[40] In
1576 we find express stage directions given for the Vice to fill in
the pauses with improvised jests.
1576 we find express stage directions given for the Vice to fill in
the pauses with improvised jests.
Ben Jonson - The Devil's Association
It is probable that the no less important
motive of a baffled devil, happy to make his return to hell, is due
either directly or indirectly to Machiavelli's influence. This motive,
as we have seen, was strengthened by a body of legend and by the
treatment of the devil in the morality play.
7. _The Figure of the Vice_
It is the figure of the Vice which makes Jonson's satire on the
out-of-date moralities most unmistakable. This character has been
the subject of much study and discussion, and there is to-day no
universally accepted theory as to his origin and development. In the
literature of Jonson's day the term Vice is almost equivalent to
harlequin. But whether this element of buffoonery is the fundamental
trait of the character, and that of intrigue is due to a confusion
in the meaning of the word, or whether the element of intrigue is
original, and that of buffoonery has taken its place by a process of
degeneration in the Vice himself, is still a disputed question.
The theory of Cushman and of Eckhardt is substantially the same,
and may be stated as follows. Whether or not the Vice be a direct
descendant of the devil, it is certain that he falls heir to his
predecessor's position in the drama, and that his development is
strongly influenced by that character. Originally, like the devil, he
represents the principle of evil and may be regarded as the summation
of the seven deadly sins. From the beginning, however, he possessed
more comic elements, much being ready made for him through the partial
degeneration of the devil, while the material of the moralities was
by no means so limited in scope as that of the mysteries. This comic
element, comparatively slight at first, soon began to be cultivated
intentionally, and gradually assumed the chief function, while the
allegorical element was largely displaced. In course of time the
transformation from the intriguer to the buffoon became complete. [39]
Moreover, the rapidity of the transformation was hastened by the
influence of the fool, a new dramatic figure of independent origin,
but the partial successor upon the stage of the Vice's comedy part. As
early as 1570 the union of fool and Vice is plainly visible.
[40] In
1576 we find express stage directions given for the Vice to fill in
the pauses with improvised jests. [41] Two years later a Vice plays the
leading role for the last time. [42] By 1584 the Vice has completely
lost his character of intriguer[43], and in the later drama he appears
only as an antiquated figure, where he is usually considered as
identical with the fool or jester. [44] Cushman enumerates the three
chief roles of the Vice as the opponent of the Good; the corrupter of
man; and the buffoon.
The Vice, however, is not confined to the moralities, but appears
frequently in the comic interludes. According to the theory of Cushman,
the name Vice stands in the beginning for a moral and abstract idea,
that of the principle of evil in the world, and must have originated
in the moralities; and since it is applied to a comic personage in
the interludes, this borrowing must have taken place after the period
of degeneration had already begun. To this theory Chambers[45] offers
certain important objections. He points out that, although 'vices in
the ordinary sense of the word are of course familiar personages in the
morals', the term Vice is not applied specifically to a character in
'any pre-Elizabethan moral interlude except the Marian _Respublica_',
1553. Furthermore, 'as a matter of fact, he comes into the interlude
through the avenue of the farce'. The term is first applied to the
leading comic characters in the farces of John Heywood, _Love_ and
_The Weather_, 1520-30. These characters have traits more nearly
resembling those of the fool and clown than those of the intriguer of
the moralities. Chambers concludes therefore that 'the character of the
vice is derived from that of the domestic fool or jester', and that
the term was borrowed by the authors of the moralities from the comic
interludes.
These two views are widely divergent, and seem at first wholly
irreconcilable. The facts of the case, however, are, I believe,
sufficiently clear to warrant the following conclusions: (1) The early
moralities possessed many allegorical characters representing vices
in the ordinary sense of the word. (2) From among these vices we may
distinguish in nearly every play a single character as in a preeminent
degree the embodiment of evil. (3) To this chief character the name of
Vice was applied about 1553, and with increasing frequency after that
date.
motive of a baffled devil, happy to make his return to hell, is due
either directly or indirectly to Machiavelli's influence. This motive,
as we have seen, was strengthened by a body of legend and by the
treatment of the devil in the morality play.
7. _The Figure of the Vice_
It is the figure of the Vice which makes Jonson's satire on the
out-of-date moralities most unmistakable. This character has been
the subject of much study and discussion, and there is to-day no
universally accepted theory as to his origin and development. In the
literature of Jonson's day the term Vice is almost equivalent to
harlequin. But whether this element of buffoonery is the fundamental
trait of the character, and that of intrigue is due to a confusion
in the meaning of the word, or whether the element of intrigue is
original, and that of buffoonery has taken its place by a process of
degeneration in the Vice himself, is still a disputed question.
The theory of Cushman and of Eckhardt is substantially the same,
and may be stated as follows. Whether or not the Vice be a direct
descendant of the devil, it is certain that he falls heir to his
predecessor's position in the drama, and that his development is
strongly influenced by that character. Originally, like the devil, he
represents the principle of evil and may be regarded as the summation
of the seven deadly sins. From the beginning, however, he possessed
more comic elements, much being ready made for him through the partial
degeneration of the devil, while the material of the moralities was
by no means so limited in scope as that of the mysteries. This comic
element, comparatively slight at first, soon began to be cultivated
intentionally, and gradually assumed the chief function, while the
allegorical element was largely displaced. In course of time the
transformation from the intriguer to the buffoon became complete. [39]
Moreover, the rapidity of the transformation was hastened by the
influence of the fool, a new dramatic figure of independent origin,
but the partial successor upon the stage of the Vice's comedy part. As
early as 1570 the union of fool and Vice is plainly visible.
[40] In
1576 we find express stage directions given for the Vice to fill in
the pauses with improvised jests. [41] Two years later a Vice plays the
leading role for the last time. [42] By 1584 the Vice has completely
lost his character of intriguer[43], and in the later drama he appears
only as an antiquated figure, where he is usually considered as
identical with the fool or jester. [44] Cushman enumerates the three
chief roles of the Vice as the opponent of the Good; the corrupter of
man; and the buffoon.
The Vice, however, is not confined to the moralities, but appears
frequently in the comic interludes. According to the theory of Cushman,
the name Vice stands in the beginning for a moral and abstract idea,
that of the principle of evil in the world, and must have originated
in the moralities; and since it is applied to a comic personage in
the interludes, this borrowing must have taken place after the period
of degeneration had already begun. To this theory Chambers[45] offers
certain important objections. He points out that, although 'vices in
the ordinary sense of the word are of course familiar personages in the
morals', the term Vice is not applied specifically to a character in
'any pre-Elizabethan moral interlude except the Marian _Respublica_',
1553. Furthermore, 'as a matter of fact, he comes into the interlude
through the avenue of the farce'. The term is first applied to the
leading comic characters in the farces of John Heywood, _Love_ and
_The Weather_, 1520-30. These characters have traits more nearly
resembling those of the fool and clown than those of the intriguer of
the moralities. Chambers concludes therefore that 'the character of the
vice is derived from that of the domestic fool or jester', and that
the term was borrowed by the authors of the moralities from the comic
interludes.
These two views are widely divergent, and seem at first wholly
irreconcilable. The facts of the case, however, are, I believe,
sufficiently clear to warrant the following conclusions: (1) The early
moralities possessed many allegorical characters representing vices
in the ordinary sense of the word. (2) From among these vices we may
distinguish in nearly every play a single character as in a preeminent
degree the embodiment of evil. (3) To this chief character the name of
Vice was applied about 1553, and with increasing frequency after that
date.
