Abstract
This paper puts Everyman in the wider context of medieval drama and discusses the ubiquity of memento mori in medieval culture – in the visual arts and in drama. It goes on to examine the ways in which is presented as the catalyst for all the vents in t he play and demonstrates that the presentation of Death i s wholly consistent with Catholic doctrine – which is also examined in full. Death’s interaction in the play with God and with Everyman is examined and finally there is reference to Shakespeare and his alleged debt to the Morality play tradition.
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