There are, however, certain parallels with medieval sermons, which often bolstered moral exhortations with allegorical examples.
Indeed, allegory is pervasive in medieval literature, as is, for that matter, concern for a happy death.
As the plot develops, it would perhaps be more accurate to refer to the central character as Anyman, but the use of the name Everyman implies that the experience is not random, not what might happen, but paradigmatic of what will happen and how people ought to respond.
Everyman turns to his valued, habitual companions for comfort on his difficult and dangerous journey, but the play does not present a pageant of specific sins.
Instead, Fellowship, Kindred, and Goods are summary abstractions, which are not particular sins in themselves but rather examples of the distractions that divert people away from positive direction toward God and salvation.
Thus Everyman’s failures are represented not by a static series of vices but by the vital enticements that took too much of his attention.
Medievil drama developed out of early religious plays, which had been made out of the drama of the medieval church..
These early dramatic forms still focused on the religious and moral themes that dominated the Christian imagination during the Middle Ages.
However, Good-Deeds is so infirm because of Everyman’s prior misdirection that a prior step is necessary: Everyman is entrusted to Knowledge for guidance.
The implication is that knowledge of the institutional Church and its remedies is necessary for the successful living of the good life.