Evolution of the Tramp character

The evolution of the "tramp" character seems to be most apparent in
several films, each of which mark a significant progression toward new
elements that Chaplin wanted to include in his films.

The early tramp character was almost a pure rascal, getting into
mischief and causing chaos for no real reason other than to provoke
mirth from the audience. The early tramp films cast him as a comic
outcast.

Chaplin's earliest roles at Keystone alternated between comic villain
types (the type usually played by Ford Sterling) in films like MAKING A
LIVING, CRUEL CRUEL LOVE, MABEL AT THE WHEEL, etc. and films in which
he was more identifiable as the comic lead, such as KID AUTO RACES AT
VENICE, MABEL'S STRANGE PREDICAMENT, BETWEEN SHOWERS and so on. In my
opinion, Chaplin's comedy was not given much room to develop in the
"villain" roles.

However, in the films that he is allowed to be the center attraction,
his comedy can be seen to develop here and there as he adds new bits of
business to the character. Chaplin cited THE NEW JANITOR as the film in
which he first really developed the type of character comedy that he
would master later on. The film is full of bits of business (entering
the office first and *then* knocking on the door; and holding the
villainous manager at gunpoint) that are characteristic of his humor.

This film can almost be seen as the first step toward developing the
tramp character that Chaplin took.

Moving on to Essanay, the rough style of comedy still persisted, but
Chaplin was not obligated to end every film with the frenetic action of
a Keystone. Working at a slightly slower pace, this allowed for much
more character development. Even though the early Essanays maintain
much of that rascal element of the tramp, Chaplin took a big step
forward when, in 1915, he decided that THE TRAMP would end with a
rather sad ending-sad in that the main character does not get the girl.
Rather than end with a frenetic chase a la Keystone, THE TRAMP ends on
a wistful note; a somewhat ambiguous ending filled with a combination
of sadness and hope.

This idea would be taken to an even greater level in THE VAGABOND
(1916). However, it was with A DOG'S LIFE in 1918 that Chaplin took his
comedy to new heights of realism. The character he played was no longer
a nominal tramp comedian; rather, he played the role as a real homeless
person. The film has a gritty feel to it and is filled with somewhat
darker, grittier elements than was normal for a comedy of the time. It
does end with a happy fairy-tale ending, though. There seems to be a
regression in terms of character development in such films as SHOULDER
ARMS and A DAY'S PLEASURE.

Are there any other opinions on certain films or even specific scenes
that seem to mark a change or progress in the Chaplin tramp character?
Matt