In the following essay, Kolve considers the Parable of the Talents as a possible source for some of the topics discussed in Everyman.

In the following essay, Mills argues that the success and effectiveness of Everyman lies in the “skillful allusions to a range of different kinds of drama and allegory.”

In the following essay, Jambeck argues that Bernadine Humanism sheds much light on the principles of Everyman.

In the following essay, Van Laan analyzes the dramatic structure of Everyman, which he argues contributes to the success of the religious drama.

In the following essay, Ryan examines the dramatic structure of Everyman in relation to the moral and religious stance of the work.

In the following essay, Munson examines Everyman in terms of the play's dramatic rhythm in which the main character alternates between learning something and then acting on that knowledge.

In the following essay, Goldhamer examines the psychological view of Everyman as a work regarding death as a learning experience.

In the following essay, Conley examines the portrayal of friendship in Everyman, comparing it to medieval doctrine of friendship.

In the following essay, Tanner refutes critics who claim that Everyman lacks humor, pointing to the dramatic irony of the work.

In the following essay, Spinrad examines in-turn the temptations faced by Everyman, discussing the significance of each for both the original audience and the contemporary reader.

In the following essay, Thomas discusses representation of the character Knowledge in Everyman as a Wisdom figure.

In the following essay, McRae examines Everyman's portrayal of the priesthood.