By Michael Angier
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To exchange his side gown for “a fresch jakett, after the new g[u]ise” is to outfit himself for a life of theatrical shape-shifting and crimes against the community (677). This consideration of fashion initiates moral drama’s perennial interest in this theme, from Moros’s ludicrous red feather in The Longer Thou Livest to Fastidious Brisk’s up-to-the-moment suits in Every Man Out of His Humour. At its most basic level, fashion constructs, displays, and mystifies distinction—social, economic, political, and religious.
It may well be that these names and expressions were proverbial even when Mankind was written, but this would not alter the fact that the later ballad publicizes through print (and likely performance) nearly the same outrages the Mankind author articulated through a different public venue half a century before. If the repetition of a discourse over time is both a catalyst for and an indicator of the development of counterpublic spheres, then Mankind does important constitutive work. 55 If the yeoman’s social type, and not necessarily he, himself, is too easily discouraged from honest labor, he may avert disaster yet.
And the cutpurse, like the player, was notorious for his ability to mimic and disappear. 98 The quête also does the allegorical work of drawing together the disparate threads of vicious character identity: Titivillus is at once devil, magnate, and theatrical spectacle; Mischeff, a personification of trouble, manor lord, and lead player. Here, as elsewhere in Mankind, it is the middling sort that disrupts the flow of resources normalized by feudalism and nominally echoed in theater patronage. As gentry perhaps a generation removed from the “marchande” (merchant) to which New-Guise compares Nowadays, the three N’s’ mercenary mentality permits them to sell what should never be for sale: audience with their lord (Titivillus),“stoff” lifted from “a chirche,” and confidence in their good intentions (633–635).