Mankind, as a morality play, is meant both to entertain and to teach. What is interesting about this play in particular is the way in which these two purposes create tension within the audience that mirrors the struggle that the character Mankind faces between worldly things, mischief and company, and holy things, Mercy.

The antics of Mischief and his following, Nowadays, Newguise, and Nought are the most entertaining portions of the play in the first scene. This encourages the audience to view these characters favorably despite the fact that they are set in opposition to the character of Mercy. In fact their disregard of Mercy’s requests for them to  “do way with this revel” when they dance and their open mockery of him and his “English Latin” lessen the appeal of Mercy as a character while simultaneously making them seem more amusing.

However, as the play progresses, the portrayal of the “mischief” characters shifts so that the audience views them less favorably. This shift occurs most notably with the appearance of Titivillus, who deceives Mankind and causes him to stray from Mercy. At this point Mischief and company cease to be innocuous jokesters and begin to act as agents for the ruin of Mankind.

When Mercy reappears and saves Mankind from hanging himself and offers salvation a he becomes the most favorably viewed character in the play. This reversal corresponds with the final accomplishment of the play’s teaching purpose. The plays message is fully delivered and it ends with a closing “Amen” from Mankind.