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. [40] In W. Wager’s _The longer thou livest, the more fool thou art_. [41] In Wapull’s _The Tide tarrieth for No Man_. [42] Subtle Shift in _The History of Sir Clyomon and Sir Clamydes_. [43] In Wilson’s _The Three Ladies of London_. [44] He is so identified in Chapman’s _Alphonsus, Emperor of Germany_ c 1590 (_Wks._, ed. 1873, 3. 216), and in Stubbes’ _Anat._, 1583. Nash speaks of the Vice as an antiquated figure as early as 1592 (_Wks._ 2. 203). [45] _Med. Stage_, pp. 203-5. [46] Eckhardt, p. 145. [47] Sometimes he is even a virtuous character. See Eckhardt’s remarks on _Archipropheta_, p. 170. Merry Report in Heywood’s _Weather_ constantly moralizes, and speaks of himself as the servant of God in contrast with the devil. 8. _Jonson’s Use of the Vice_ The position of the Vice has been discussed at some length because of its very important bearing on Jonson’s comedy. It is evident, even upon a cursory reading, that Jonson has not confined himself to the conception of the Vice obtainable from a familiarity with the interludes alone, as shown in Heywood’s farces or the comedy of _Jack Juggler_. The character of Iniquity, though fully identified with the buffoon of the later plays, is nevertheless closely connected in the author’s mind with the intriguer of the old moralities. This is clear above all from the use of the name Iniquity, from his association with the devil, and from Pug’s desire to use him as a means of corrupting his playfellows. Thus, consciously or unconsciously on Jonson’s part, Iniquity presents in epitome the history of the Vice.