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Medievil drama developed out of early religious plays, which had been made out of the drama of the medieval church..
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.
Everyman only cares about worldly pleasures as stated in Everyman when Death says "His mind is on fle ...
is the best extant example, and the mystery play are the two principal kinds of medieval drama.
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.
The conception is a Dantescan analysis of sin as a turning away from God.
In the theology of the play, salvation obviously cannot come by faith alone, since it is imperative that Everyman be accompanied to judgment by Good-Deeds.
As a result, there can be little psychological insight and little diverse movement that invigorate earlier and later drama.
Like all forms of allegory, the method is essentially intellectual.