332 Elbert N. S. Thompson 
that the text of that play barely alludes to the assault; it tells 
simply that Mary sought refuge in her castle, where she was be- 
sieged by the vices under the command of the World, the Flesh, 
and the Devil. But the stage directions state explicitly, “Her xal 
all be vij dedly synnes be-sege pe castell.” This, apparently, was 
the cue from which the actors were to carry through a scene long 
familiar on the stage.? 
In no early play is there a representation of the epic combat 
in the open—the psychomachia proper. An interesting survival, 
however, of the popular mo#f, is found in the late fifteenth-century 
play, Nature. After the vices have gained control over Man, and 
while Reason is laboring to save him, Wrath and Envy present 
themselves before the five remaining vices “defensibly arrayed”; 
for they have heard rumors of a coming “fray” between Reason 
and Man. But the other sins are not so ready to enter the fray; 
from their characters, why should it be expected of them? Bodily 
Lust declares campaigning to be extremely irksome and fatiguing to 
him; Gluttony, though armed with a bottle, announces that he will 
stand well “out of danger of gun shot”; and Sloth takes to his 
bed, and pleads sickness to excuse him. Even Envy is not keen 
for fight, and in a spirit of mischievous malice persuades Pride, 
who appears late on the scene with a retinue for whose equipment 
he has mortgaged his estates, that the battle is already done, and 
that men accuse him of cowardly desertion. In this travesty of the 
Psychomachia the reader sees that Medwell, the author, had been 
so touched by the spirit of humanism that the old story seemed 
dramatically weak and uninteresting. Quite fittingly, Anger might 
thirst for battle; but it would be inconsistent for Sloth or Gluttony 
to desire any sort of exertion. Hence Medwell burlesqued the 
battle, and introduced Age to stifle man’s lust and so reconcile the 
opposed forces. Never, though, would he have adapted the old 
theme in this way had it not been well known in its original form.? 

*In a French morality, the Church is assailed by Heresy, Simony, 
and Scandal. Petit de Julleville, Repertorre, 66. In The Contention between 
Liberality and Prodigality, Prodigality attempts to enter Fortune’s bower 
by a ladder; but she “claps a halter about his neck” and he falls, fortu- 
nately breaking the halter. This interesting scene probably owes nothing 
to these early plays. The play was printed in 1600. 
2 In a French morality, Honneur des Dames, Danger, Envie, and Male- 
bouche attack Honneur des Dames and are defeated by her protectors, 
Frane Vouloir and Cour Loyal. This is clearly a reminiscence of the 
struggle in the Roman de la Rose. Répertoire, 7A. 
