The remaining scenes bring on the final triumph of the Hero over Death
and Hell, and the culmination of the great theme of the play in the
Redemption of Man. Adam is restored, not indeed to the Garden of Eden,
but to a supernal Paradise.

Certain common features of the Miracles remain to be pointed out before
we close our volume of the _Coventry Play_, for it will provide us with
examples of most of them.

One of the first things that strike us is the absence of dramatic rules.
Not an absence of dramatic cohesion. To its audience, for whom the story
of the Mission of Jesus still retained its freshness, each scene
unfolded a further stage in the rescue of man from the bondage of Hell.
It is not a mere matter of chronology. The order may be the order of the
sacred chronicle, but to these early audiences it was also the order of
a sacred drama. The 'Sacrifice of Isaac' is not merely the next event of
importance after the 'Flood': it is a dramatic forecast of the last
sacrifice of all, the Sacrifice of Christ. Even though we admit, as in
some cases we must, that the Plays are heterogeneous products of many
hands working separately, and therefore without dramatic regard for
other scenes, it is not unreasonable to suppose that when the official
text was decided upon, the several scenes may have been accommodated to
the interests of the whole. Moreover, the innate relationship of scenes
drawn from the Bible gives of itself a certain dramatic cohesion. Of the
so-called Dramatic Unities of Time and Place, however, there is no
suggestion; there is no unity of characters; there is no consideration
of what may be shocking, what pleasing as a spectacle. Whoever saw the
whole play through was hurried through thousands of years, was carried
from heaven to earth and down to hell; he beheld kings, shepherds, high