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.
sufficiently clear to warrant the following conclusions: (1) The early
moralities possessed many allegorical characters representing vices
in the ordinary sense of the word.
Ben Jonson - The Devil's Association
[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. (4) Whatever may have been the original meaning of the word, it
must have been generally understood in the moralities in the sense
now usually attributed to it; for (5) The term was applied in the
moralities only to a character in some degree evil. Chambers instances
_The Tide tarrieth for No Man_ and the tragedy of _Horestes_, where
the Vice bears the name of Courage, as exceptions. The cases, however,
are misleading. In the former, Courage is equivalent to 'Purpose',
'Desire', and is a distinctly evil character. [46] In the latter he
reveals himself in the second half of the play as Revenge, and although
he incites Horestes to an act of justice, he is plainly opposed to
'Amyte', and he is finally rejected and discountenanced. Moreover
he is here a serious figure, and only occasionally exhibits comic
traits. He cannot therefore be considered as supporting the theory
of the original identity of the fool and the Vice. (6) The Vice of
the comic interludes and the leading character of the moralities are
distinct figures. The former was from the beginning a comic figure or
buffoon;[47] the latter was in the beginning serious, and continued to
the end to preserve serious traits. With which of these two figures
the term Vice originated, and by which it was borrowed from the other,
is a matter of uncertainty and is of minor consequence. These facts,
however, seem certain, and for the present discussion sufficient: that
the vices of the earlier and of the later moralities represent the
same stock figure; that this figure stood originally for the principle
of evil, and only in later days became confused with the domestic
fool or jester; that the process of degeneration was continuous and
gradual, and took place substantially in the manner outlined by Cushman
and Eckhardt; and that, while to the playwright of Jonson's day the
term was suggestive primarily of the buffoon, it meant also an evil
personage, who continued to preserve certain lingering traits from the
character of intriguer in the earlier moralities.
[39] Eckhardt, p. 195.
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. (4) Whatever may have been the original meaning of the word, it
must have been generally understood in the moralities in the sense
now usually attributed to it; for (5) The term was applied in the
moralities only to a character in some degree evil. Chambers instances
_The Tide tarrieth for No Man_ and the tragedy of _Horestes_, where
the Vice bears the name of Courage, as exceptions. The cases, however,
are misleading. In the former, Courage is equivalent to 'Purpose',
'Desire', and is a distinctly evil character. [46] In the latter he
reveals himself in the second half of the play as Revenge, and although
he incites Horestes to an act of justice, he is plainly opposed to
'Amyte', and he is finally rejected and discountenanced. Moreover
he is here a serious figure, and only occasionally exhibits comic
traits. He cannot therefore be considered as supporting the theory
of the original identity of the fool and the Vice. (6) The Vice of
the comic interludes and the leading character of the moralities are
distinct figures. The former was from the beginning a comic figure or
buffoon;[47] the latter was in the beginning serious, and continued to
the end to preserve serious traits. With which of these two figures
the term Vice originated, and by which it was borrowed from the other,
is a matter of uncertainty and is of minor consequence. These facts,
however, seem certain, and for the present discussion sufficient: that
the vices of the earlier and of the later moralities represent the
same stock figure; that this figure stood originally for the principle
of evil, and only in later days became confused with the domestic
fool or jester; that the process of degeneration was continuous and
gradual, and took place substantially in the manner outlined by Cushman
and Eckhardt; and that, while to the playwright of Jonson's day the
term was suggestive primarily of the buffoon, it meant also an evil
personage, who continued to preserve certain lingering traits from the
character of intriguer in the earlier moralities.
[39] Eckhardt, p. 195.
