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The 1522 cover of Mundus et Infans, a morality play. The morality play is a genre of medieval and early Tudor drama. The term is used by scholars of literary and dramatic history to refer to a genre of play texts from the fourteenth through sixteenth centuries that feature personified concepts (most often virtues and vices, but sometimes practices or habits) alongside angels and demons, who ...
The Interlude of Youth is an English 16th-century morality play. It is one of the earliest printed morality plays to have survived. It is one of the earliest printed morality plays to have survived. Only two or three copies of any edition are known to exist.
The play is known from a manuscript in the British Library (Add MS 15233), which includes most of the play bound with pages of unrelated organ music. The manuscript omits the beginning few pages of the play, the music for the songs, and the lyrics of the final song. [2] By one estimate, nearly half of the manuscript's pages may be missing. [3]
The Somonyng of Everyman (The Summoning of Everyman), usually referred to simply as Everyman, is a late 15th-century English morality play. Like John Bunyan's 1678 Christian novel Pilgrim's Progress, Everyman examines the question of Christian salvation by use of allegorical characters, and what Man must do to attain it. The premise is that the ...
French theatre in the 16th-century followed the same patterns of evolution as the other literary genres of the period. For the first decades of the century, public theatre remained largely tied to its long medieval heritage of mystery plays, morality plays, farces, and soties, although the miracle play was no longer in vogue.
A Satire of the Three Estates (Middle Scots: Ane Pleasant Satyre of the Thrie Estaitis), is a satirical morality play in Middle Scots, written by the makar Sir David Lyndsay. The complete play was first performed outside in the playing field at Cupar, Fife, in June 1552 during the Midsummer holiday
The Madness of Love (play) A Man for All Seasons (play) Marie Tudor; Mary Stuart (Haynes play) Mary Stuart (Schiller play) Mary Tudor (play) Mary, Queen of Scots (play) The Massacre at Paris; The Massacre of Paris; Master Olof; The Merchant of London; The Merchant of Venice; The Merchant (play) The Mission Play; Mustapha (1665 play)
"The source," writes Tucker Brooke, "from which Ingelend derived the rough framework of his play is a prose dialogue of the French Latinist Ravisius Textor (Jean Tixier de Ravisi, 1480-1524); but Textor's scant two hundred and thirty-five lines of question and answer between a colorless Pater Juvenis and Uxor are expanded, in the fifteen ...