Unlike some other plays of the Wakefield cycle, the Second Shepherds’ Play reveals a subtle exploitation of dramatic techniques to minimize the distance between secular and sacred experience. Introduction of the shepherds one at a time; Mak’s play-acting, magic spell, dream prophecy, and sheep stealing; the parallel between Mak and the Angel are all arranged to give the audience a sense in theatrical terms of the meaning of the shift through the farce-drama from the opening lyrics of static despair to a new mode of celebration. Although symbolically presented as the devil or Antichrist, Mak functions dramatically as the bridge to the birth of Jesus.