اتمنى احد يقدر يساعدني ):

[لوليس]

Peace be upon you

i have problem i hope if anybody can help me

i am in college the level 2
my section English language
I like my section put i hate a iterary materials
بدخل بالموضوع
الاستاذه طالبه مننا بريزينتيشن عن مسرحية everyman
والمسرحية هاذي احسها صعبه كلماتها مو قادرة افهمها ودورت عنها كثير بالنت لكن مالقيت الي يفيدني .....
اتمنى الي درسها او عارف معلومات فيها لايبخل علي ولله محتاجتها مووووت
بليز ابغاها بالعربي كي استطيع فهمها
ولله يسعده ويوفقه دنيا واخرة الي يساعدني
مع خالص حبي وتقديري لكم ................

[لوليس]

اتمنى احد يتطلع للموضووع ؟؟؟؟؟؟؟؟؟؟؟

[الحياة صعبة]

ابشر لو لقيت شيء راح تشوفه بموضوعك

[الحياة صعبة]

Hi dear..i have searched the net and found a reasonable explanation for miracle plays in medieval ages.
i
Miracle or Morality Plays are generic terms given to vernacular religious dramas of medieval times (from the 5th century to about the 15th century). These plays, performed in most countries across Europe, including Spain, developed from the liturgy of the Roman Catholic Church after 1210 when a papal edict forbade members of the clergy from appearing on a stage in public. Such plays had considerable influence on the work of the great English dramatists of the 1500s and 1600s.
When the simple scenes from the Bible that had become part of the liturgy could no longer be performed by the priests early in the 13th century, the miracle plays came into existence. These plays had as subject matter the miracles performed by the saints or, more frequently, scenes from the Old and New Testaments. Miracle plays, also known as Saint Plays, in crude form were presented at Easter and on other holy days. They gained a formalized structure in the late 13th or early 14th century and reached the height of their popularity in the 15th and 16th centuries. Miracle plays dealing with the legends of the saints were less realistic and more religious in tone than those concerned with biblical episodes, and were eventually superseded by the latter.
The plays were generally given in cycles, or sequences of related scenes, each of which required only a short time to perform. Often, each scene was acted by members of one of the trade guilds (then known as mysteries) of the town. The cycles presented the Christian history of God and humanity, from the creation of human beings and the world to final judgement. The important cycles, named after the towns in which they were notably performed, are the Chester (25 scenes), the Wakefield (30 scenes), the York (48 scenes), the Norwich, and the Coventry plays. The cycles were generally performed outdoors on festival days and particularly on the feast of Corpus Christi. Each guild acted its assigned scene on its own wagon or float on wheels, which could be moved from one place to another for repeated performances.
To the scenes from the Bible the anonymous playwrights added interludes consisting of realistic comedy based on situations and ideas of a contemporary nature. The miracle play, therefore, was not only a biblical drama or scene, but also included scenes of realistic medieval comedy. A well-known miracle play is the Second Shepherd's Play of the Wakefield Cycle. This story of the shepherds watching their flock in the fields on the night of Christ's birth is enlivened by the comic episode in which one of the sheep is stolen; the thief hides the sheep in a cradle in his home and, brought to bay, pretends the little animal is a baby girl.
The term mystery play, also called a Corpus Christi play or simply mystery, is sometimes used synonymously with miracle play. Some literary authorities make a distinction between the two, designating as mystery plays all types of early medieval drama that draw their subject matter from Gospel events and as miracle plays all those dealing with legends of the saints.
Sometimes known simply as a morality, the morality play was most popular in the 15th and early 16th centuries. It was designed to instruct audiences in the Christian way of life and the Christian attitude towards death. The general theme of the morality play is the conflict between good and evil for the human soul; the play always ends with the saving of the soul. The characters of the morality play are not the saints or biblical personages of the miracle play, but personifications of such abstractions as flesh, gluttony, lechery, sloth, pride, envy, hope, charity, riches, and strength.
Some of the moralities were anonymous; others were by known authors. The best known of the former type is Everyman (late 15th century), which probably was derived from a Dutch source but was thoroughly Anglicized. In the play the protagonist Everyman learns that everything material he has gained in life deserts him as he journeys into the Valley of Death; n the end only the allegorical personage Good Deeds accompanies him

[عابررره]

Plot Summary by Michael J. Cummings..© 2005
.......The original text of the play–preserved in the British Library in editions by two different printers–contains archaisms and old spellings. To facilitate easy reading, most of the quotations from the play in the following summary have been modernized.
.......The author introduces the play with the following announcement:

.......Here beginneth a treatise how the high Father of heaven sendeth Death to summon every creature to come and give account of their lives in this world and is in [the] manner of a moral play.
.......A messenger of God then admonishes readers to play close attention to the play, for it reminds them that a day will come when they will be called to a reckoning.
.......“Ye think sin in the beginning full sweet,” he says, “which in the end causeth the soul to weep when the body lieth in clay.”
.......God then speaks. He laments that his creatures live preoccupied with worldly prosperity, blinded to what is really important. “Drowned in sin, they know me not for their God,” the King of Heaven says. He summons the messenger, Death, and tells him to inform Everyman that his time on earth has ended and that he must now give an account of his life.
.......Everyman says he needs more time, but Death refuses to grant it. Everyman then attempts to muster acquaintances to support him. When he begs Fellowship to help him with a problem, the latter pledges assistance. However, when Fellowship learns that Everyman wants him to testify in the land of death, Fellowship says he would normally accompany Everyman everywhere–to eat, drink, make merry, and pursue the pleasures of lust. He would even help Everyman commit murder. But to go with him to the afterlife and help him give an accounting of his life, that is out of the question, Fellowship says. Under no circumstances will he undertake such a fearsome journey.
.......Everyman then seeks help from those related to him, Kindred and Cousin. But they, too, refuse to take part in the perilous journey. Sorely distressed at their unwillingness to support him in his time of need, Everyman now thinks that the material possessions he has stored up may enable him to buy his way into heaven. He calls out to Goods, saying “money maketh all right that is wrong.” Goods answers that he cannot stir from his position, for he is a heap of chests and bags and sacks.
.......“But if thou had me loved moderately,” Goods says, giving part of Goods to the poor, “then shouldest thou not in this dolor be.”
.......Desperate, Everyman turns to Good Deeds:
...................I pray you, help me in this need
.......Or else I am forever damned indeed;
.......Therefore, help me to make reckoning
.......Before the Redeemer of all things.
.......Because he has been long neglected, Good Deeds is in a sorry condition. Although he is willing to go with Everyman, he cannot muster the strength–at least not at the moment–to do so. However, he introduces Everyman to his sister, Knowledge, who says she can help him by taking him to Confession. Everyman weeps for joy.
.......Confession tells Everyman he will give him a precious jewel, penance, if he confesses his sins. Everyman calls on the Lord to forgive his grievous offenses, acknowledging that he is a “sinner most abominable,” and calls on the Virgin Mary to intercede with her Son on his behalf. After Everyman completes his confession, Knowledge informs him that his friend Good Deeds is healthy and whole once again. Good Deeds himself then comes forth and says Everyman is now prepared for eternity. Knowledge outfits Everyman with a robe of contrition, signifying that he repents his sins.
.......Good Deeds introduces Everyman to Discretion, Strength, his Five Wits, and Beauty and asks them to accompany Everyman on his journey. Knowledge then tells him before he leaves he must receive the last sacraments of the church–Holy Viaticum (which is a special name for Holy Eucharist or Holy Communion when given to anyone about to die) and anointment with an oil. After he receives the sacraments, Beauty, Discretion, Strength, and the Five Wits go with Everyman to his grave but refuse to accompany him to the afterlife. Disheartened, Everyman cries, “O, Jesus, help! All hath forsaken me.” However, Good Deeds says, “Nay, Everyman, I will bide with thee.” Knowledge remains a while longer: “I will not from hence depart / Till I see where ye shall be. . . .”
.......Everyman then prays that the Lord will receive him, saying “In manuas tuas, commendo spiritum meum” (Latin for “Into thy hands, I commend my spirit”).
.......Knowledge hears angels singing. One of them invites Everyman into the heavenly regions. Only Good Deeds accompanies him.

Setting
The action begins in heaven when God sends Death to summon the main character, Everyman. Thereafter, the action takes place on earth. Since the author intended the main character to represent every human being, the action on earth could take place anywhere.

Characters
Everyman: Typical human being who has neglected his spiritual life but repents his sins in time to be saved.
God: Just but merciful Supreme Being.
Death: Messenger commanded by God to summon Everyman.
Fellowship, Kindred, Cousin, Material Goods: Earthly acquaintances of Everyman who abandon him in his time of need.
Good Deeds: The only friend willing to accompany Everyman to the afterlife.
Knowledge: Character that tells Everyman what he must do to obtain salvation.
Confession: Character representing the sacrament of penance. Everyman confesses his sins to this character.
Discretion, Strength, Everyman's Five Wits, Beauty: Earthly acquaintances of Everyman who abandon him in his time of need.
Angel: Creature that welcomes Everyman to the celestial realm.

Type of Work
Everyman is a morality play, an allegorical drama that teaches a lesson about how Christians should live and what a person must do to save his soul. A morality play was, in effect, a sermon that was acted out. The characters of a typical morality play include personifications of virtues (such as hope and charity), vices (such as pride and sloth), or other qualities, as well as personifications of objects (such as money) or activities (such as death or fellowship). In addition, God and angels may appear as characters, as they do in Everyman.

Date and Source
Everyman was written in the late 1400's. The source for it has not been established. A Flemish work entitled Elckerlijc, with the same story and theme, was written about 1495 by Peter van Diest. The existence of that work has prompted speculation that (1) Everyman was based on Elckerlijc, (2) Elckerlijc was based on Everyman, or (3) Everyman and Elckerlijc were based on a story predating both works.

Theology

Everyman presents a Roman Catholic point of view. The central character, representing every man and woman, earns his eternal reward through good works and reception of the sacraments of the church, such as penance (confession) and the Holy Eucharist. In Roman Catholicism, a person in danger of death receives Holy Eucharist given under the name Viaticum, a term derived from Latin words meaning travel and road and loosely translated as provision for the last journey. He or she also receives extreme unction, a sacrament in which a priest anoints a person’s ears, eyes, nose, lips, and hands (which represent the five senses) with oil that was blessed on Holy Thursday. After confessing his sins, Everyman receives both of these “last rites,” as they are called, before he enters the afterlife.
Complete Free Text

Themes

Theme 1: Human beings should live for tomorrow–that is, life after death–by leading a holy and virtuous earthly life that includes doing good works. Everyman learns this lesson before it is too late, confesses and repents his sins, and thus earns paradise on the strength of his contrition and the good works–which were long neglected–that he has performed .
Theme 2: A man may gain a whole world of riches, but they are as nothing if he suffers the loss of his soul. Everyman discovers the truth of the adage You can’t take it with you. “It,” of course, is his store of material goods, a burden that encumbers his spirituality. Good Deeds tells him that he should have lightened this burden by giving possessions to the poor.
Theme 3: Man in his youth perceives sin as sweet and beautiful, like a spring flower. But this flower fades and dies in the autumn and winter of life. In lines 10-18 at the opening of the play, God’s messenger, Death, warns the audience to take heed of this truth.
Theme 4: Humans snub God’s mercy. Caught up with the pleasures of life and the pursuit of material possessions, people neglect to petition the Lord to receive forgiveness for their sins, which He is every ready to bestow. God calls attention to this human fault near the beginning of the play:
.......I proferred the people great multitude of mercy,
.......And few there be that asketh it heartily.
.......They be so encumbered with worldly riches.
Theme 5: No human being can escape final judgment. God tells Death that the day will come when every person must undertake a final journey and give an accounting of his life before the Lord. No man can escape this task; every man will face a day of reckoning. .

Climax
.
The climax occurs when Good Deeds agees to enter the afterlife with Everyman.

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