notes, "Mercy the character begs God for the quality he represents, which is, strictly speaking, allegorical nonsense; he stands more for the human aegis by which mercy may be obtained, than for the quality itself." Similarly, Eleanor Johnson explains Mercy's humanity, implying his status as a personified concept: "Mercy suffers, Mercy trembles, Mercy is vulnerable; this is not an untouchable, impregnable Mercy [...] but rather a strikingly vulnerable and human one". Additionally, scholars complicate the notion that morality plays allegorically parallel the audience with the dramatic characters, indicating that the moralities actually incorporate the audience into the dramatic community. For example, writing on The Castle of Perseverance, Andrea Louise Young argues that the implied staging of the play (which includes the positioning of characters, as well as the placement of scaffolds and banners) encourages audience members to actively engage with the drama in a physical manner: "In moving around the play space, spectators can change the meaning of the drama for themselves and the other spectators." Young notes that the play invites audience members to enter the dramatic space and consequently position themselves through both "their eyes and their bodies," through where they choose to look and move in relation to the staged characters. King, Johnson, and Young indirectly show, without explicitly stating so, how the morality plays are not simply allegorical constructions, but rather fluid forms of personification that blur the distinctions between literal and metaphorical elements, characters and audience members/readers. Still, scholarship generally adopts the literary labels allegory, personification, and personification allegory to explain the morality plays' formal depiction of the relationship between the abstract realm of concepts and everyday circumstances of human life. Pamela King notes the "broadly allegorical" form unifying the moralities. King suggests that the plays employ an allegorical framework of personification to metaphorically parallel, and conceptually separate, "the ephemeral and imperfect world of everyday existence" from an abstract "eternal reality". While King indicates that the plays show the dramatic action to merely parallel and imitate eternal, abstract concepts, Julie Paulson argues that the moralities use personification allegory to reunite the concrete and the abstract. Paulson writes, "in giving a word such as 'wisdom' or 'mankind' a body and a voice, personification allegory instead returns us to the lived experiences and particular circumstances that give those words their meanings". Additionally, Paulson underscores that plays such as The Castle of Perseverance and Everyman employ protagonists that