Between the detached, and sometimes serious, Devil of the cycles and the Vice of the moral plays, ever present, dominant and comical, concrete in manifold person and guise, a middle or transitional position is occupied by the fiend of the later miracle and the demon of the earlier moral. Examples of the former are Tutivillus and his humorous associates in the Wakefield _Judicium_, Lord Lucifer of the Coventry _Council_ (who, like the Vice, euphemizes his attendant Deadly Sins), the Prynse of Dylles of the _Magdalene_, and the sailor devil of the Newcastle play; examples of the latter are the gunpowder Belial of _Perseverance_, the intriguing Lucifer of _Wisdom_, now in "devely aray," anon as a "prowde galaunt," the farcical and efficient Titivillus of _Mankynd_, and Beelzebub, the judge and buffoon of the _Nigromansir_. But though the demon of the morals bears some relation to his predecessor of the miracles, he is not borrowed from the miracles. He grows out of a common tradition. Just as the Devil persists in spite of lapse and change through miracle play, moral, and interlude into Elizabethan comedy, so the Vice, though he did not obtain so early a footing upon the stage. There are previsions of him in the later miracles and earlier morals; he flourished in the morals of the middle period and the moral interludes, and there are traces of him in the regular comedy. He disappeared only in deference to the differentiated humours, follies, or vices of social life, of which no controlling Folly or Vice may be regarded as the sole incarnation,--for in the culture of them each of us indulges a genius of his own.