Kelley places this in the context of a flamboyant style originating in Franco-Burgundian culture. But that is not all the playwright does with the effect. Clare Wright argues convincingly that alliteration among other formal structures encourages the actors to perform with a "devilish corporeal register." She uses Belyal's first speech as an example:Now I sytte, Satanas, in my sad synne, (Now sit I, Satan, steadfast in my sin,) As devyl dowty, in draf as a drake. (As devil doughty, like a dragon on my sack.) I champe and I chafe, I chocke on my chynne, (I champ and I chew and I thrust out my chin;) I am boystous and bold, as Belyal the blake. (I am boisterous and bold as Belial the black!) What folk that I grope thei gapyn and grenne, (The folk that I grasp they gasp and they groan,) Iwys, fro Carlylle into Kent my carpynge thei take, (From Carlisle to Kent, my carping they take!) Bothe the bak and the buttoke brestyth al on brenne, (Both the back and the buttocks burst burning unbound,) Wyth werkys of wreche I werke hem mykyl wrake. (With works of vengeance, them wretched I make.) In this speech, many of the alliterated phonemes are "aggressively plosive" and the /tʃ/ of "I champe and I chafe, I choke on my chynne" "requires the speaker to part his lips and bare his teeth, bringing them together in an expression that resembles the clenched-tooth grimace of the devil in contemporary iconography." While mostly written in Middle English, some of the plays employ Latin and French to wonderful effect, both thematically significant and just plain humorous. Latin, of course, as the language of the Roman Catholic Church, was naturally important for the sort of religious discourse these plays engaged in. That does not mean that the playwrights were unwilling to play with Latin. For example, in Mankind, the character Mercy has a highly latinizing manner of speech: in terms of vocabulary and meticulously tidy versification and sentence structure, all of which culminates in what one scholar calls "inkhorn and churchily pedagogical." (Johnson 172). Mercy ends his first speech saying "I besech yow hertyly, have this premedytacyon" (l. 44), ending with a cumbersome Latin loanword. The first vice character on stage, Mischief, immediately picks up on Mercy's excessive latinisms and continues with this end rhyme in order to mock Mercy's ornate speech:I beseche yow