(1) Social criticism in their complaints against the taxes and cruel gentry.
(2) Invoking the audience’s trans-temporal sympathy and understanding.
3. Daring parallelism in plot design: Mak’s trick in theft and Christ’s nativity.
(1) Stolen sheep passing for a son in the cradle vs. Christ as the Lamb in the manger.
(2) Charity shown by the shepherds vs. charity shown by Christ: the three shepherds in parallel with the three sages from the East.
(3) Secular sufferings replaced by the redemption promised by Christ.
4. Characterization of Mak: probably imported from popular farce and anticipating farcical braggarts in Elizabethan stage
VI. The nature and content of morality plays:
1. Composed individually, not in cycle.
2. Religious and moral in its explication of Christian doctrine of salvation: not through biblical stories, but through allegorical dramatization of mankind’s struggle between vices and virtues.
3. Involving no less broad humor than mystery plays: vices presented as clowns .