is opened by Mundus,
Belial, and Caro descanting on their several gifts: Humanum Genus, who
represents mankind, then announces himself, just born, and naked;
while he is speaking Good Angel and Bad Angel appear on his right and
left, each claiming him as a follower. He prefers Bad Angel, who leads
him straight to Mundus; the latter orders his friends Voluptas and
Stultitia to take him in hand. Detractio, who calls himself Backbiter,
is also made one of his train, and procures him the acquaintance of
Avaritia, by whom he is introduced to the other Deadly Sins: not long
after, he meets with Luxuria, and falls in love with her. At all this
Bad Angel exults, but Good Angel mourns, and sends Confessio to
Humanum Genus, who repels him at first, as having come too soon.
However, Confessio at last reclaims him; he asks where he can live in
safety, and is told, in the Castle of Perseverance: so, thither he
goes, being at that time "forty Winters old." The Seven Cardinal
Virtues there wait upon him with their respective counsels. Belial,
after having beaten the Seven Deadly Sins for letting him escape,
heads them in laying siege to the Castle; but he appeals to "the Duke
that died on rood" to defend him, and the assailants retire
discomfited, being beaten "black and blue" by the roses which Charity
and Patience hurl against them. As he is now grown "hoary and cold,"
Avaritia worms in under the walls, and induces him to quit the Castle.
No sooner has he got well skilled in the lore of Avaritia, than
Garcio, who stands for the rising generation, demands all his wealth,
alleging that Mundus has given it to him. Presently Mors comes in for
_his_ turn, and makes a speech extolling his own power; Anima also
hastens to the spot, and invokes the aid of Misericordia:
notwithstanding, Bad Angel shoulders the hero, and sets off with him
for the infernal regions. Then follows a discussion in Heaven, Mercy
and Peace pleading for the hero, Verity and Justice against him: God
sends for his soul; Peace takes it from Bad Angel, who is driven off
to Hell; Mercy presents it to Heaven; and "the Father sitting in
judgment" pronounces sentence, which unfolds the moral of the
performance.

This analysis shows that the piece partakes somewhat the character of
a Miracle-Play. A list of the persons is given at the end; also a rude
sketch of the scene, showing a castle in the centre, with five
scaffolds for Deus, Belial, Mundus, Caro, and Avaritia. Bad An