Chester's Antichrist, like most Antichrists, is an inverted Christ figure, with his biblical parody as his most obvious inversion.
The figure of Antichrist looms large in the late Middle Ages, making an appearance in every art form of the period, including drama.
The late medieval tradition explicitly counterpoises Antichrist's words and deeds with Christ's (or another virtuous figure's) to delineate heterodox and orthodox faith.
Antichrist's satanic ambition similarly extends to the New World: if his first conquests are Ethiopia, Egypt, and Libya, by the third act he has conquered both Spain and the Antipodes (II: 525).
New World geography appears in Antichrist's opening costume, as well as in the play's references to the Garden of Eden and to the Antipodes.
Likewise, when Elias and Antichrist debate one another, Elias's satanic rival literally echoes and reverses his lines (Concha 68).
While earlier in his career Luther viewed the Antichrist as a figure to come in the future, in 1520 Luther came to view the pope and the papacy as the Antichrist.
The abandonment of the pope's spiritual office was important to Luther's conviction that the pope was the Antichrist because it is one of two markers for the Antichrist identified by St.
It was this insight into the papacy's avaricious nature, combined with the neglect of its proper spiritual role, that helped confirm for Luther that he faced not simply a corrupt and corrupting institution, but the very Antichrist itself: the Man of Sin and Son of Perdition predicted in 2 Thessalonians.
Most patristic authorities,(3) rightly or wrongly, sought in some fashion to accommodate both these emphases in their portrait of the Antichrist. Commodian made two attempts at a resolution, writing first (Instr.
The Goths will conquer Rome and redeem the Christians; but then Nero will appear as the heathen Antichrist, reconquer Rome, and rage against the Christians three years and a half.
Importantly though, the play couples moments of orthodox Latin with moments of orthodox practice, particularly involving resurrected bodies: the Latin consecration of the host leads to the real presence of the resurrected Christ, while the liturgical song at the play's conclusion accompanies Enoch, Elijah, and Michael's ascensions back into heaven, sharply contrasted with Antichrist's prior descent into hell.
To Antichrist, they declare, if 'thow goo;/so that thow save us of oure woo,/then honoryd shall thowe be' (70-2), and later to Enoch and Elijah, they state, 'if youre skyllys may do hym [Antichrist] downe,/ to dye withe you we wilbe bowne/in hope of sawlw salvacon' (321-3).
Foxe's book imagined history in universal terms: history was a cosmic struggle between the forces of Christ and Antichrist. The architecture of the work followed the great ages of persecutions of the "true church," where Satan was bound or unbound.
 If England's particular history offered visible instances of a universal apocalyptic struggle against Antichrist, in the work there is tension between a secular and sacred, particular or universal, vision of history; that tension is nowhere more clearly revealed than in the change in Elizabeth's "C."