an unknown author around the year of 1485. An average person, Everyman, is informed by death that the life he was lent is coming to an end. The play shows Everyman's progression from fear to acceptance. He seeks the help of companions to assist him through this transition. However, his kin, wealth, and casual friends are the first to desert him. He is left with Strength, Knowledge, Intelligence, and Good Deeds. These remaining companions help Everyman write his Book of Accounts, a summary of his life. Slowly, each accompanying character leaves him until he is only left with his Good Deeds to accompany him to his grave. The play makes the moral statement that the only thing important in a human's life are the Good Deeds he or she has done for others. All other Earthly possessions with vanquish on judgment day. 

=Religion in the 15th Century= By: Tori Hoffman

  Religion in the 15th century was most prominently dominated by the Catholic Church and how Catholicism defined life socially and spiritually for every citizen during the medieval era. The Catholic Church was the most powerful organization of the period and had its own sets of laws, taxes and had a direct influence in every aspect of life. During the medieval period the Catholic Church demonstrated a tyrannical rule. The power of the Catholic Church grew with the increase of wealth. It was common for people to give gifts of dowry in the belief that they would have a higher place in heaven because they were giving money to the church. The Catholic Church was able to dominate power over English government and monarchs showing that it was the highest sense of authority during this time period. It was common for prominent religious figures such as bishops to stand on the king’s council and would set laws and make decisions based on Catholicism.
 * Cimabue: Madonna and Child (1100's AD)**

Religious persecution was normal in medieval society. Other forms of religion that differed from Christianity were not allowed to be practiced. The monarchy enforced full attention to Catholicism and the practice of other religious resulted in excommunication and isolation of people who did not align or believe in the Catholic Church. Another way the Catholic Church obtained control over its people was by providing jobs for most of the underclass citizens of the 15th century. According to most research, The Catholic Church created jobs for peasants by allowing them to work on land that was owned by the Church. Also, during this time period the Catholic Church did not have to pay taxes and never lost money to a separate government power. While the church didn’t pay any taxes, every citizen had to pay a 10% tax to the Catholic Church. This tax was called “tithes,” and the church used fear to instill the belief that if this tax was not paid to the church, the result would be damnation to hell. This tax could be paid with currency or with physical goods that were produced by the peasants.
 * Mary window at Chartres Cathedral**

 The use of plays and drama in order to illustrate Catholic ideals and beliefs to their follwers was very common during the 15th century and these types of plays were very popular during the medieval time period. Most of these plays were morality plays that were used for the purpose of strengthening religious beliefs and increasing the worshiper's faith. In the play,media type="custom" key="2819259", the influence of religion is greatly illustrated. This morality play is a perfect example of the intensifying of religious teachings during the medieval era. Catholic ideals and the belief in God are demonstrated through the actions and characters in //Everyman// <span style="font-size: 10pt; font-family: Arial,Helvetica,sans-serif;">. Thus, proving that the Church held control over all aspects of life, including leisure activities. <span style="font-size: 10pt; font-family: Arial,Helvetica,sans-serif;"> <span style="font-size: 10pt; color: rgb(68, 68, 68); font-family: Arial;"> <span style="font-size: 10pt; color: rgb(68, 68, 68); font-family: Arial;"> <span style="font-size: 10pt; color: rgb(68, 68, 68); font-family: Arial;">Eventually, the influence of the Catholic Church shifted at the end of the medieval era. This ideal is expressed in the essay, Going Medieval: Paradigm shifts and the Phenomenological Tendency in the Contemporary Encounter with Medieval Religion, by John Kitchen. In this essay the author focuses on the rise of Christianity in the medieval era and how religion changed during this time period. Kitchen suggests that the Christianity that we know today was changed and altered and the religious characteristics of the middle ages are now becoming harder to identify as scholars work, "new ways to approach old questions." Kitchen's essay focuses on how modern scholars and theologians research and review the rise of Christianity and how their new structure creates new and different ways to answer many of their many debated questions. "Partly as a result of applying social-scientific categories to the study of religion... Partly out of the sheer refusal to accept a still lingering Enlightenment critique on the Middle Ages...the latest research seems to be discovering not how the church changed non-Christian peoples but how non-Christian peoples changed the church."(Kitchen, 377). Overall, the shift in Christianity shows how people eventually changed the Church and how religion changed after the middle ages. . <span style="color: rgb(0, 0, 0);"> <span style="color: rgb(0, 0, 0);">

[|Video on Religion in Medieval Europe]

=Sports and Leisure Activities in the Middle Ages= By Victoria Szwabowski

<span style="font-size: 10pt; line-height: 115%; font-family: 'Arial','sans-serif';">Life during the middle ages wasn't always enjoyable,as people were faced with famine, poverty and disease such as the plague. Despite the hardships however,the people of the middle ages engaged in various forms of entertainment. Ball games were among the most popular, and typically involved a ball made from a pig’s bladder filled that was filled with dried peas. Both men and women enjoyed various forms of play that consisted of either kicking or throwing the ball. Ball games were typically played on "Shrove Tuesday." This Tuesday fell in the time before Lent, and consisted of drinking, eating and debauching. Aside from celebration before Lent, Sunday was a popular day during the normal week to play ball, because people had the day off of work. Modern balls may greatly differ from those of the middle ages, but the games the balls were used for are the ancestor of modern English football. <span style="font-size: 10pt; line-height: 115%; font-family: 'Arial','sans-serif';">In addition to ball play, people of 15th century England also engaged in hunting. Hunting was considered the education of the nobleman, and was indeed and expensive sport for the aristocracy. The type of hunting equipment used, varied on the type of landscape hunted in. In dense forest, the hunter went on foot and used spears, short bows, hunting swords, and three-pronged forks. In open country and sparse forest, hunters would ride on horseback and use similar weapons in addition to longbows and javelins. Royalty dominated control over the forest and hunting grounds, and engaged in three forms of hunting. Forest hunting was restricted to royalty and was considered a "royal monopoly." Chase hunting, took place in an enclosed park owned by an individual who could grant hunting rights to others as he liked. However, this encolsed park was usually a small piece of forest and the owner would keep the right to hunt "forest beasts." Thus, the people granted access to hunt on his land typically could only pursue bucks, martens, badgers and wildcats. The third type of hunting was known as warren, which was hunting in the open countryside. Therefore, everyone had the right to hunt the warren because it was public ground.

Aside from hunting,was the elaborate sport of tournament, which was perhaps more enjoyable for the spectator than the contestant. In a tournament the combatants would dress in plate armor and mount horses. The horses were placed in opposing directions with some form of a barrier built between them;combatants would hold a lance under their right arm and charge at one another. The tournaments were labeled as "jousts of peace" or "jousts of war." Peaceful jousts included blunted lances to minimize injury and to prevent death, while a “joust of war” entailed the sharpening of the lance. <span style="font-size: 10pt; line-height: 115%; font-family: 'Arial','sans-serif';"> While 15th century entertainment could be very exciting, people also found pleasure in leisure that was less active. //<span style="color: black; font-style: normal; font-family: 'Arial','sans-serif';">Opus anglicanum was an English art form of embroidery that was done predominately by nuns. However, the artwork was viewed and enjoyed by church goers and clergymen alike.

//In addition to fine needlework there was a strong appreciation for drama. The most popular was the mystery, but unlike the genre of today, 15th century mystery was based on biblical stories; like creation and the Last Judgment. Rather than the audience coming to the play, the play came to them. Dramas were performed on “pageant-wagons” that rolled through the town and stopped in designated locations to perform. Audiences would stay in one place and watch each play in turn as it rolled by. //Everyman// <span style="font-size: 10pt; color: black; line-height: 115%; font-style: normal; font-family: 'Arial','sans-serif';">serves as an example of literary drama that embodied the genre of 15th century mystery and morality. <span style="font-size: 10pt; color: black; line-height: 115%; font-family: 'Arial','sans-serif';">

=Education= By Elizabeth Epstein

Education is not something we consider a privilege; it is something that is a part of daily life for almost all children in our country, regardless of age, race, or social status. However, in the Middle Ages, school and education was more of a luxury than a right. There were three different paths of education that children could follow; they could become apprentices and learn a trade, wealthier families could send their sons to a large estate to learn the course of chivalry and later become a knight, and many grammar schools and colleges were opened to allow children to continue on an academic route. The number of options available to a family were often determined by class as well as gender. The Middle Ages and the beginning of the Tudor reign were a time for great changes and advancement in the educational system of England.

In the fifteenth century the children, typically the sons, of the nobility were the most likely to be educated. At the start of the 1400’s it was common to send adolescent sons away to large estates to learn land and tenant management as well as jousting and hunting and formal manners. However, towards the middle of the century England was focused on conquest and became intent on imitating the educational and governing system set up by the Romans, who had one of the most successful societies and military records in history.

The Romans trained their young men and the members of the aristocracy as professional civil servants, as Jonathan Hughs calls it in his article in //History Today//. The English nobility was trained in military tactics as well as the bravery and chivalry expected of the knights of the time. In conflicts such as the Wars of the Roses victory was important, but the English realized that their soldiers and knights needed to be educated by a system that emphasized the greater good of society instead of strictly military conquests. They began to train the young men in a way that left them able to not only succeed in battle, but protect and serve all the people of their country in a way that was beneficial to everyone. At the time, this was a forward way of thinking and educating, but one that served to advance England’s society and educational system of their aristocracy. In the play Everyman, education is not prevalent in the sense that he goes to school or becomes a chivalrous knight. Instead, Knowledge is a character that follows Everyman until a certain point. The character is based more on the things you have learned throughout your life than what school you attended. A person can be educated in many different ways, but it is how they make use of that knowledge that shapes who they become. Knowledge is something that it is possible for every man to possess througout his life, but it cannot be taken with him to his grave. Although important, knowledge will not follow you into death and will not leave a lasting impression on the people still living; the good deeds you commit within your life are the most significant and the most remembered.

== <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(69, 13, 13); font-family: Verdana,Geneva,sans-serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-size: 110%; font-family: 'Times New Roman',Times,serif;">A<span style="font-family: 'Times New Roman',Times,serif;">rt and Architecture         == <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"> Kelsey Bruce ==<span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(243, 22, 22); font-family: Verdana,Geneva,sans-serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;">     == <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"> <span style="color: rgb(57, 20, 20);"><span style="color: rgb(60, 22, 22);"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; color: rgb(47, 19, 19); font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"> <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;">With the conclusion of the Middle Ages, Henry VII claimed the Throne of England in the year of 1485, staring the <span style="font-family: 'Times New Roman',Times,serif;"> Tudor dynasty. This period was thought to be the beginning of a new era where Christian Faith was gaining sway, Catholicism mainly. A plethora of novel architecture and art, which displayed new religious beliefs, was produced. The notion of chivalry and romance was widely admired and depicted throughout art. In addition, changes in architecture brought about a feeling of independence and new beginnings to the people of England. These alterations reflect <span style="font-family: 'Times New Roman',Times,serif;"> the identity of the people at the time, who wanted to believe in love and romance. Catholicism also helped to encourage this type of thinking by teaching people to keep sex a special experience meant only for married people. People's expression through art and architecture gives insight to the changes occurring at the time. <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"> <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;">By observing the style of buildings constructed in England peop<span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Tahoma,Geneva,sans-serif;">l<span style="font-family: 'Times New Roman',Times,serif;">e are able to uncover <span style="font-family: 'Times New Roman',Times,serif;">a great amount of history. Dating back hundreds of years before the Tudor period, numerous invasions occurred <span style="font-family: 'Times New Roman',Times,serif;">throughout England's history, producing <span style="font-family: 'Times New Roman',Times,serif;"> a wide range <span style="font-family: 'Times New Roman',Times,serif;">o f style. <span style="font-family: 'Times New Roman',Times,serif;">During the Norman invasion, a lot of England was built and expanded. Yet, the Normans were only skilled at altering styles that were already present in society, rather than inventing novel ideas. So, with the beginnings of the Anglo-Saxon period, the elegant nature of building stopped, resulting in buildings composed of "characteristics [that were] bold and massive" (Old 9). Rather than the beauty found in Romanesque architecture, the style was crude <span style="font-family: 'Times New Roman',Times,serif;">and harsh with columns that were "round and fat with chunky block caps" (9). The English style of architecture transformed slowly into an early Gothic period, known as Lancet Gothic. The columns return to being slender and pointed at the top of the arch. This lasted until the Tudor period. Throughout the 15th century, the pointed arch became almost flat. Great works of art, such as frescoes and carvings, were composed on the ceilings of the flat arches, which developed into a liking for secular architecture (Old 17).

<span style="color: rgb(57, 20, 20);"><span style="color: rgb(60, 22, 22);"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="color: rgb(60, 17, 17);"> <span style="color: rgb(0, 0, 0);"><span style="font-family: 'Times New Roman',Times,serif;">The English Rose, which has been an emblem for English royalty, gained prestige during the 15th century. From 1455-87, there were numerous civil wars for the throne of England, opposing side taking a red color rose and a white color rose. Henry VII won the battle of Bosworth in 1485 and decided to join the two colors of the rose to create a new emblem and titled it the Tudor rose (Battle 1). <span style="color: rgb(57, 20, 20);"><span style="color: rgb(60, 22, 22);"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; color: rgb(47, 19, 19); font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"> With the conclusion of the War of the Roses in 1485, the Tudor Kings brought a more domestic feel to the people of England. The First Tudor King, Henry VII, brought attention to prosperity of England with grand buildings and churches. Henry VIII, who lived nearly 50 years after //Everyman// was written, separated from the church. This resulted with the focus of architecture to shift from churches and public buildings to houses. Due to this transformation, the Columbia encyclopedia states,"Religious art of every kind had declined drastically by 1540, with the dissolution of the monasteries and the break with Rome" (Old 5). Resulting from this shift of interest, manor homes are the main place to observe the Tudor Gothic architecture. They were constructed to "bring about a feeling of royalty" (Tinniswood 8). Manors built in this fashion have an "arch [that] is pointed, but the lines are severely straight and flattened [with] the half-timber treatment, in which the great beams are exposed and the interstices filled with brick and stucco" (Old 19). <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: rgb(60, 17, 17);"><span style="font-family: 'Times New Roman',Times,serif;"> <span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"> For a look inside a Tudor house of this time: <span style="color: rgb(151, 32, 32);"> [|Tudor house] <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: rgb(60, 17, 17);"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;">    <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="color: rgb(60, 17, 17);"> <span style="color: rgb(0, 0, 0);"><span style="font-family: 'Times New Roman',Times,serif;">               <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"> <span style="color: rgb(57, 20, 20);"><span style="color: rgb(60, 22, 22);"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="color: rgb(60, 17, 17);"> <span style="color: rgb(0, 0, 0);"> <span style="font-family: 'Times New Roman',Times,serif;">  <span style="font-family: 'Times New Roman',Times,serif;">            <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(60, 22, 22);"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;">            <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;">          <span style="font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(57, 20, 20);"> <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(60, 22, 22);"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"> <span style="font-family: 'Times New Roman',Times,serif;">              <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;">     <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;">        <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: rgb(0, 0, 0);"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"> <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;">For a brief history of Henry VII and his influence<span style="font-family: Tahoma,Geneva,sans-serif;"> in England :  <span style="color: rgb(142, 31, 31);">          <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-size: 90%; font-family: Arial,Helvetica,sans-serif;">[|Beginnings of the Tudor Period] <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;">      <span style="color: rgb(0, 0, 0);"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;">      <span style="font-family: 'Times New Roman',Times,serif;"> <span style="font-size: 90%; font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"> <span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;">         <span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;">During     <span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Arial,Helvetica,sans-serif;">   <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Times New Roman',Times,serif;">Henry VII time, art mainly displayed the wars <span style="font-family: 'Times New Roman',Times,serif;">occurring, portraits of royalty or religious scenes. Before Henry VII claimed the throne, there was a civil war. Needless to say, the country was not concerned with developing art and architecture during the civil war.

Relation to Everyman: Art and architecture are not discussed directly throughout the play. However, the religious convictions of the people of the time are greatly expressed throughout art. The majority of art was oil paint on canvas. Architecture, as expressed previously grew and changed greatly at this time. The play wanted the audience to realized the moral importance of life and therefore did not acknowledge any additional aspects. <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Arial,Helvetica,sans-serif;">    <span style="font-family: 'Times New Roman',Times,serif;">   <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;">                <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">

<span style="font-family: 'Times New Roman',Times,serif;">"A History of British Architecture" <span style="font-family: 'Times New Roman',Times,serif;">In Adrian Tinniswood’s article, “A History of British Architecture”, the advancement and growth from 1066 to the 20th century is explained. It starts out with a brief description of the Norman invasion, and then progresses to focus on the Tudor period. Some subjects of architecture, like castles actually served a purpose of protection, while other things, such as churches, were made to glorious and beautiful. The article continues to describe some of the more famous structures in England, starting with the White Tower, which was begun at the request of William the Conqueror and was said to be a “powerful symbol for Norman domination” (Tinniswood 5). It mentions the Kings College Chapel in Cambridge. It was actually started in “1446 by Henry VI and […] was completed by 1515 with Henry VII” (8). As the Tudor period progressed, society become more concerned with “domestic architecture, [which was] used to display status and wealth” (11). New materials were used as people became more concerned with appearance. However, after the civil war during the 1600’s there was a lot of “passion for the Baroque grandeur, [which] was a reassertion of authority” of Britain (16). These were thought to be “heavy and rich” (16). Yet, when the Whigs came into power, they wanted to reassert their new power by creating a new style of architecture, which was inspired by the ancient city of Rome. It was soon discovered that there could not be just one style throughout the entire country. Soon, a plethora of novel styles emerged, including neo-classic, oriental palaces, and battlemented castles, and 16th century cottages (22). The 19th century produced the Victorian style of buildings, with cone-shaped tops for peaks. This later transferred into the conservatism movement n the 20th century after the Second World War. <span style="font-size: 110%; color: rgb(112, 26, 26);"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="color: rgb(204, 36, 57);"><span style="color: rgb(57, 20, 20);"><span style="font-size: 110%; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">

<span style="color: rgb(0, 203, 255);"><span style="color: rgb(0, 0, 0);"> =<span style="color: rgb(0, 203, 255);"><span style="color: rgb(0, 0, 0);">**Fashion in the late 15th Century By Alexandra Whitt** = <span style="font-family: 'Arial Black',Gadget,sans-serif;"><span style="font-family: 'Courier New',Courier,monospace;"><span style="font-family: 'Times New Roman',Times,serif;"><span style="font-family: 'Lucida Console',Monaco,monospace;"><span style="font-family: Georgia,serif;"><span style="font-family: 'Lucida Console',Monaco,monospace;"><span style="font-family: 'Lucida Sans Unicode','Lucida Grande',sans-serif;"><span style="font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif;"><span style="font-family: Tahoma,Geneva,sans-serif;"><span style="color: rgb(0, 0, 0);">Since time can remember clothing has represented much of who one is as a person; the Middle-ages and the Renaissance are good examples of this. For this Wiki Project I will be focusing on the 15th century, particularly the year 1485, the year that //Every Man// is assumed to be written. In 1483 Richard III came to power, but lost his throne in 1485 when Edward V took over. Edward V lost his claim to the throne two years later - he was succeeded by Henry VII. Although England went through two kings in the span of four years, their clothing doesn't seem to resemble the changes. When Richard III came to power the styles changed from the clothing we typically associate with the Renaissance - men wearing pointy shoes with an elaborate tunic and tights to go with it and women wearing the steepled headdresses with a veil attached (think princesses in fairytales), to (for the men) a tunic that now went down to their knees instead of almost to their waist and a petti cote, with wider and more square shoes. The women had started to wear The Hennin, which was a new style of headdress similar to the steeple of the previous style, except without the veil and not as tall, sometimes The Hennin was in the shape of a box. After reading //Every Man// I realized that clothing, contrary to what I previously said at the beginning of the paragraph, was not mentioned whatsoever in the entire play; because of this i am going to discuss why that is so and also show and explain what the people of that time period wore.

<span style="color: rgb(0, 0, 0);"><span style="color: rgb(0, 0, 0); font-family: Tahoma,Geneva,sans-serif;">**Slashing:** What is referred to as the act of "slashing" the sleeve or piece of the garment to reveal the undergarments; used by both men and women.



As discussed in the introduction, the renaissance had many different fashions that are recognized today - maybe not by name, but definately by sight. One of the most infamous and well-known pieces of the Renaissance is the codpiece, as written about in Grace Q. Vicary's scholarly essay, "Visual Art as Social Data: The Renaissance Codpiece" which i used as my primary source of information for this particular section. The codpiece started to make its appearance around 1450, the noblemen of the time were wearing long gowns, but the young men had begun to wear tunics - both for activewear and for indoors/social events so as to display social class and rank. As we all know, because the men were wearing the tunic their legs were exposed, so a flap was tied to the hose and the doublet for the buttocks and a tirangular flap was tied to the hose and the doublet. In order to prevent indecent exposure in public the English Commons under Edward IV asked that every man wear a jacket or coat long enough so as to prevent unnecesary exposure and lewdness; the church asked for this as well. As time went on and the fashion developed, two types of codpieces emerged: There was the first, which was the triangluar flap tied to the hose and doublet and made out of the same material as the hose and then there was the second, which was a stiff, padded, protruding codpiece - the ones we're all familiar with. These were ornately decorated most of the time and matched the hose or other clothing. it has been speculated that the reason for the second codpiece was to protect the genitals from being hit by the mens' swords or tools hanging from their belts and also maybe for storage. At the end of the 15th century a syphillis epidemic struck Europe, sailors had brought the disease over from foreign ports and had spread it on the mainland, because medicine was still very crude, doctors and physicians told men with the disease to put ointments and herbs on the infected genitalia, these were extremely greasy and could ruin the ornately and expertly made clothing they wore. It is speculated that the codpiece was used to shield the rest of the clothing from being by the greasy ointments and herbs and also to protect the genitalia from further injury or irritation. Also, the codpiece helped to keep the bandages in place.
 * The Codpiece:**

This was a garment worn over an undershirt. As described on Wikipedia, A doublet was usually a short dress that was belted to create the image of a pleated/puffed out skirt and the torso was usually very tightly fitted. The sleeves were normally puffy and slashed like the women's. Around the 1480's the men started to make the forearm portion of their sleeves tighter, so they buttoned their sleeves and let them be puffier on the top portion of the arm.
 * The Doublet:**



As described on Wikipedia; A style of gown that had snug sleeves extending to the wrist, but were loosened from that point on to create a "bag" look. these sleeves were normally slashed in the front.This gown later developed a low V-neck that gave a glimpse of the square-necked kirtle/chemise that women wore underneath their dress as their undergarment. The sleeves on this particular dress were extremely long and covered half of the hand.
 * The Houppelande:**





//Every Man// is meant to be a play about how when death comes knocking at your door, everything and everyone will desert you. The only thing that will remain with you and the only thing that people will remember are the good things you did for others. I believe that the author of this play intentionally kept out any stage direction or description that involved clothing because that is a materialistic posession and has no relevance in the overall message of the play. The character of Every Man was meant to depict the common man in the time that the play was written and only the wealthy could afford the intricately made pieces of clothing that are remembered today and written about in history books and that were painted by artists in that time period; by including clothing that would mean that Every Man might be more important or of a higher class then the author intended because regular, every day people's clothes were nothing special and therefore not worth mentioning, especially in this type of play that has a clear moral message.
 * Why are descriptions of clothing left out of //Every Man//?**

=<span style="display: block; font-size: 140%; color: rgb(5, 5, 5); text-align: center;">//Everyman//: The Missing Passages =

Please enjoy our collaborative effort to extend the story of //Everyman//. The passage continues the play from the end of the original story.
DOCTOR: Lo, methinks I see thy unkind wretches Fewmen! Thence, I shall go forth to be sparethed from thee company. A lecherous crowd Fewmen be; Full little they thinketh of the blasphemous folly They be so cumbered with. Fewmen fear not of our Lord Heaven-King, And take no heed amongst confession and penance. Ah, a sorrowful lot they be Fewmen; To make haste lightly into damnation. With thee I shall not converse, But rather hence I to spread the salvation of Everyman! [//Exit// DOCTOR.-//Enter// FEWMEN 1,2,3] FEWMEN 1: Ah, the Doctor but taire from our company. FEWMEN 2: Make no concern of that grey cuckold! Fain would I receive, good cheer without him. FEWMEN 3: Yea tis true. I wot well how thy Doctor passeth the day; Giving a strait count of thy pious Everyman. It gives me grief to share his company; For he is simple and dull. FEWMEN 1: Alas, that was well spoken. The Doctor makes no fellowship of me. I wot what will liketh the lot of us! FEWMEN 2: Pray do tell good sir! FEWMEN 1: Let us take pleasure in the spill of Everyman’s grave. I feel no repreef in such matters, As Everyman weened him elect above thee! FEWMEN 3: Ah yes, tis great folly you speak of comrade. Let us expose the false count of Everyman and the Doctor. For they wot not pleasure and worldly prosperity! [FEWMEN 1,2,3 //vandalize grave//.-//Enter// COVEITISE, GLUTTONY, PRIDE] COVEITISE: Lay eyes on these heathens, For the great enemy hath thee in wait. Let us bestow them with pleasure, And make what is damnable to God commendable among men. GLUTTONY: To truth I raise my glass in toast and good cheer! Fewmen will clean forsake the Father. [ FEWMEN 1,2,3 //notice the three sins//.] PRIDE: I pray you kind gentlemen take company here with us. We heartily find pleasure in the folly you partake. For joy my heart tobrast, in the witness of such activities. FEWMEN 1: Ah, tis Pride that commends such sport; A trustworthy companion in such matters of great accomplishment. PRIDE: All but is true, Yet it is but unkind to travel alone. With me come Coveitise and Gluttony; A good pair to bring me forward on a journey of pleasure. FEWMEN 2: A journey of pleasure? This blind matter pleaseth my witt! FEWMEN 3: Lo, ye be not alone in this count! To liveth for pleasure be a heavy journey to take in numbers few. COVEITISE: Fewmen, with us gone; For a lack in company I wish not to endure. I would full fain, for a lack of nothing. All pleasures I shall bestow on ye! GLUTTONY: Thou wilt eat and drink and make good cheer. I pray thee come hither on this journey. PRIDE: Here be we now at your commandment! FEWMEN 1: Thereto I speak for us all, When we would be ready to go to mirth, solace, and play. FEWMEN 2: We shall bear ye company in all that is pleasurable. FEWMEN 3: Impart on us the knowledge of worldly riches. PRIDE: Alas, shall we thus make haste indeed, And experience no repreef in such jollity. COVEITISE: Let us claim the worldly prosperity that is but ours. In wait our treasures lie trussed and piled high, And in chests locked so fast! GLUTTONY: Lo, and tis my guise to toast along the way, And to cloud our souls with good eats. PRIDE: Follow me! [//Exit// PRIDE, GLUTTONY, COVEITISE.-//Enter// KNOWLEDGE, CONFESSION, ` GOOD DEEDS.] KNOWLEDGE: Fewmen, neither go nor partake so lightly. FEWMEN 1: And who cries out such follies? KNOWLEDGE: Tis I Knowledge. Let me give you counsel at will. Thine friends promise and nothing will do, certain. It makes my heart full heavy, To see Fewmen make haste toward damnation. FEWMEN 2: You speak sorrow and lies. Knowledge but wish to cumber us with smart! Tis but to my behove to go to mirth, Than to trouble my countenance with worry of the Lord’s return. KNOWLEDGE: Blasphemy escapes thy mouth of Fewmen; Who worry not of the Heaven-King and his justice. I pray you come to Confession. The Lord hath mercy on the soul of Everyman, Who too hath engaged in sin. FEWMEN 3: I wilt not have it! For here you stand, whilst Everyman consumes in his grave. ‘Queth no cognition on I! FEWMEN 1: In accord, I too wish to flee from thy company Knowledge. For better is it to enjoy the world, Than to coward among religion. CONFESSION: In vain we seek the acquaintance of Fewmen who reject us. I know your sorrow well, and yet I can not comfort Fewmen Who are opposed to God’s mercy. KNOWLEDGE: God give you time and space! Fewmen turn their backs upon the Lord, and be a sorrowful lot. GOOD DEEDS: Take heed of Knowledge and Confession, For they speak the ways of salvation. I but lie cold in the ground, and cannot stear. I am weak and blind, yet I fear I am the only friend in the time of need. FEWMEN 2: To this I will listen no longer! In times of need we take refuge in pleasure, Which is sure to be thy guide in adversary. FEWMEN 3: Let us gone with Pride, Gluttony and Coveitise. For I fear they have strayed ahead already. [//Exit// FEWMEN 1,2,3.] CONFESSION: Come Knowledge, we have done our will To give Fewmen a precious jewel. They wilt not be wise and secure of mercy. GOOD DEEDS: Yes Knowledge, let us depart from these villains. For their soul belongs surely to the evil of which I will not speak. KNOWLEDGE: All is true and in great smart we shall abandon Fewmen. <span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;"> <span style="color: rgb(5, 5, 5);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;">[//Exit// KNOWLEDGE, GOOD DEEDS, CONFESSION.] <span style="color: rgb(5, 5, 5);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;">(<span style="color: rgb(6, 10, 208); font-family: Arial,Helvetica,sans-serif;">Victoria Szwabowski ) <span style="color: rgb(255, 135, 0);"><span style="color: rgb(5, 5, 5);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;"> <span style="color: rgb(5, 5, 5);"><span style="color: rgb(3, 2, 2);"><span style="font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(255, 135, 0);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;"> PRIDE: Listen to them not. Show me the anguish of your mind, And as your companion who is most fulsome and kind, I bid thee availeth not with such concerns of others, And ease thou sorrows before the morrow.

COVEITISE: Nay, never again set aside desires of thy own, But relish in the profits that thou may claim. Simple be the man that allows such folly to ’tice thee, Whilst morth, solace, and play flee.

GLUTTONY: And thou could host such glorious banquets, With fair maddens to dance, whilst we feast.

THREE SINS: Trust us verily!

FEWMEN 1: Gramercy, for the enlightening advice from thee. Too long have I spent seeking to aid those in disease. For to abide my own wishes I have contemplated among, And now weenest I concede? Me thinketh of fleshly lusts and worldly riches. Such riches would lightly flock to me. Such joy be had with these coming treasures. Hereto I seek to liveth so after thine own pleasure.

[//Exit// FEWMEN 1,2,3 //and three sins//.-//Enter// GOD.]

GOD: I here perceive in my radiance, Fewman’s mind lies only on worldly goods. He knows not his soul’s heaviness, Nor what strong stounds he must endure. Now I see that needs on them I must do justice. Where art thou, Death, thou mighty messanger?

[//Enter// DEATH.]

<span style="color: rgb(8, 7, 7); font-family: 'Times New Roman',Times,serif;">DEATH: Alimghty God, your will be the only one. I am here to serve thou Majesty. All thee command will be done.

GOD: Go thou to Fewman, And show how I desireth we meet. For thou mayst say to Fewman this is the day That no man living, not even kings may ’scape away.

[//Exit// God.]

DEATH: Fewmen, I will find thee. For he that loveth riches I will strike down. He that departs from heaven’s will Suffers in hell for to dwell without tide Lo, yonder I see Fewmen laughing merrily: Engulfed by Sin, thou strives to be loved in any wise. Little Fewmen thinketh on my coming; So cumbered with worldly goods that were but lent to thee, Fewman remains blind to the anguish that awaits him.

[//Enter// FEWMEN1,2,3 //and three sins//.]

DEATH: Fewmen! Why art thou so gay? Hast thou thy Maker forget?

FEWMEN 1: Why askest thou? Why wouldest thou weet?

DEATH: With great haste I am sent to thee From God out of his majesty.

FEWMEN 2: What! Of what purpose willest this message be?

DEATH: You have forgot His Almighty And now He desireth a meeting of sorts. To Him you must profess qualities of thee that merit excellent For His judgment alone decides the fate of thee.

[//Exit// DEATH.]

FEWMEN 3: O merciful Father who doth look upon me, Here my words and forsake me not in thy hour of need, And still who shall I have the company of Whilst I travel along this blind, frightful journey?

THREE SINS: Thou need not fear, To this stound we shall accompany thee. <span style="color: rgb(255, 135, 0);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;">(<span style="color: rgb(6, 10, 208); font-family: Arial,Helvetica,sans-serif;">Kelsey Bruce ) <span style="color: rgb(5, 5, 5);"><span style="color: rgb(3, 2, 2);"><span style="font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(255, 135, 0);"><span style="color: rgb(8, 7, 7); font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(255, 135, 0);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;">    <span style="color: rgb(8, 7, 7); font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;"><span style="color: rgb(47, 32, 50);">[FEWMEN 1,2,3 //and// THREE SINS //travel to graves//.] <span style="color: rgb(47, 32, 50);"> FEWMEN 1: At long last have I ended my journay. <span style="color: rgb(47, 32, 50);">Now will I see what the Heaven King d <span style="color: rgb(47, 32, 50);">ecides my eternity to be. <span style="color: rgb(47, 32, 50);">Gramercy, friends, for thou good company. <span style="color: rgb(47, 32, 50);"> THREE SINS: At this tide we must make haste. <span style="color: rgb(47, 32, 50);">From thee we shall depart rapidly. <span style="color: rgb(47, 32, 50);"> FEWMEN 2: Thou will forsake myself, <span style="color: rgb(47, 32, 50);">In mine hour of need? <span style="color: rgb(47, 32, 50);">Promises of good company m <span style="color: rgb(47, 32, 50);">eaneth little to thou? <span style="color: rgb(47, 32, 50);"> THREE SINS: Nay, Fewmen, good company hath we g <span style="color: rgb(47, 32, 50);">ive on thou journay. <span style="color: rgb(47, 32, 50);">O mighty God be near, <span style="color: rgb(47, 32, 50);">And verily of him do we fear. <span style="color: rgb(47, 32, 50);"> [//Exit// THREE SINS.] <span style="color: rgb(47, 32, 50);"> FEWMEN 3: What left have I? <span style="color: rgb(47, 32, 50);">In such despair forgeet by all! <span style="color: rgb(47, 32, 50);"> [//Voice of// GOOD DEEDs.] <span style="color: rgb(47, 32, 50);"> GOOD DEEDS: Fewmen, thou hast forgot thy friend of most importance. <span style="color: rgb(47, 32, 50);"> FEWMEN 3: Good Deeds! Thou hast not forsaken me! Others bringeth me into Hell, While yourself I secure may save me! <span style="color: rgb(47, 32, 50);"> [//Enter// GOOD DEEDS, //small and weak//.] <span style="color: rgb(47, 32, 50);"> FEWMEN 2: Lo, Good Deeds! Thy appearance is but that of one small child! How shall thy give counsel to myself before the blessed Godhead <span style="color: rgb(47, 32, 50);"> GOOD DEEDS: Fewmen, thou hast forsaken me through thou journay. Verily, throughout thy whole lent existence. At the hour of thou reckoning, I must forsake thyself aslo.

[//Exit// GOOD DEEDS. - //Enter// GOD.]

GOD: Fewmen! I have found thee. Ashamed shouldest be thou, Thy life lent of myself spent in heavy ways. Hast thou thy Maker forgotten <span style="color: rgb(47, 32, 50);"> FEWMEN 1: O Messiah of all men! Forgotten thyself have I not! In my hour of my reckoning, I asketh of thou Mercy upon my soul!

GOD: Fewmen, thy tide has arrived. I lent thee gentle existence, Where spent among sin? Nay, Fewmen, thy call for mercy falleth upon my unhearing self. I summon one great messenger, Death,<span style="color: rgb(0, 0, 0);"> And banish ye to Hell! <span style="color: rgb(255, 135, 0);"><span style="color: rgb(5, 5, 5); font-family: 'Times New Roman',Times,serif;">(<span style="color: rgb(6, 10, 208); font-family: Arial,Helvetica,sans-serif;">Elizabeth Epstein ) GLUTTONY: Yea, thereto ye would be ready – To with us into your grave. Go as God has elect and the Devil may you greet?

[COVEITISE //grabs// FEWMEN 1,2,3 //and drags them into the grave//.] COVEITISE: We bring ye forward, of God has repreef of ye Few Men. Ye ventured with us, and have now with the Devil a stound. [FEWMEN 1,2,3 //begin to fall in darkness to Hell//.]

FEWMEN 1: Lo! What is this?!

COVEITISE: Ye Hight by the Devil!

[//Enter// DEVIL] DEVIL: Alas, Few Men do not disease – Ye have no one to wite but yourselves of ye position. Ye did not cure ‘til now, And did not borrow yourselves. No acquittance was asked of Jupiter, No Shrift was given. With thee ye shall be ay in aw, of now no guarantee Was given unto ye, pardie. And had ye fay had, ye weet ye would in heaven be. Also, because ye are simple men who do what ye wish, When ye wishes ye will be with me, For eternity in Hell!

PRIDE: You need not fear, Fewmen – The Devil will do you no harm that you cannot undo.

DEVIL: I advise you Pride, To take heed to my words – When Fewmen have fall to the end of the darkness, They will be at my mercy; There is nothing that could preperate them For such unspeakable horrors. <span style="font-size: 10pt; color: rgb(5, 5, 5);">( <span style="font-size: 10pt; color: rgb(6, 10, 208); font-family: Arial;"><span style="font-size: 10pt; color: rgb(6, 10, 208); font-family: Arial;">ALEX WHITT <span style="font-size: 10pt; color: rgb(5, 5, 5);">) <span style="font-size: 120%; color: rgb(255, 0, 41);"> For I have w **** alked with sin and wrestled with the devil, ** No answer shall save thy soul ** Thou knowest we shall forever w **** alk amongst the sinners And the damned in hell. ** ** =Translation=
 * [//Enter// FEWMEN 1,2,3] **
 * FEWMEN 1: **** Alas! Thy eyes are opened, thy heart enlightened. **
 * I see my blasphemous conduct. **
 * How could I deny my Father, the Almighty? **
 * Thy intentions have tarnished thy faith. **
 * How shall we convey thy regret? **
 * FEWMEN 2: **** Have mercy on me oh glorious God! **
 * I pray thee merciful being,
 * Denied the Almighty and vandalized thy name, **
 * How shall I bring thyself to salvation? **
 * Nay, thy time has expired;
 * FEWMEN 3: **** Thy sinful journey have turned us to damnation; **
 * In a time when thou should have embraced the Lord’s love. **
 * Thou denied thy celestial grace and followed the way of the devil. **
 * I fear the time has ceased.
 * [//Exit// FEWMEN 1,2,3.- //Enter// DOCTOR.] **
 * DOCTOR: Here lay thy graves of fewmen; **
 * Here lay thy burden of sin. **
 * While thy souls rest in the depths of hell, **
 * Thy lesson is alive amongst us. **
 * Fewmen walked with Pride. **
 * Fewmen endulged with Gluttony. **
 * Fewmen tousled with Coveitise. **
 * Lo, Fewmen will forever banish in damnation. **
 * Many can learn thy lesson, **
 * But Fewmen refused salvation and denied his holiness; **
 * Embraced thy worldly goods and ignored thy soul. **
 * By and by we learn from thee follies. **
 * Everyman chose opportunity for deliverance, **
 * Fewmen speculated the goodness of God. **
 * (Tori Hoffman)

DOCTOR: Oh no, I think I see the ungrateful Fewmen! I will live to be spared from their company. Fewmen are an unenjoyable crowd; They don’t care about their blasphemous actions. They do not fear God, And do not resolve to confession and penance. Fewmen are a sorrowful crowd, And are headed straight to Hell. I will not talk to them, But instead will tell the story of Everyman’s salvation. [//Exit// DOCTOR.-//Enter// FEWMEN 1,2,3]

FEWMEN 1: Ah, the Doctor runs from our company.

FEWMEN 2: Don’t worry about that fool! I will have a better time without him.

FEWMEN 3: Yes, that’s true. I know how the doctor spends his day; Telling the fate of Everyman. I hate being around him; He is boring.

FEWMEN 1: I agree. The Doctor isn’t my friend either. I know what we can do to have a good time!

FEWMEN 2: Hurry and tell us!

FEWMEN 1: Let‘s ruin Everyman‘s grave. I wont feel guilty for these actions, Because Everyman thought he was better than us!

FEWMEN 3: Oh yes, what a good idea my friend. Let’s ruin the reputation of Everyman and the Doctor. They didn’t know the pleasure of material things!

[FEWMEN 1,2,3 //vandalize grave//.-//Enter// COVEITISE, GLUTTONY, PRIDE]

COVEITISE: Look at these savages, The Devil is waiting for them. Let‘s show them a good time, And make the actions that God condemns, acceptable to men.

GLUTTONY: I raise my glass to toast this good idea! Fewmen will absolutely forsake God.

[ FEWMEN 1,2,3 //notice the three sins//.]

PRIDE: I ask you gentlemen to come hang out with us. We enjoy the joke you are playing on Everyman. My heart breaks with joy to see such actions.

FEWMEN 1: Oh hey, it’s Pride that enjoys the games we play; A good friend to have in times like these.

PRIDE: Yes it’s true, But it is lonely to travel alone. I brought my friends Coveitise and Gluttony; A good pair to join me on a journey of pleasure.

FEWMEN 2: A journey of pleasure? This unexpected news pleases me!

FEWMEN 3: You are not alone in this thought! Living for pleasure is no fun without company.

COVEITISE: Fewmen, come with us; We don’t want to be lonely. You wont need anything. I will give you all the pleasures you need!

GLUTTONY: We will eat and drink and have a good time. Come with us on this journey.

PRIDE: We are here to serve you!

FEWMEN 1: I speak for us all, When we say we are ready to have a good time.

FEWMEN 2: We will come with you and enjoy the party.

FEWMEN 3: Share with us your knowledge of worldly riches.

PRIDE: We must hurry and go, And experience no guilt in such joy.

COVEITISE: The world is ours. Our treasures are ready and waiting!

GLUTTONY: It is my custom to drink along the way, And to fill our bellies with food.

PRIDE: Follow me!

[//Exit// PRIDE, GLUTTONY, COVEITISE.-//Enter// KNOWLEDGE, CONFESSION, GOOD DEEDS.]

KNOWLEDGE: Fewmen, do not go so quickly.

FEWMEN 1: Who said that?

KNOWLEDGE: Me, Knowledge. Let me give you advice. Your friends make empty promises and are liars. It makes me sad, To see Fewmen pave there way to Hell.

FEWMEN 2: You are a liar. Knowledge you only want to ruin our good time! It is bad to enjoy pleasure in excess, And ignore the word of God. KNOWLEDGE: You speak blasphemy; And do not take heed of the Lord. Please come to Confession. The Lord forgave Everyman, Even though he engaged in sin.

FEWMEN 3: I wont listen to you! For here you stand, while Everyman is dead. Bequeath no knowledge on me!

FEWMEN 1: I also, don’t enjoy the company of Knowledge. It is better to enjoy the world, Than be religious.

CONFESSION: In vain we try to convert Fewmen who reject us. I know they are in trouble, but I can not help Fewmen Who are opposed to God’s mercy.

KNOWLEDGE: God have mercy on you! Fewmen turn their backs upon the Lord, and are sorry for it later.

GOOD DEEDS: Listen to Knowledge and Confession, They know the way to salvation. I am trapped in the ground; to weak to move. I am useless, but I am your only friend in times of need.

FEWMEN 2: I won’t listen any longer! Pleasure comforts us in times of need, And is certain to help us if necessary.

FEWMEN 3: Let’s go with Pride, Gluttony and Coveitise. They have already left.

[//Exit// FEWMEN 1,2,3.]

CONFESSION: Let’s go Knowledge, we did our best to help Fewmen. They will not be granted mercy.

GOOD DEEDS: Yes Knowledge, lets leave these men. For their soul belongs to the Devil.

KNOWLEDGE: This is true, it is better if we leave Fewmen.

[//Exit// KNOWLEDGE, GOOD DEEDS, CONFESSION.] (Victoria Szwabowski)

FEWMEN 1: This complex matter troubles me. Just thinking of it makes me sick. I don’t know what decision to make or who to believe, Knowledge, Confessions and Good Deeds do seem relentless in their pursuits though. PRIDE: Don’t listen to them. Show me what causes you so much pain, And as your companion whose loyalty will never wane, I hope that you will choose to put concerns of your before others. You should not be bothered because of them. COVEITISE: Never again set aside desires of your own, But instead relish in the profits that you may claim. A man would be foolish to allows such madness of helping others to entice him, While wealth, pleasure, and games go free. GLUTTONY: And with all the wealth you accumulate, Such grand banquets you host With beautiful women dance around us as we eat cake. THREE SINS: Trust us! We would never leave you astray. FEWMEN 2: Thank you, for such enlightening advice. I have spent too long seeking to aid those in distress. I have thought about giving into my own wishes often, And now suppose I concede to those desires? What invigorating lusts and riches I could have! The wealth would come quickly to me While I have no one else to be troubled about. Such happiness I will have with these coming treasures. I will begin to only live after my own pleasure. [//Exit// FEWMEN 1,2,3 //and// THREE SINS.-//Enter// GOD.] GOD: Gazing down on Fewmen I witnessed his change, Fewman’s mind lies only on worldly goods. He is not aware of how he has put his soul in jeopardy, Nor is he aware of the coming trials he must endure. I see that it is time justice is administered. Where are you, Death, my mighty messenger? [//Enter// DEATH.] DEATH: Alimghty God, your will be the only one. I am here to serve your Majesty. All you command will be done. GOD: Go to Fewman, And tell him that it is time we meet. Tell him that this is the day when the quality of his soul is at stake That no man living, not even kings can escape. [//Exit// GOD.] DEATH: Fewmen, I will find you. Every person that idolizes weath I will strike down. He that departs from heaven’s will Suffers in hell for all eternity. Over yonder I see Fewmen laughing merrily: Engulfed by Sin, he desperately seeks praise and admiration at any cost. He thinks little of my coming; So consumed with worldly goods that were only lent to him, Fewman remains blind to the anguish that awaits him. [//Enter// FEWMEN, //and// THREE SINS.] Fewmen! Why are you so happy? Have you forgotten your Maker? FEWMEN 3: Why do you ask? Why would you want to know? DEATH: With great haste I am sent to you From God out of his majesty. FEWMEN 2: What! What is the purpose of this message? DEATH: You have forgot His Almighty And now He desires a meeting of sorts. To Him you must profess qualities of yourself that merit excellent For His judgment alone decides the fate of your soul. [//Exit// DEATH.] FEWMEN 1: O merciful Father who looks down upon me, Here my words and do not forsake me in my hour of need. But who will come along with me While I travel along this unexpected, frightful journey? THREE SINS: You don’t need to fear, We will go with you to this trial. (Kelsey Bruce)

[ //Enter// FEWMEN 1,2,3 //at their graves.//] FEWMEN 1: Our journey is finally over. Now we will find out God‘s fate for us. Thank you, friends, for your company. THREE SINS: Actually, we have to go.

FEWMEN 2: You are leaving when we need you? Does your promise mean nothing to you? THREE SINS: No Fewmen, we gave you good company. God is coming and we are scared of him. [//Exit// THREE SINS.] FEWMEN 3: What hope do I have left? In my time of need I have been forgotten by everyone! [//Voice of// GOD DEEDS.] GOOD DEEDS: Fewmen, you have forgotten your most important friend. FEWMEN 1: Good Deeds! You have not left me! Other men have led me to Hell, But I‘m sure you can save me! [//Enter// GOOD DEEDS, //small and weak.//] FEWMEN 2: Hey, Good Deeds you look so small, like a child! How are you going to help me before God? GOOD DEEDS: Fewmen,you have ignored me throughout your journey, And through your whole life. At your time of need I also have to leave. [//Exit// GOOD DEEDS. //Enter// GOD] GOD: Fewmen! I have found you. You should be ashamed of the way you lived your life. Have you forgotten me? FEWMEN 3: O God I have not forgotten you ! In my hour of my reckoning I beg you to have mercy on me! GOD: Fewmen, your time has come. I gave you life and you wasted it. I must ignore your plea for mercy. I summon the great messenger, Death. And send you to Hell! (Elizabeth Epstein)

GLUTTONY: Are you ready to go with us Into your grave, like God has chosen, To meet the Devil? . [COVEITISE //grabs// FEWMEN 1,2,3 //and pulls them into grave//.] COVEITISE: We bring you forward, because God is ashamed Of you, Fewmen. You gambled with us and Now have a trial with the Devil. [//The grave opens up and they begin to fall in darkness to Hell//.] FEWMEN 1: what’s going on?! COVEITISE: The Devil calls! [//Enter// DEVIL.] DEVIL: Fewmen, do not distress – You’ve got nobody to blame but yourselves – For the position you’re in. You didn’t care until now and didn’t redeem yourselves. You didn’t ask God for forgiveness, and you Didn’t give a confession of your sins. You shall be in fear, because no guarantee Was given to you by God. Had you had Faith, you would be in Heaven. But because you are foolish men and think that It’s OK to do whatever you want, when you Want you will be spending eternity in Hell with me. PRIDE: Don’t worry, Fewmen – He’s nothing that you can’t handle.

DEVIL: I adivse you pride to listen to me – When Few men hit the bottom of this darkness, they Will be at my mercy and nothing can prepare them for that. ( Alex Whitt)

FEWMEN 1: At last! My eyes are opened my heart enlightened I see my blasphemous actions How Could I deny God? My intentions have tarnished my faith How will we show our regret?

FEWMEN 2: Have mercy on us glorious God! I beg you merciful being, Because I have walked with sin and wrestled with the devil, denied God and disgraced my name, How will I ever receive salvation? No, it is too late, no answer could save my soul

FEWMEN 3: The sins that we have committed have turned us to hell In a time when I should have embraced God's love I denied God and followed the devil's ways I fear that time is up, and we will forever walk among the sinners in hell

DOCTOR: Here lie the graves of fewmen here represents the burden of sin while their souls rest in the depths of hell their lesson can be learned Fewmen walked with Pride Fewmen endulged in gluttony Fewmen touseled with greed, therefore, Fewmen will forever be banished to hell Many can learn their lesson, Fewmen refused salvation and denied God Embraced their worldly goods and ignored their soul Again and Again we learn from their mistakes, Everyman chose the opportunity for salvation, While Fewmen speculated the goodness of God. (Tori Hoffman)

**Religion:**
 * Works Cited **

Alchin, Linda. "Middle Ages Religion". __Middle Ages__. September 15th, 2008 < [| http://www.middle-ages.org.uk/] >. Annenberg Media, "Religion". __Interactives__. September 15th, 2008 < [| http://www.learner.org/interactives/middleages/religion.html] >. Kitchen, John. "Going Medieval: Paradigm Shifts and the Phenomenological Tendency in the Contemporary Encounter with Medieval Religion". __Review Essays__ 2002: 376-384.

Swanson, R.N. "Catholic England". Manchester University Press. September 15th, 2008 < [| http://www.medievalsources.co.uk/catholic.htm] >.

"The Medieval Church". __History Learning Site__. September 15th, 2008 < [| http://www.historylearningsite.co.uk/medieval_church.htm] >.

**      Sports and Leisure Activities:       ** McLean, Teresa. __The English at Play in the Middle Ages__. Great Britain:The Kensal Press, 1983. Reeves, A. Compton."Delights of Life in Fifteenth-Century England." Richard III Society, American Branch (1989). 22 Sept. 2008 [| __http://www.r3.org/life/articles/delights.html#dl2.__]

** Education  ** Hughes, Jonathan. “Education the Aristocracy in late Medieval England.” History Today. London: 1999 Vol 49, Issue 2. [|__http://proquest.umi.com.libproxy.sdsu.edu__]

**Art and Architecture**

"Battle of Bosworth Field." __Wikipedia__. 28 Nov. 2008 < [| http://en.wikipedia.org/wiki/Battle_of_Bosworth_Field] >. "English Art and Architecture." __The__ __Columbia__ __Encyclopedia__. Ed. 6 (2008) 13 October 2008 < [| __http://www.encyclopedia.com/printable.aspx?id=1E1:Englsha__] >. "Parallel Developments In England." __Old and Sold Antiques Digest__. (1910). 10 October 2008 < [| __http://www.oldandsold.com/articles10/architecture-13.shtml__] >.

Tinniswood, Adrian. "A History of British Architecture." __British History__. (2001): 39 pars. 21 Nov. 2008 < [| http://www.bbc.co.uk/history/british/architecture_12.shtml] >.

**Fashion**

Vicary, Grace Q. "Visual Art as Social Data: The Renaissance Codpiece." __Cultural Antrhopology__ 4 (1989); 3-25

"Clothing of the Fifteenth Century." __Old And Sold Antiques Digest.__ 10 Oct. 2008 < [| __http://www.oldandsold.com/articles09/clothes-24.shtml__] >

"1400-1500 in Fashion." __Wikipedia.__ 30 Nov. 2008 < [| __http://en.wikipedia.org/wiki/1400-1500_in_fashion__] >

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