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 rôle 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 rôles of the Vice as the opponent of the Good; the corrupter of man; and the buffoon.