340 Elbert N. S. Thompson 
of Wisdom; by them, therefore, the theological teaching of the 
play would not be misunderstood. 
For the practical, ethical instruction that closes the play no such 
commentary is needed. Wisdom re-enters, and by earnest warnings 
seeks to reclaim the three erring powers of the soul. He speaks 
effectively of the necessity of contrition and prayer for forgiveness, 
and shows the futility of self-torture for winning salvation, as com- 
pared with the observation of nine simple duties most pleasing to 
God. These are: charity to the poor, sorrow for Christ’s suffering, 
patience under reproof, watching for love of God, pity for the sick, 
restraint in speech, a feeling of responsibility for a neighbor’s soul, 
prayer, and the love of God. By this simple homily the three 
sinners are reclaimed. If the teaching in the first portion of the 
play seems impractical, here, at least, is much good advice for 
right living. This contrast between the practical and the unpractical 
is very characteristic of medieval theology and homiletics, and it 
has been reflected plainly in the morality plays. 
For the propagation of some specific doctrine and of piety in 
general, wealthy, play-loving cities like York and Lincoln could 
make permanent arrangements on an elaborate scale. But in a less 
pretentious way, any churchman could arrange for a simple dramatic 
entertainment to illustrate the truths that he was teaching. Such, 
doubtless, were the plays of whose performance in the open air on 
Sunday afternoons Bishop Bale bears witness. One specimen of 
such dramatized sermons the simple moral play, Saint John the 
Evangelist, has been assumed to be. It opens with a discourse by 
the Evangelist on the contemplative life, which he terms “the 
sweetest life.” Almost immediately he returns to preach again on 
the Crucifixion, and at the end, giving little chance for any im- 
portant action to intervene, he delivers a longer homily on the 
parable of the Publican and the Pharisee at prayer. From this he 
draws the identical lesson on the contrast between pride and hu- 
mility that is found so universally in medieval commentary. The 
Pharisee’s presumption in beginning his prayer with thanks rather 
than with confession; the fact that the three sins of which he 
boasts himself innocent really embrace all sin; the inevitable ruin 
that such pride brings—these were the common teachings of the 
church, just the simple lessons most suitable for short, open-air 
services. And indications are not wanting in the text that the play, 
like the sermons it would imitate, was given in the open. As John 
finishes his first homily, Eugenio makes the comment, “methinks 
I have heard you preach or this at Paul’s Cross.” Later, Evil 
