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In literature and drama, the everyman is an ordinary individual[1][2] with whom the audience or reader is supposed to be able to identify easily and who is often placed in extraordinary circumstances.


The name derives from a 15th-century English morality play called Everyman.[2]

The contemporary everyman differs from his medieval counterpart in many respects. While the medieval everyman was devoid of definite marks of individuality in order to create a universality in the moral message of the play, the contemporary storyteller may use an everyman for amoral, immoral, or demonstrative purposes.[]


The everyman character is constructed so that the audience can imagine themselves in the same situation without having to possess knowledge, skills, or abilities that transcend human potential. Such characters react realistically in situations that are often taken for granted with traditional heroes.

Alternatively, an everyman occupies the role of protagonist without being a "hero" and without necessarily being a round character or a dynamic character. In this scenario, the everyman is developed like a secondary character, but the character's near omnipresence within the narrative shifts the focus from character development to events and story lines surrounding the character. Some audiences or readers may project themselves into this character, if no dominant characteristic of the everyman prevents them from doing so. Others may ignore the character and concentrate on the story arc, the visual imagery, the irony or satire, and any other aspect of the story which the orchestrator(s) of the story have focused upon or, indeed, whatever personally interests the reader.[]

An everyman character may occasionally be used as a narrator for the action, or to gloss over or fill in temporal gaps in the flow of a story. This allows for the presence of narrators without drawing attention to their role, by having a character commentating on events from within the dramatic action rather than separate from it. When employed in this way, the everyman character may by necessity have to break the convention of the fourth wall, speaking directly to the audience. Examples of this role would include the character of Ché in the musical Evita.[3][4]


In fiction

A prominent example of an everyman character is Christian, the protagonist of John Bunyan's Christian allegory The Pilgrim's Progress (1678).[5] Other figures often characterized as everymen include:

In non-fiction

An example of the term's use in non-fiction is the description in Salon of Dustin Hoffman's reaction to the Weather Underground's townhouse explosion: "[...] the news footage of the Greenwich Village townhouse destroyed in 1970 by bomb-making gone wrong in the basement still has enormous impact. Standing in the chaotic street, actor Dustin Hoffman, who lived next door, seems like Everyman at the apocalypse."[20]

See also


  1. ^ "WordNet Search - 3.0". Princeton University. Retrieved 2010.
  2. ^ a b "Everyman - Definition and More From the Free Merriam-Webster Dictionary". Merriam-Webster. Retrieved 2010.
  3. ^ Miller, S., Inside Evita - background and analysis"
  4. ^ Gans, A. "In upcoming revival of Evita, Che will be the "everyman", not Che Guevara," Playbill, February 10, 2012. Retrieved January 18, 2014.
  5. ^ Prickett, Stephen (2008). "Scriptural Interpretation in the English Literary Tradition". In Magne Saebo (ed.). Hebrew Bible/Old Testament: The History of Its Interpretation. II (from the Renaissance to the Enlightenment). Göttingen: Vandenhoeck & Ruprecht. p. 934.
  6. ^ Smith, Gavin (September-October 1999). "Inside Out: Gavin Smith Goes One-on-One with David Fincher". Film Comment. 35 (5): 64.
  7. ^ Gharraie, Jonathan (June 27, 2011). "Around Bloom in a Day". Paris Review. Retrieved 2013. Leopold Bloom, the Jewish everyman
  8. ^ Jones, Brian; Hamilton, Geoff (2009). Encyclopedia of American Popular Fiction. New York: Infobase Publishing. p. 153.
  9. ^ "The Office: Co-Workers You'd Love to Have - Jim Halpert (John Krasinski), 'The Office' Occupation: Sales representative". TV.MSN.com. Retrieved 2012.
  10. ^ "George O'Hanlon; Father's voice on Jetsons". Los Angeles Times. February 14, 1989.
  11. ^ "Character Guide: Stan Marsh". SouthParkStudios.com. Archived from the original on October 5, 2010. Retrieved 2013.
  12. ^ "About AMC: Who's Who in Pine Valley - Joseph Martin - All My Children @ soapcentral.com". Soapcentral.
  13. ^ Ball, Chris (September 26, 2009). "New on DVD: 'Shrink,' 'Management,' 'The Patty Duke Show' and more".
  14. ^ Adkins, Leslie (May 13, 2009). "AS SEEN ON: My new addiction: 'How I Met Your Mother'".
  15. ^ Rodden, John (2007). The Cambridge Companion to George Orwell. Cambridge: Cambridge University Press. p. 9.
  16. ^ "W.C. Fields Biography". The Biography Channel. UK. Archived from the original on 2013-04-06. Retrieved . Amongst his greatest films were those of the thirties - 'It's a Gift' in 1934, 'You Can't Cheat an Honest Man' in 1939, and, especially, 'The Bank Dick' in 1940. His characteristic portrayal of the beleaguered 'everyman' figure made him a national institution.
  17. ^ James L. Neibaur (February 28, 2007). "Film Reviews: The W.C. Fields Comedy Collection Vol. 2 (2007)". Rogue Cinema. Archived from the original on November 19, 2008. Retrieved 2013. It was talking pictures that helped to fully realize Fields' character. He was at once an angry wiseacre, and at other times a put-upon henpecked husband whose Everyman was at the mercy of any and all authority. His winning in the end provides a vicarious thrill for the viewer, as does his dry mockery of his stereotypical surroundings.
  18. ^ Byrnes, Paul (November 16, 2016). "Fantastic Beasts And Where To Find Them review: Fun but long-winded". Sydney Morning Herald. Retrieved .
  19. ^ T.C. Mits
  20. ^ Paglia, Camille (November 12, 2008). "Obama surfs through". Salon.

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