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diff --git a/old/66391-0.txt b/old/66391-0.txt deleted file mode 100644 index 07d7695..0000000 --- a/old/66391-0.txt +++ /dev/null @@ -1,7286 +0,0 @@ -The Project Gutenberg eBook of A Book of Marionettes, by Helen Haiman -Joseph - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: A Book of Marionettes - -Author: Helen Haiman Joseph - -Release Date: September 27, 2021 [eBook #66391] - -Language: English - -Character set encoding: UTF-8 - -Produced by: deaurider, Charlie Howard, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK A BOOK OF MARIONETTES *** - - - - -Transcriber’s Notes will be found after the Index. - - - - -[Illustration: DRYAD AND TWO FAUNS - -[Puppets of Mr. William Simmonds, London]] - - - - - A BOOK _of_ MARIONETTES - - _by_ - HELEN HAIMAN JOSEPH - - - [Illustration] - - - _New York_ · B. W. HUEBSCH · _Mcmxx_ - - - - - COPYRIGHT, 1920, BY - B. W. HUEBSCH - - - - - _To my Father_ - - ELIAS HAIMAN - - _With pride and love for the brave simplicity - and gentle nobility of his life_ - - - - -_Note_ - - -The story of the marionette is endless, in fact it has neither -beginning nor end. The marionette has been everywhere and is -everywhere. One cannot write of the puppets without saying more than -one had intended and less than one desired: there is such a piquant -insistency in them. The purpose of this book is altogether modest, but -the length of it has grown to be presumptuous. As to its merit, that -must be found in the subject matter and in the sources from which the -material was gathered. If this volume is but a sign-post pointing the -way to better historians and friends of the puppets and through them on -to more puppet play it will have proven merit enough. - -The bibliography appended is a far from complete list of puppet -literature. It includes, however, the most important works of modern -times upon marionettes and much comment, besides, that is casual or -curious or close at hand. - -The author is under obligation to those friendly individuals who -generously gave of their time and interest and whose suggestions, -explanations and kind assistance have made possible this publication. -There are many who have been gracious and helpful, among them -particularly Mrs. Maurice Browne, Mr. Michael Carmichael Carr, -Professor A. K. Coomaraswamy, Mr. Stewart Culin, Dr. Jesse Walter -Fewkes, Mr. Henry Festing Jones, Dr. Berthold Laufer, Mr. Richard -Laukhuff, Mr. J. Arthur MacLean, Professor Brander Matthews, Dr. Ida -Trent O’Neil, Mr. Raymond O’Neil, Mr. Alfred Powell, Dr. R. Meyer -Riefstahl, Mr. Tony Sarg, and Mr. G. Bernard Shaw. - -Above all, however, acknowledgment is due to the steady encouragement -and interested criticism of Ernest Joseph. Although he did not live -to see the finished volume, his stimulating buoyancy and excellent -judgment constantly inspired the composition of this simple account of -puppets. - - - - -_Contents_ - - - How I Came to Write a Book on Puppets, 9 - - Puppets of Antiquity, 14 - - Oriental Puppets, 24 - - Puppets of Italy and Southern Europe, 50 - - The Puppets in France, 81 - - Puppet Shows of Germany and of other Continental Countries, 113 - - Puppetry in England, 143 - - The Marionettes in America, 164 - - Toy Theatres and Puppet Plays for Children, 192 - - A Plea for Polichinelle, 203 - - Behind the Scenes, 216 - - Construction of a Marionette Stage, 225 - - Bibliography, 229 - - Index, 233 - - - - -_Illustrations_ - - - SHADOW FIGURES DISCOVERED IN EGYPT BY DR. PAUL KAHLE _End-papers_ - - DRYAD AND TWO FAUNS _Frontispiece_ - - JOINTED DOLLS OR PUPPETS 18 - - SIAMESE SHADOWS 22 - - JAVANESE WAYANG FIGURES 24 - - JAVANESE ROUNDED MARIONETTES 26 - - WAYANG FIGURES FROM THE ISLAND OF BALI 28 - - BURMESE PUPPETS 30 - - CINGALESE PUPPETS 32 - - EAST INDIAN PUPPETS 34 - - TURKISH SHADOW FIGURE OF KARAGHEUZ 36 - - CHINESE PUPPETS 38 - - CHINESE SHADOW-PLAY FIGURES 40 - - CHINESE SHADOW-PLAY FIGURES 42 - - OLD JAPANESE PUPPET HEADS 44 - - JAPANESE PRINT 48 - - A WOODEN ITALIAN PUPPET 52 - - MEDIÆVAL MARIONETTES 54 - - ITALIAN FIGURES USED FOR CHRISTMAS CRIB 56 - - PULCINELLA IN ITALY 58 - - ITALIAN PUPPET BALLET 62 - - WOODEN SPANISH PUPPETS 78 - - GEORGE SAND’S PUPPET THEATRE AT NOHANT 92 - - PUPPETS OF GEORGE SAND’S THEATRE AT NOHANT 94 - - PUPPETS OF LEMERCIER DE NEUVILLE 96 - - TABLEAU (CHAT NOIR) 98 - - GUIGNOL AND GNAFRON 110 - - MARIONETTE THEATRE OF MUNICH ARTISTS 130 - - MARIONETTES OF RICHARD TESCHNER, VIENNA 134 - - BOHEMIAN PUPPETS 136 - - PUNCH HANGS THE HANGMAN 148 - - OLD ENGLISH PUPPETS 156 - - GAIR WILKINSON AND ASSISTANT AT WORK ON THE BRIDGE OF THEIR - PUPPET THEATRE 158 - - MARIONETTES EMPLOYED IN CEREMONIAL DRAMA OF THE AMERICAN - INDIANS 166 - - ITALIAN MARIONETTE SHOW 172 - - MARIONETTES AT THE CHICAGO LITTLE THEATRE 174 - - THE DEATH OF CHOPIN 178 - - SHADOWY WATERS 182 - - TONY SARG’S MARIONETTES BEHIND THE SCENES 184 - - A TRICK PUPPET 188 - - GERMAN PUPPET SHOW FOR CHILDREN 196 - - ENGLISH TOY THEATRE 200 - - PATTERNS FOR THE MARIONETTE BODY DRAWN BY MAX KALISH 222 - - DIAGRAMS FOR THE CONSTRUCTION OF A MARIONETTE STAGE 226 - - - - -_How I Came to Write a Book on Puppets_ - - -We were rehearsing laboriously. Some of our marionettes were finished; -the rest we borrowed from the cast of _Tintagiles_. The effect was -curious with Belangere and Ygraine acting as sentinels in their blue -and green gowns. - -The play we were rehearsing was eventually given up. For various -reasons the little puppets about to be presented to you never displayed -themselves before the public. Undeniable facts, but for my story quite -irrelevant and inconsequential. - -It was late and everyone else in the house had retired. I sat up all -alone, diligently sewing. Alone? Grouped around me in various stages -of completion sat the miniature members of the cast. I worked quietly, -much absorbed. Off in the corner there was a clock, ticking. - -The Chief Prophet of the Stars lay in my hands, impressive by virtue -of his flowing white beard, even without the high purple hat. I rested -a moment, straightening a weary back. One long white arm of his was -pointing at me. He said: “Do not pity yourself. Despite your backache -you are having a lovely time.” I am sure he said this. I did not -answer. How could I? It was true. Near by was the black-robed Priest -with the auburn beard. “Even so,” he agreed, “her fingers are happy: -her tongue may not complain!” - -“It is an honor to be permitted to dress us,” pompously proclaimed the -Chamberlain. He was perched upon the mantel. His queer, stiff beard -having been but recently shellacked was now in the process of drying. -He was a balloon shaped, striking fellow arrayed in orange. - -“She must finish my high hat to-night,” said the Chief Prophet of the -Stars, “and see that my whiskers are decently trimmed. Then she may -retire.” - -“No,” whimpered one of the spotty Spies from the floor, “she promised -to brighten my spots for tomorrow.” Then, in a loud aside, “She will -probably get my strings twisted while painting the spots. Serve her -right. She was too impatient to show me off yesterday. One should -finish the _spots first_, say I.” Ungrateful wretch, to be grumbling! -But he crawled and crept along the stage so wonderfully I hadn’t the -heart to chide him. - -I sat the Chief Prophet upon my knee, crossly. His long arm protested -stiffly. I pulled the high hat down over his ominous brows. “It isn’t -right,” he said. It wasn’t. I took it off. How trying it must be for -him to have so clumsy a handmaiden. “Don’t pin it!” he commanded. “Rip -it and sew it neatly.” I picked up the scissors and ripped. Then I -sewed on in silence. - -The marionettes, however, had many things to say. - -“She is not as thorough as might be desired,” stated the Chamberlain. -“Indeed, I fear that in the manipulating also she is only an amateur -with no profound knowledge of the craft. Here am I, still dissatisfied -with the bow I make to His Majesty. I know just how I should bow. Who -would question my knowledge of etiquette? I shall not be content with -anything but _the correct_ bow, dignified and, in its way, imposing -as the nod of a King. It must be just so and not otherwise but _how -will she do it_? She has tried front strings and back strings and -innumerable petty expedients. She calls herself a puppeteer: let her -devise a way and that shortly! I scorn to display vexation but it -perturbs me not a little as the moment approaches for me to bow and the -bow, ahem ... refuses to function fittingly.” - -“Try on the hat and do not be diverted by such details!” commands the -Chief Prophet. I sit him up seriously. “It will do,” he states; “trim -my whiskers.” I trim them, oh, very carefully. They hang augustly down -over his black stole. I gaze at him, entranced, and at his portrait -painted by a young artist. “I think you have caught the spirit of the -ideal,” he admitted. “Put me on the mantel.” I obey him.[1] - -Next I take up the Spy. He writhes in my hand. I ply the paint brush, -more yellow paint on the yellow spots. True to prediction, his strings -become entangled. “I told you so,” hissed the green and yellow Spy. -“My spots will dry over night. You must arrange my strings tomorrow.” -I set him beside the Chief Prophet where he slinks down and subsides. -“Hee, hee, hee,” snickers the other Spy who has cerise spots of silk on -lavender. He is crouched on the floor in a heap. I raise him and place -him beside his fellow. He reaches out a long brown arm and pokes him -slyly. - -I collect the other dolls. Very crude little rag affairs they seem in -their unfinished condition. The naked, white body of the King I lay -beside that of the Sentinel. One could scarcely tell them apart except -that the feet of the King are already encased in little scarlet boots -which are long and pointed and curled at the tips. The King is a stiff, -unbending person. But the other is a well built fellow fashioned with -exceeding care to stand and walk and sit superbly in a few clothes -holding a long red spear and a shield. Into the box I lay them, white -bodies, blank faces, limber arms and legs. “I shall have to shop again -for the King’s purple robe. What a bore!” I think, as I dump disjointed -priests, children and servants, all on top of His Majesty, and close -the cover of the tin box. - -“You are insolent,” said the Chief Prophet of the Stars. “Well, yes, -perhaps, oh mighty marionette,” I admit, “but I am sleepy. Goodnight.” - -“Fatigue is human,” remarked the black-robed Priest. “We marionettes -transcend such frailty.” - -“We are immortal!!!” boomed forth the Chief Prophet. “So saith Anatole -France, also Charles Magnin, also others.” - -“Hist,” whispered one of the Spies, “it is written in _The Mask_....” -And, as I moved quietly about in the adjoining room I heard them -discussing many matters, concerning themselves, of course. There was -talk of the ancient Indian Ramajana, of the Joruri plays of Japan, -of bleeding Saints and nodding Madonnas in Mediaeval churches. The -conversation veered to Pulcinella, his kinship with Kasper and -Karagheuz and with Punch across the channel. There were murmurings -of the names of Goethe, Voltaire, even Shakespeare to say nothing of -Bernard Shaw, Maeterlinck, Hoffmansthal, Schnitzler, all from the dolls -on the mantel and much, much more besides. Some things I overheard -distinctly before I fell asleep: some I may have dreamed. All that I -could recall I have put into a little book. - - - - -_Puppets of Antiquity_ - - “I wish to discant on the marionette. - One needs a keen taste for it and also a little veneration. - The marionette is august; it issues from a sanctuary....” - - ANATOLE FRANCE - - -Perhaps the most impressive approach to the marionettes is through the -trodden avenue of history. If we travel from distant antiquity where -the first articulated idols were manipulated by ingenious, hidden -devices in the vast temples of India and Egypt, if we follow the -footprints of the puppets through classic centuries of Greece and Rome -and trace them even in the dark ages of early Christianity whence they -emerged to wander all over mediaeval Europe, in the cathedrals, along -the highways, in the market places and at the courts of kings, we may -have more understanding and respect for the quaint little creatures we -find exhibited crudely in the old, popular manner on the street corner -or presented, consciously naïve and precious, upon the art stage of -an enthusiastic younger generation. For the marionette has a history. -No human race can boast a longer or more varied, replete with such -high dignities and shocking indignities, romantic adventure and humble -routine, triumphs, decadences, revivals. No human race has explored so -many curious corners of the earth, adapted itself to the characteristic -tastes of such diverse peoples and, nevertheless, retained its -essential, individual traits through ages of changing environment and -ideals. - -The origin of the puppet is still somewhat of a mystery, dating back, -as it undoubtedly does, to the earliest stages of the very oldest -civilizations. Scholars differ as to the birthplace and ancestry. -Professor Richard Pischel, who has made an exhaustive study of this -phase of the subject, believes that the puppet came into being along -with fairy tales on the banks of the Ganges, “in the old wonderland of -India.” The antiquity of the Indian marionette, indeed, is attested by -the very legends of the national deities. It was the god Siva who fell -in love with the beautiful puppet of his wife Parvati. The most ancient -marionettes were made of wool, wood, buffalo horn and ivory; they seem -to have been popular with adults as well as with children. In an old, -old collection of Indian tales, there is an account of a basketful -of marvellous wooden dolls presented by the daughter of a celebrated -mechanician to a princess. One of these could be made to fly through -the air by pressing a wooden peg, another to dance, another to talk! -Large talking puppets were even introduced upon the stage with living -actors. An old Sanskrit drama has been found in which they took part. -But in India real puppet shows, themselves, seem to have antedated -the regular drama, or so we may infer from the names given to the -director of the actors, which is _Sutradhara_ (Holder of the Strings) -and to the stage manager, who is called _Sthapaka_ (Setter up). The -implication naturally is that these two important functionaries of the -oldest Indian drama took their titles from the even more ancient and -previously established puppet plays. - -There are authorities, however, who consider Egypt the original -birthplace of the marionette, among these _Yorick_ (P. Ferrigni), -whose vivid history of puppets is accessible in various issues of -_The Mask_. Yorick claims that the marionette originated somehow with -the aborigines of the Nile and that before the days of Manete who -founded Memphis, before the Pharaohs, great idols moved their hands and -opened their mouths, inspiring worshipful terror in the hearts of the -beholders. Dr. Berthold Laufer corroborates this opinion. He maintains -that marionettes first appeared in Egypt and Greece, and spread from -there to all countries of Asia. The tombs of ancient Thebes and Memphis -have yielded up many small painted puppets of ivory and wood, whose -limbs can be moved by pulling a string. These are figures of beasts as -well as of men and they may have been toys. Indeed, it is often claimed -that puppets are descended, not from images of the gods, but from “the -first doll that was ever put into the hands of a child.” - -The _Boston Transcript_, in 1904, published a report of an article by -A. Gayet in _La Revue_ which gives a minute description of a marionette -theatre excavated at Antinoë. There, in the tomb of Khelmis, singer -of Osiris, archaeologists have unearthed a little Nile galley or barge -of wood with a cabin in the centre and two ivory doors that open to -reveal a stage. A rod across the front of this stage is supported by -two uprights and from this rod light wires were found still hanging. -Other indications leave little doubt that this miniature theatre was -used in a religious rite, possibly on the anniversary of the death of -the god Osiris, whose father was Ra, the sun, as a sort of passion play -performed by puppets before an audience of the initiated. Mortuary -paintings show us the ritual and tell us the story. As everything -excavated at this site is reported to be of the Roman or Coptic period -this is probably the oldest marionette theatre ever discovered! - -The Chinese puppets and still older _shadows_ of the land as well as -of other Oriental countries are all of considerable antiquity. In -truth, it matters little whence came the first of the puppets, from -India, Egypt or from China, nor how descended, from the idols of -priests or the playthings of children. It is enough to know of their -indisputably ancient lineage and the honorable position granted them in -the legends of gods and heroes. Whatever remains uncertain or fantastic -in the theories of their origin can only add to the aura of romance -surrounding this imperishable race of fragile beings. - - * * * * * - -In the mythology of the Greeks one may find mention of the august -ancestors of the marionettes. Passages in the Iliad describe -the marvellous golden tripods fashioned by Vulcan which moved of -themselves. A host of great articulated idols were to be found in the -temples all over Greece. These were moved, Charles Magnin avers, by -various devices such as quicksilver, leadstone, springs, etc. There was -Jupiter Ammon, borne upon the shoulders of the priests, who indicated -with his head the direction he wished to travel. There were the Apollo -of Heliopolis, the Theban Venus, the statues created by Daedalus and -many others, all manipulated by priests from within the hollow bodies. - -[Illustration: JOINTED DOLLS OR PUPPETS - -Terra-cotta, probably Attic - -[Courtesy of the Museum of Fine Arts, Boston]] - -But aside from these inspiring deities, in fact right along with -them, Greek puppetry grew up and flourished. Yorick writes, “Greece -from remotest times of which any accounts have come down to us had -marionette theatres in the public places of all the most populated -cities. She had famous showmen whose names, recorded on the pages of -the most illustrious writers, have triumphed over death and oblivion. -She had her ‘balletti’ and pantomimes exclusively conceived and -preordained for the play of ‘pupazzi,’ etc.” Eminent mathematicians -interested themselves in perfecting the mechanism of the dolls until, -as Apuleius wrote, “Those who direct the movement of the little wooden -figures have nothing else to do but to pull the string of the member -they wish to set in motion and immediately the head bends, the eyes -turn, the hands lend themselves to any action and the elegant little -person moves and acts as though it were alive.” A pleasant hyperbole -of Apuleius perhaps, but some of us credulously prefer to have faith in -it. - -In the writings of the celebrated Heron of Alexandria, living two -centuries before Christ, one can find a very minute description of a -puppet show for which he planned the ingenious mechanism. He explains -that there were two kinds of automata, first those acting on a movable -stage which itself advanced and retreated at the end of the acts and -second, those performing on a stationary stage divided into acts by a -change of scene. The _Apotheosis of Bacchus_ was of the first type, the -action presented within a miniature temple wherein stood the statue -of the god with dancing bacchantes circling around, fountains jetting -forth milk, garlands of flowers, sounding cymbals, all accomplished by -a mechanism of weights and cords. It was an extremely elaborate affair. -Of the second type of puppet show Heron cites as example _The Tragedy -of Nauplius_, the mechanism for which was invented by a contemporary -engineer, Philo of Byzantium. There were five scenes disclosed, one -after the other, by doors which opened and closed: first, the seashore, -with workmen constructing the ships, hammering, sawing, etc.; second, -the coast with the Greeks dragging their ships to the water; third, sky -and sea, with the ships sailing over the waters which begin to grow -rough and stormy; fourth, the coast of Euboë, Nauplius brandishing a -torch on the rocks and shoals whither the Greek vessels steer and -are shattered (Athene stands behind Nauplius, who is the instrument -of her vengeance); fifth, the wreck of the ships, Ajax struggling and -drowning in the waves, Athene appearing in a thunder clap! This play -was probably taken from episodes of the Homeric legend and, although -Heron does not so state, the action of the puppets was most likely -accompanied by a recital of the poem upon which the drama was founded. - -Xenophon describes still another type of show, a banquet at which -the host brought in a Syracusan juggler to amuse the guests with his -dancing marionettes. The best showmen in Greece seem to have been -Sicilians. These peripatetic showmen went from town to town with their -figures in a box. The plays they presented were generally keen, strong -satires on the foibles of human nature, the vices of the times, the -prominent or pompous persons of the day, parodies on popular dramas or -schools of philosophy. They were a favorite diversion of the masses and -of cultured people as well. Even Socrates is reported to have bandied -words with a Sicilian showman, asking him how he made a living in his -profession. To which the showman made reply: “The folly of men is an -inexhaustible fund of riches and I am always sure of filling my purse -by moving a few pieces of wood.” Eventually the puppets usurped a place -upon the classic stage itself, and it is reported that a puppet player, -Potheinus, had a small stage specially erected for his marionettes -on the thymele of the great theatre of Dionysius at Athens where -Euripedes’ plays had been presented. - - * * * * * - -The Romans borrowed marionette traditions from the Greeks as they did -many other art forms. There were large articulated statues of the -gods and emperors in Rome. At Praeneste the celebrated group of the -infants of Jupiter and Juno seated upon the knees of Fortune appears -to have been of this sort; the nurse seems to have been movable. Livy -describes a banquet celebration and the terror of the people and of the -Senate upon hearing that the gods averted their heads from the dishes -presented them. Ovid, also, gives an account of the startling effect -produced upon the beholders when the statue of Servus Tullius moved. -As in Greece, there were special puppet performances given in private -homes as well as the wandering shows along the highways. The latter -were popular with common people, with poets, philosophers and emperors. -Marcus Aurelius wrote about them, Horace and Persius mentioned them. - -The personages of the Roman puppet stage generally represented obvious -and amusing types of humanity; their repertoire consisted chiefly -of bold satire and parodies on popular dramas. The conventionalized -characters of Roman marionette theatres were not at all dissimilar -from the later heroes of the Italian _fantoccini_. A bronze portrait -of Maccus, the Roman buffoon, which was unearthed in 1727, might -serve almost as a statue of Pulcinella, hooked nose, nut-cracker chin, -hunchback and all. In fact it is thought that these Roman mimes or -_sanni_ have lived on in the Italian _burattini_, and in the characters -of the Commedia dell’ Arte. This theory has been criticized by some -who feel that the _personaggi_ such as Arlecchino and Pulcinella grew -out of the mannerisms and characteristics of the Italians, just as -the puppet buffoons of Rome were true offspring of the Roman people, -and that any resemblances between them may be laid at the door of -common frailties existing in humanity of all ages and ever fit subject -for the satirical play of puppets. Nevertheless it is not impossible -to believe that through the curiously confused period in Italy when -Pagan culture was giving way to Christianity, when heathen ideals were -half perishing, half persisting, something of the old was embodied -in, assimilated with the new. And so it may have happened with the -marionettes, Maccus emerging with much of Pulcinella, Citeria appearing -as Columbine. We have Pappus Bruccus and Casnar, the parasite, the -glutton, the fool, passed on somehow. - -[Illustration: SIAMESE SHADOWS - -Belonging to the collection in the Smithsonian Institution, U. S. -National Museum. This collection was presented by the King of Siam in -1876] - -But not alone this. Excavators in the Catacombs have discovered -small jointed puppets of ivory or wood in many tombs. They look like -dolls, but they may have been religious images used by the earliest -Christians. The Iconoclasts in their zeal annihilated everything that -had the appearance of an idol, and many a puppet perished along with -the images of the gods, Maccus as well as Apollo! But soon the -Church saw the wisdom of using concrete, vivid representation instead -of mere abstract symbolism scarcely comprehensible to the simple -minded. “Into the churches crept figures, Jesus’ body on the Cross -instead of the Lamb. To the Apollo of Heliopolis succeeded the crucifix -of Nicodemus, to the Theban Venus the Madonna of Orihuela.” (P. -Ferrigni.) Occasionally these figures were made to move a head or to -gesticulate. And here we find the earliest beginnings of the mysteries -which were later to come out from the churches and monasteries as -precursors not only of our puppet shows but of practically all our -drama. - - - - -_Oriental Puppets_ - - -There are few of us who at times have not unleashed our imaginations, -flung away the reins and bidden our thoughts roam freely beyond the -vision of our straining eyes. Who has not pondered whimsically what -sort of crooked creatures may be shambling over the craters and -crevices of the moon? Similarly the unfamiliar Eastern lands afford -adventure for our Western fancies. How alluring the imaginary sights -and sounds fantastically flavored; glimmer of spangles, daggers, -veils and turbans, camels and busy bazaars and mosques white in the -sun, strumming of curious instruments, gurgle, clatter and patter, -enigmatical whisperings and silences of unknown import. But of all -things so strange what could be fashioned stranger than the puppets -of Eastern peoples? As the dreams and philosophies of the Orient seem -farther away from us than its most distant cities, so these small -symbols of unfamiliar creeds and cultures for us are most amazing. -What skill and artistry is displayed in the creation of them, what -capricious imagery in their conception! Let us consider them. - -[Illustration: JAVANESE WAYANG FIGURES - -[American Museum of Natural History, New York]] - -Probably the Javanese _shadows_ present the most weirdly fascinating -spectacle to our unaccustomed eyes. What singular creatures are -here? Bizarre beyond all description, grotesque forms with long, -lean beckoning arms and incredible profiles, adorned with curious, -elaborate ornamentation. They are made of buffalo skin, carefully -selected, ingeniously treated, intricately cut and chiseled, richly -gilded and cunningly colored, and they are supported and manipulated by -fragile and graceful rods of horn or bamboo. Such are the colorful and -inscrutable little figures of gods and heroes in the _Wayang Purwa_, -ancient and celebrated drama of Java, popular now as in the days of -Java’s independence. - -These shadow-plays are half mythical and religious, half heroic and -national in character, portraying the well-known feats of native gods -and princes, the battles of their royal armies, their miraculous and -preposterous adventures with giants and other fabulous creatures. Each -incident, each character is familiar to the audience. One heroine -is thus described in Javanese poetry. “She was really a flower of -song, the virgin in the house of Pati. She was petted by her father. -Her well-proportioned figure was in perfect accord with her skill in -working. She was acquainted with the secrets of literature. She used -the Kawi speech fluently, as she had practised it from childhood. She -was elegant in the recitation of formulas of belief and never neglected -the five daily prayer hours. She was truly Godfearing. Moreover, she -never forgot her batik work. She wove gilded passementerie and painted -it with figures, etc., etc. She was truly queen of the accomplished, -neat and charming in her manner, sweet and light in her gestures, etc., -etc. - -“She was sprayed with rosewater. Her body was warm and hot if not -anointed every hour. She was the virgin in the house of Pati. Everyone -who saw her loved her. She had only one fault. Later, when she married, -she could not endure a rival mistress. She was jealous, etc.” - -A prose account tells us of the same young lady. It is said of Kyahi -Pati Logender’s youngest child: “This was a daughter called Andjasmara, -beautiful of form. If one wished to do full justice to her appearance -the describer would certainly grow weary before all of her beauty could -be portrayed. She was charming, elegant, sweet, talkative, lovely, -etc., etc. Happy he who should obtain her as a wife.” - -[Illustration: JAVANESE ROUNDED MARIONETTES - -[American Museum of Natural History, New York]] - -The plots are based upon old, old Indian saga, from the _Mahabharata_, -the _Ramayana_, the _Pandji_ legends and also upon native fable such -as the _Manik Muja_. There are several varieties of Wayang play, each -founded upon one or several of these sources. The _Wayang Purwa_ and -the _Wayang Gedog_ are silhouette plays presented by leather figures -behind a lighted screen. Sometimes, however, the women in the audience -are seated on one side of the screen, the men on the other, so that -some see the gray shadows, others the colored figures. The _Wayang_ -Keletik is given not with shadows but with the painted hide figures -themselves displayed to the audience. All these performances are not -ordinary public events, but rather special productions in celebration -of particular occasions. Etiquette at the Wayang demands that regular -rites be observed before the performance, incense burned and food -offered to the gods. - -The _Dalang_, or showman, is a person of great skill and versatility. -He seats himself cross-legged on a mat surrounded by figures; there are -about one hundred and twenty to a complete Wayang set. He directs the -gamelin music of the orchestra which keeps up a tomtom and scraping of -catgut throughout, gives a short preliminary exposition of the plot, -brings on the characters which he holds and manipulates with slender -rods, places them with precision and then the play begins. The Dalang, -as the music softens, speaks for each one of the characters. The -general tone is heroic with comedy introduced upon occasion. There are -struggles, battles, love scenes, dances. The Dalang shuffles with his -feet for the dancing, makes a noise of tramping or fighting, adjusts -the lights on the screen, all the while moving the figures and speaking -feelingly for them. - -Besides these so-called shadows the Javanese have also rounded -marionettes carved out of wood, which have long, slender arms and -fantastic touches revealing kinship with the figures of painted hide. -The play presented by these crude but rather startling dolls is called -_Wayang Golek_. The puppets are moved from below by rods attached to -their bodies and hands as are the shadow figures. Still other types of -plays are the _Wayang Beber_, presented by rolls of pictures, and much -later (eighteenth century) the _Wayang Topang_ in which rigidly trained -human actors, dressed in the conventional costumes of the Wayang -figures, take the parts of the puppets. But here as in the puppet -dramas the Dalang reads all the words. - -On the island of Bali, one of the group of the Indian Archipelago, -Wayang plays are like those of Java. The old figures are very -wonderful, cut out of young buffalo hide, carefully treated and -prepared. The tool formerly used to make them was a primitive pointed -knife. The Wayang sets made to-day, in spite of the superiority of -modern European instruments which are employed, are very crude in -comparison. This is because with the loss of independence the natives -also lost all interest in their own art and culture; indeed new Wayangs -are made only when the old ones are worn out. - - * * * * * - -The shadows of the Siamese _Nang_ are also unusual. This is a -representation of certain scenes from the Indian epic, _Ramayana_, and -depicts the adventures of Prince Rama and his wife Sita. It is given in -private homes for special festivals and is of a serious, poetic nature. -As described by a native of Siam, “It is a show of moving, transparent -pictures over a screen illumined by a strong bonfire behind.” It -is recited by two readers and sometimes requires as many as twenty -operators. The figures more nearly approach the human form than do -those of the Javanese shadows, but their queer, pointed headdress and -strange costuming produce a very striking and highly stylized effect. -They are made of hide which has been previously cut, scraped and -stretched with extreme care. The technique of decorating the figures -is most difficult, for the forms are stenciled and perforated by an -infinite number of pricks, to indicate not only the outlines but also -the nature of the fabric of garments, the jewels, weapons, etc. These -perforations scarcely show unless held before a light, when they give -a very rich and variegated effect. There is great art as well in the -dyeing and fixing of the colors, and in estimating the amount of light -which should be allowed to penetrate so as to give a well-proportioned -aspect to the figure as a whole. In Siam as in Java there are to be -found ordinary dramatic performances by wooden puppets more recent in -origin and not unlike those of Burma. - - * * * * * - -These puppet theatres of Burma exhibit a peculiar combination of -fantastic legend and grotesque, realistic humor. The puppet stage of -the country seems to have been more highly developed than its regular -drama. A visiting company of Burmese marionettes was displayed at -the Folies Bergères in Paris, where they were much admired for their -beautiful costumes, wonderful technical construction, the natural poses -they assumed and the graceful gestures they made. Mr. J. Arthur MacLean -tells of the annual celebration which he witnessed a few years ago at -Ananda, the famous old Buddhist site. It consisted of a performance by -the temple puppets which began early in the evening and lasted all the -night through. The marionettes were the property of the temple and when -not in use were stored away there. They were large and elaborate and -manipulated with strings. The audience comprised the entire population -of the village; every man and woman was present and they had brought -all of their children. The first part of the show was comical for the -sake of the children who, we may presume, fell asleep as the night -progressed. The plays which followed became more and more serious and -were of a religious nature. Some Burmese puppets, however, are very -primitive, being painted wooden dolls, odd and humorous in spirit. The -license of the showman is extreme, but does not seem to offend the -taste of the native audience. - - * * * * * - -In Turkestan and in Central Asia puppet shows are a very popular -diversion along with the feats of jugglers and dancers. There are two -types of puppets existing, one the very diminutive dolls carried about -by ambulant players whose extremely naïve dialogue is composed chiefly -for the amusement of children. The other, on a larger scale, is to be -seen on small stages erected in coffee houses or at weddings and other -private celebrations. - -[Illustration: BURMESE PUPPETS - - _Upper_: Made of rag, cotton and plaster - _Lower_: Made of painted wood - -[American Museum of Natural History, New York]] - -R. S. Rehm gives a description of a crude little marionette theatre in -Samarkand. Out in the crowded narrow streets sounds as terrifying as -the trumpet on the walls of Jericho announced the beginning of the -performance. The interior was a dark hall with a roof of straw matting -through the holes of which mischievous youngsters were continually -peeking until they were chased away. It was called _Tschadar Chajal_, -Tent of Fantasy. The puppets revealed Indian origin, but their huge -heads, with the clothing merely hung upon them, indicated Russian -influences. There was one scene of modern warfare with toy cannons -hauled upon the stage. Then came a play within a play. Yassaul, the -native buffoon, was a sort of master of ceremonies. Various comical -and grotesque marionettes appeared whom he greeted and led to their -places. The King himself entered upon a miniature horse, dismounted -and seated himself on a throne in the tiny audience. The performance -for His Majesty consisted of puppet dancers, puppet jugglers and last -of all, a marionette representing a drunken European dragged away by a -native policeman. At this point the small and also the large audience -expressed great delight. - - * * * * * - -Of the puppets of Persia a very ancient legend tells us how a Chinese -shadow play was performed before Ogotai, successor of Tamerlane. The -artist presented upon his screen the figure of a turbaned old man being -dragged along tied to the tail of a horse. When Ogotai inquired what -this might signify the showman is said to have replied: “It is one of -the rebellious Mohammedans whom the soldiers are bringing in from -the cities in this manner.” Whereupon Ogotai, instead of being angry -at the taunt, had his Persian art treasures, jewels and rich brocades -brought forth, also rare Chinese fabrics and carven stones. Displaying -them all to the showman, he pointed out the beauties in the products of -both lands as well as the natural difference between them. The showman -having learned this lesson of tolerance went away greatly abashed. - -[Illustration: CINGALESE PUPPETS - - _Upper_: Devil and Merchant - _Lower_: King and Queen - -Part of a collection received from the Ceylon Commission of the World’s -Columbian Exposition, 1895, by the Smithsonian Institution. U.S. -National Museum] - -_Shadows_ are mentioned in the works of the Persian poet, Muhammed -Assar, in 1385, when they seem to have been eagerly cultivated. Since -then, however, they have sadly deteriorated. It is said that wandering -jugglers with their primitive dolls scarcely elicit a smile from the -educated Persians, although they are sometimes asked into homes to -amuse guests or children. As a rule they play in open places and after -the show the owner collects the pennies from the audience standing -around, calling down the curse of Allah upon those who walk away -without paying. The comic puppet, according to Karl Friederich Flögel, -is Ketschel, a bald-headed hero “more cultured than all the Hanswursts -in the world.” He spouts poetry, quotes from the Koran, sings of the -houris in Paradise and, when alone, throws aside his wisdom, dances and -gets drunk. - - * * * * * - -Professor Pischel has written that he believes the puppet plays of -India not only to have antedated the regular drama, but also to have -outlived it. He claims moreover that the puppet shows are the -only form of dramatic expression left at the present time. What a -contribution from the marionette to the land of its birth and, on the -other hand, how much the races of India must have given of themselves -and their imaginations to the little wooden creatures; for the interest -of the beholder, alone, is the breath of life which animates them -through the centuries. - -It is amusing to read of the life-sized walking and talking puppets -used in the tenth century by a dramatist, Rajah Gekhara. One doll -represented Sita and another her sister. A starling trained to speak -Prakrit was placed in the mouth of _Sita_ to speak for her. The puppet -player spoke for the other doll as well as for the demon, which part -in the drama he himself enacted and spoke in Sanskrit.[2] In one of -the issues of _The Mask_ there is printed the following account of -religious puppets of the thirteenth century in Ceylon. A great festival -was being solemnized in the temple, which had been richly decorated for -the event and furnished “with numerous images of Brahma dancing with -parasols in their hands that were moved by instruments; with moving -images of gods of divers forms that went to and fro with their joined -hands raised in adoration; with moving figures of horses prancing; ... -with likenesses of great elephants ... with these and divers other -shows did he make the temple exceeding attractive.” (Mahavamsa, ch. -85). - -In quite recent days, P. C. Jinavaravamsa, himself a priest and prince -of Siam, as well as an artist, has written an article attesting the -aesthetic worth and popularity of Indian puppets to-day. “Beautiful -figures, six to eight inches high, representing the characters of -the Indian drama, _Ramayana_, are made for exhibition at royal -entertainments. They are perfect pieces of mechanism; their very -fingers can be made to grasp an object and they can be made to assume -postures expressive of any action or emotion described in poetry; -this is done by pulling strings which hang down within the clothing -or within a small tube attached to the lower part of the figure, with -a ring or a loop attached to each, for inserting the fingers of the -showman. The movements are perfectly timed to the music and recitation -of singing. One cannot help being charmed by these Lilliputs, whose -dresses are so gorgeous and jeweled with the minutest detail. Little -embroidered jackets and other pieces of dress, representing magnificent -robes of a Deva or Yakha, are complete in the smallest particular; the -miniature jewels are sometimes made of real gold and gems.” - -[Illustration: EAST INDIAN PUPPETS - -From an old rest house for pilgrims connected with an old Jain Temple -at Ahmadabad. The figures were attached to a mechanical organ and their -motions followed the music - -[Part of a collection in the Brooklyn Institute Museum]] - -The popular plays of India have never been written down, as were the -classic dramas, but, according to the custom of wandering showmen, -they were handed on from father to son. Thus, much in them has been -lost for us. But Vidusaka, the buffoon, has survived, “as old as -the oldest Indian art,” the fundamental type of comic character, and -possibly the prototype of them all,--Vidusaka, a hunchbacked dwarf with -protruding teeth, a Brahmin with a bald head and distorted visage. He -excites merriment by his acts, his dress, his figure and his speech. -He is quarrelsome, gluttonous, stupid, vain, cowardly, insolent and -pugnacious, “always ready to lay about him with a stick.” Professor -Pischel avers that we can follow this little comedian as he wandered -away with the gypsy showmen whose original home was that of the -marionette, mysterious ancient India. He trails him into Turkey, where -he became metamorphosed into the famous (or infamous) Karagheuz after -having served as a model for the buffoons of Persia, Arabia and Egypt. -But more than this, it is believed that long before Arlecchino and -other offspring of Maccus found their way northward there existed in -the mystery and carnival plays of Germany a funny fellow with all the -family traits of the descendants of the Indian Vidusaka. And it was -probably the gypsies again, coming up from Persia and Turkey through -the Balkan countries and Hungary (where similar types of puppet-clowns -are to be discovered) who carried the cult from far-off times and -introduced into Austria and Germany the ancient ancestor of Hanswurst -and Kasperle. - - * * * * * - -In Turkey, as in so many Oriental countries, the shadow play is the -chief representative of dramatic art. There are several little -tales told concerning the origin of Turkish puppets. One relates how -a Sultan, long ago, commanded his Vizier on pain of death to bring -back to life two favorite court fools whom he had executed, perhaps -somewhat rashly. The Vizier, in this dire dilemma, consulted with a -wise Dervish, who thereupon caught two fish, skinned them and cut out -of the dried skins two figures representing the two dead jesters. These -he displayed to the Sultan behind a lighted curtain, and the illusion -seems to have satisfied that autocratic personage. - -Another story tells that long ago in Stamboul there lived a good man -who grieved daily with righteous indignation over the misrule of the -governing Pashas. He pondered long how to improve conditions and how -to carry the matter to the attention of the Sultan himself. Finally he -decided to establish a shadow play whose fame, he hoped, might lure -the Sultan in to see it. And, indeed, the people thronged to witness -his Karagheuz. But when at last the august Sultan came and took his -place in the audience, Karagheuz had more serious matters to display -than his usual pranks. The Sultan’s eyes were opened to the abuses of -his ministers, whom he removed and justly punished. The founder of -the Karagheuz play, on the other hand, was made Vizier. His show has -remained the favorite diversion of the people. - -[Illustration: TURKISH SHADOW FIGURE OF KARAGHEUZ - -[From Georg Jacob’s _Das Schattentheater_]] - -These Turkish shadows are all centered around the hero, a sort of -native Don Juan, a scamp with a good bit of mother wit; he is called -“Karagheuz” (Black Eye). There are about sixty other characters to a -complete cast, among them Hadji-aivat, representative of the cultured -classes and boon companion of Karagheuz, and Bekri Mustafa, the rich -peasant just come to town, who frequents questionable resorts, gets -drunk and is invariably plundered. There are Kawassan, the rich Jew, -and a Dervish and a romantic robber and the Frank and the wife and -daughter of Hadji-aivat and all sorts of dancers, beggar-women, etc. -George Jacob brings to notice also pathological types such as the -dwarf, the opium fiend, the stutterer and others; also representatives -of foreign nations, the Arabian, the Persian, the Armenian, the Jew, -the Greek, all of whose peculiar accents and mistakes in speaking the -Turkish language form a constant source of merriment to the Turks -themselves. The plot generally consists of the improper adventures of -Karagheuz, his tricks to secure money, his surprising indecencies, -his broad, satirical comment on the life about him. Théophile Gautier -was present at a Karagheuz performance. He writes: “It is impossible -to give in our language the least idea of these huge jests, these -hyperbolical, broad jokes which necessitate to render them the -dictionary of Rabelais, of Beroalde of Eutrapel flanked by the vulgar -catechism of Vade.” - -The extreme beauty of the production, however, and the expertness of -the manipulator somewhat redeem the performances for our Western eyes. -The figures are cut out of camelskin, the limbs skilfully articulated. -Holes in the necks or chests and, for special figures which -gesticulate, also in the hands, enable slender rods to be inserted -at right angles by which they are manipulated. The appearance of the -transparent, brightly colored figures, with heavy exaggerated outlines, -rather resembles mosaic work, while the faces are sometimes done with -the extreme care of portraits. The effect produced by these luminous -forms is truly beautiful; the color is heightened by surrounding -darkness, which tends to increase the seeming size of the figures and -to give them an almost plastic quality. - -[Illustration: CHINESE PUPPETS - - _Upper_: Operated from above with strings - _Lower_: Operated from below with sticks - -[American Museum of Natural History, New York]] - -From an account of F. von Luschan we may imagine the usual Karagheuz -performance to take place in somewhat the following manner. In any -coffee house the rear corner is screened off with a thick curtain -into which is inserted a frame. Over the frame a linen is stretched -taut. Behind it is set a platform or table upon or at which the -operator places himself and his figures. There is little equipment. -Four oil lamps with several wicks are furnished with good olive oil -to distribute an even illumination behind the screen. The manipulator -brings on his characters and talks for them. If two of them gesticulate -simultaneously, he overcomes the difficulty by holding one of the -rods lightly pressed against his body, thus freeing a hand for the -emergency. He must also keep time to the dancing with his castanets, -stamp the floor for marching, smack himself loudly to imitate the -sound of buffets and keep an eye on the lamps which threaten constantly -to set fire to himself and his paraphernalia. - -[Illustration: WAYANG FIGURES FROM THE ISLAND OF BALI - -[Collected by and belonging to Mr. Maurice Sterne, New York]] - -These Karagheuz shows are popular not only throughout Turkey but, more -or less altered, in Syria, Palestine, Arabia, Egypt, Tunis, Tripoli, -and Morocco. It is recorded that in 1557 in Cairo a puppet play was -instrumental in stirring up a revolt and had to be prohibited. In -Arabia the shadows are decidedly debased in character, crude, and -wholly inartistic. In Tunis the performances are said to be mere -conglomerations of obscene incidents. Guy de Maupassant writes in his -_Vie Errante_: “We must not forget that it was only a very few years -ago that the performances of Caragoussa, a kind of obscene Punch and -Judy, were forbidden. Children looked on with their large black eyes, -some ignorant, others corrupt, laughing and applauding the improbable -and vile exploits which are impossible to narrate.” In 1842, however, a -traveller in Algiers witnessed a shadow play presenting incidents from -the _Arabian Nights’ Tales_, in which Karagheuz was a less rude buffoon -than usual. At the end of the play there appeared upon the screen the -illumined inscription: “There is no God but Allah and Mohammed is his -Prophet.” - - * * * * * - -In China the art of the shadow play has long, long ago attained a -degree of perfection as high if not surpassing that of any other -country. The Chinese have quaintly designed marionettes, but in the -magical beauty of their shadows they are without peers. It is only -within the last few decades, in fact, that the artists of Paris with -the shadow plays at the Chat Noir have succeeded in at all approaching -their skill and inspiration. - -[Illustration: CHINESE SHADOW-PLAY FIGURES: COLLECTED BY B. LAUFER IN -PEKIN, 1901 - -[American Museum of Natural History, New York]] - -According to legend one might infer, although scholars deem it -doubtful, that the origin of puppets in the wide dominions of bygone -Emperors, Celestial Ones, dates back to the earliest periods of a -remarkably ancient culture. One story relates that a thousand years -B.C. shadows had grown so popular and famous that King Muh commanded -a famous showman named Yen Sze to come into his palace and amuse him, -his wives and concubines. Yen Sze, thus honored, bestirred himself -to operate the figures in an animated manner and proceeded to make -his little puppets cast admiring glances at the ladies of the Court. -The King became jealously enraged and ordered Yen’s head chopped off. -Poor Yen Sze,--he barely escaped his horrible fate by tearing up his -little figures and proving them harmless creatures of leather, glue and -varnish. Another fable tells us that in the year 262 B.C. an Emperor of -the Han dynasty was being besieged in the City of Ping in the Province -of Schensi by the warrior-wife of Mao-Tun, named O. Now the Emperor’s -adviser, being full of cunning, and having heard of the jealous -disposition of the warlike lady O, devised a scheme for ingeniously -ridding the Emperor of his enemies. He placed upon the walls of the -beleaguered city a gorgeously dressed female puppet and by means of -hidden strings made her dance alluringly upon the ramparts. Lady O, -deceived by the lifelike imitation and fearing, should the city fall, -that her husband, Mao-Tun, might fall in love with this seductive -dancer, raised the siege and withdrew her armies from the Emperor’s -City of Ping in the Province of Schensi. So wonderful, so helpful were -the puppets of China in 262 B.C.! - -In more modern days there are several sorts of Chinese marionettes. In -any open place one might come upon the simple, peripatetic showman with -a gathering of little bald-headed children around him, (hence, they -say, the name Kwo or Mr. Kwo, which means Baldhead). Stepping upon a -small platform the puppeteer dons a sort of sheath of blue cotton, like -a big bag, tight at the ankles and full higher up. He then places his -box on his shoulders with its open stage to the audience. His head is -enclosed behind this stage and his hands are thrust into the dresses of -the dolls and manipulate them, a finger for each arm, and for the head. -The dialogue is rough, realistic humor. When the act is over he places -the puppets and sheath in his box and strolls on with the complete -outfit under his arm. - -In the large stationary marionette theatres a very different state of -affairs exists. Here with expensive and elaborate scenery the puppets -are capable of presenting highly spectacular faeries in the manner of -the later Italian and French fantoccini. The plot is generally the -old one of an enchanted princess guarded by a dragon and rescued -by a prince; their marriage ceremony furnishes the occasion for the -spectacular display. Some dramas of a romantic or historic nature were -composed especially for performances at the court of the Emperor. -Sir Lytton Putney, first British Ambassador to China, has described -the reception accorded him upon his arrival, one event of which was -a marionette play. The chief personage in this piece was a little -comedian whose antics delighted the court. The marionettes belonged to -the Emperor himself, and the very clever manager of the show was a high -official in the palace. - -[Illustration: CHINESE SHADOW-PLAY FIGURES: COLLECTED BY B. LAUFER IN -PEKIN, 1901 - -Entrance to a house; water-wheel and gate to the lower wheel; gate -leading to one of the Purgatories - -[American Museum of Natural History, New York]] - -It is the Chinese shadows, however, which are most famous and most -amazing for their range of subject and variety of appeal. The figures -are of translucent hide, stained with great delicacy. The colors glow -like jewels when the light shines through them, and the combination -of these colors is amazingly beautiful. The repertoire includes -anything and everything in the world of the seen and of the unseen; -street comedies, happenings of everyday life, heroic legend, fables, -historic drama, religious and mystical revelations with all the ghostly -fantasy bred of Taoist teachings (metamorphoses and visions of demons -marvellously produced!). According to the account of Rehm in his -extensive work _Das Buch der Marionetten_, the beauty and power of -these fascinating illusions carry the spectator away into realms of -make-believe. He has given several enthusiastic descriptions of the -productions. The following is one of them: - -“The story is that of a son, sick with longing, who implores the Ruler -of the Shadow-world to show him the spirit of his departed mother. One -sees a landscape bathed in the magic atmosphere of twilight. In the -background there rises a pagoda whose shimmering reflection is mirrored -in the calm lake. All is silence and expectancy. The son appears; he -makes his respectful obeisance before the hallowed spot and brings his -offering. The smoke of the incense rises in small clouds. Suddenly the -silver tones of the wonderful Chinese zither are heard and accompanied -by its strains the transformation takes place. The pagoda vanishes, -luminous circles of color appear out of which the mother emerges. She -speaks to her son, who is trembling with awe; she offers him glimpses -of a hidden world, comforts and strengthens him. One hears her sigh, -recognizes her perturbation by the rising and falling of her breast and -the whole expression of her countenance. The beholders are completely -under the sway of the ghostly apparition. In the end everything resumes -its former aspect, the peace of the night envelops the landscape -resting under the silver moonlight. Swans appear upon the lake bathing -their white plumage in the cool waters and with this poetic impression -the dream-peace is concluded.” - - * * * * * - -In Japanese literature, according to Mr. Henri Joly, one finds the -antiquity of the puppet show traced back into the depths of ages. Thus -the story runs: Hiriuk was a very ugly child, so his parents cast -him adrift in a boat. The boat floated away and was finally stranded -on the shore of Nishinomiya where the boy lived and died. After his -death, however, his restless spirit caused storms to rise and the -fishermen lost their livelihood until a man, Dokun, arrived who built -a temple to the Gods, whereupon the sea became smooth and the fish -plentiful. After Dokun’s death, the inhabitants neglected the temple. -Again gales arose and the fish disappeared. Then came another man -named Hiakudaiyu and made a doll and brought it to the temple. Then -hiding himself he displayed it and called: “I am Dokun, I have come -to greet you.” Whereupon the sea again became calm and fish again -returned. The emperor hearing of it summoned Hiakudaiyu to perform with -his show at court, and after witnessing it he exclaimed: “As Japan is -God’s country, we must, before anything else, entertain the Gods. Let -an office be created!” Hiakudaiyu was officially appointed to travel -from shrine to shrine about the land carrying the box which contained -his puppets. After his death others continued the art. Another -writer claims that Dokun was a Shinto priest, but it matters little. - -[Illustration: OLD JAPANESE PUPPET HEADS - -From a collection in the Brooklyn Institute Museum - -[Founded by Mr. Stewart Culin in Kyoto, 1912]] - -Japan has developed a marionette tradition altogether and amazingly -unique. Indeed so powerful a factor has it been that living actors in -the classic drama have accepted the conventions of the puppet stage and -are trained to the gesture and manner of the ancient marionette. This -does not apply, of course, to the innumerable strolling booths of -the Chinese _linen bag_ variety, but rather to the renowned and long -established stationary theatres for puppets, theatres with exclusive -boxes for the select and well-to-do of the audience and ample seating -capacity for the common people who visit the show in great numbers. - -The dolls are not quite half as tall as a man; they are very -realistically conceived and the mimicry of nature is carried into -the minutest details. Mr. Joly has published some tracings of parts -of these Japanese puppets which indicate how elaborate the inner -mechanism must be; a hand in which each joint of each finger is -articulated, a head in which the eyes move from side to side. Indeed, -these marionettes frequently raise their eyebrows to express scorn -or surprise. The costumes are of rich silk and brocade, profusely -embroidered, often jeweled and always designed with special thought for -their decorative effect. Nay more, when a gown is new or particularly -handsome a boy comes deliberately out and places a lantern directly in -front of the doll so that no elegant detail shall be overlooked by the -audience. The puppets are, necessarily, very costly and they represent -altogether quite a large amount of capital for which the theatres are -often specially taxed. - -The stages are quite large. The puppets are fastened by means of rods -to their stands (all but the spirits and magic figures, which are -worked with wires from above and float through the air). The most -curious feature in the Japanese show is the manner of manipulating. -The operators work on the stage in full view of the audience with the -puppets placed in front of them. They speak no word and are frequently -assisted by similarly mute scholars. These, to make themselves less -conspicuous, often wear black-hooded robes; but the expert and favorite -manipulators themselves are generally very gayly attired and their -entrances are not infrequently greeted with applause. Often there are -more persons working the puppets than there are puppets to be seen on -the stage. - -The words of the drama are read by the _Gidayu_ or chanter, arrayed in -a splendid ceremonial costume and sitting respectfully on a platform -to the left of the stage behind a low stand upon which there rests a -copy of the text. He chants loudly and musically, varying according -to the nature of the account and of the characters. The chanters -are artists of high standing, in fact somewhere in the seventeenth -century they had already established a unique form of elocution. The -reading is generally accompanied by the strains of the samisen, a -three-stringed instrument, played by an artist who sits on the platform -next to the chanter. Sometimes besides the principal Gidayu there are -others who chant as a sort of chorus. In some performances there are -as many as thirty-three Gidayus, twenty-nine samisen players, some -forty manipulators and several cleaners of lamps and stage hands. -The chanter, after an exciting passage, may take a sip of tea or -expectorate into a little bamboo cuspidor, the musicians may emphasize -important lines by warning notes, the operators may jog about; Japanese -audiences are accustomed to these incidental happenings and accept them -with undisturbed equanimity. To Occidental witnesses they are likely to -seem distractions. - -There are several types of classic drama in Japan, one of which is -the _Joruri_, or epical play originally composed expressly for the -marionette stage. The name is derived from a drama written by a clever -and beautiful court lady of Yeddo (1607–1688). It was called _The Story -of The Lady Joruri_ and being tremendously popular was followed by -many similar plays. It was later set to samisen music and during the -Eiroken period a woman singer gave performances of Joruri with puppets -in Kyoto. She was so successful that she was commanded to play before -noble families, finally even before the Emperor himself. - -In these epic dramas there are long, poetic passages as well as -narrative parts. Early in the seventeenth century Takemoto Gidayu, -noted samisen player and puppet showman, invented a more brilliant -presentation of puppet shows to the accompaniment of Joruri recitation -and samisen music. His shows were popular with the nobility, the -populace and the Samurai (who enjoyed the warlike elements in them) and -he, too, was summoned to perform at the palace of the Emperor. In 1685 -he established a stationary marionette theatre in Osaka called Takemoto -Za. For this theatre some of Japan’s best classic dramas were written. -One playwright, Chikamatsu Monzayemon, the Shakespeare of Japan, -together with his pupils, wrote about one hundred pieces for these -puppets. In 1703 a rival theatre was founded in Osaka by a pupil of -Gidayu. It was called Toyotake Za and it also had its able dramatists -and enthusiastic following. The two theatres were at their zenith early -in the eighteenth century; Izuma and Sosuki wrote for them. A few of -their plays were in a realistic vein, such as, _The Woman’s Harakari -at Long Street_, or more frequently they were of a heroic temper, _The -Battle of Kokusenya_, or _The Loyalty of the Five Heroes_, _The Revenge -of the Soga Brothers_, and often they were such romantic affairs as the -hopeless passion of two young lovers with the familiar ending of their -double suicide called _shinju_. - -[Illustration: JAPANESE PRINT (Hokusai) - -Representing the famous actor, Mizuki Tatsunosuke, manipulating a -puppet on a go board] - -Later in the eighteenth century the centre for puppet performances was -transferred to Yeddo and flourished there for half a century in two -large theatres called Hizen Za and Take Za. There were two smaller -theatres, also in Kyoto. At present puppet plays are occasionally -given in Tokyo at Asakusa Park. There are two such theatres also in -Osaka with clever chanters and skilful puppeteers which are among the -greatest attractions of the city. In the land of the cherry blossom, -however, as elsewhere in this modern world, the cinema has, for a while -at least, outrivaled the ancient puppet play in the affection of the -people and, according to Osataro Miyamori, deprived them of a great -part of their audiences. - -But who shall belittle the remarkable achievements of the Japanese -marionette theatre? All in all there have been as many as two hundred -epic poets writing for the puppets and over a thousand dramas have been -composed for them. Moreover, in feudal Japan, where higher education -was confined to the priests and to the Samurai, the Gidayu chanters -were important educators of the masses who derived their conceptions of -patriotism, loyalty and ethics from the impeccable sentiments of the -heroic epic dramas. - - - - -_Puppets of Italy and Southern Europe_ - - “Into whatever country we follow the footprints of the - numerous, motley family of puppets, we find that however exotic - their habits may be on their first arrival in the land they - speedily become reflexes of the peculiar genius, tastes and - characteristics of its people. Thus in Italy, the land of song - and dance, of strict theatrical censorships and of despotic - governments, we find the burattini dealing in sharp but - polished jests at the expense of the rulers, excelling in the - ballet and performing Rossini’s operas without curtailment or - suppression, with an orchestra of five or six instruments and - singers behind the scenes. The Spanish titere couches his lance - and rides forth to meet the Moor and rescue captive maidens, - marches with Cortez to the conquest of Montezuma’s capital or - enacts with more or less decorum moving incidents from Holy - Writ. In the jokken and puppen of Germany one recognizes the - metaphysical and fantastical tendencies of that country, its - quaint superstitions, domestic sprites and enchanted bullets. - And in France, where puppet shows were early cherished and - encouraged by the aristocracy as well as by the people, we need - not wonder to find them elegant, witty and frivolous, modelling - themselves upon their patrons.” - - _Eclectic Magazine_ (1854). - - -Every country of Europe has had marionettes of one type or another -persisting from very early stages through centuries of national -vicissitudes. Italy, however, may be considered the pioneer, the -forerunner of them all. It was wandering Italian showmen who carried -their _castelli dei burattini_ into England, Germany, Spain and France, -and these countries seem to have adopted puppet conventions, devices -and dialogues long established by the Italians, gradually adapting them -to their own tastes. The Italians have always displayed great ingenuity -and perseverance in developing and elaborating their marionettes; -indeed, this may be both cause and result of the perpetual joy they -appear to derive from them. - -There are numerous records in early Italian history of religious images -in the cathedrals and monasteries, marvellous Crucifixes, figures of -the Madonna and of the saints that could turn their eyes, nod their -heads or move their limbs. These were the solemn forebears of the -Italian fantoccini! Moreover very early it became customary for special -occasions to set up elaborate stages in the naves and chapels of the -churches upon which were enacted episodes from the Bible or from the -lives of the martyrs. The performers were large or small figures carved -and painted with rare skill and devotion, sometimes elaborately dressed -and bejeweled and frequently moved by complicated mechanism. It was not -unusual, in the presentation of sacred plays, to utilize both puppets -and human actors together. - -Vasari in his Life of _Il Cecca_ tells us that, “Among others, four -most solemn public spectacles took place almost every year, one -for each quarter of the city with the exception of S. Giovanni for -the festival of which a most solemn procession was held, as will -be told. S. Maria Novella kept the feast of Ignazio, S. Croce that -of S. Bartholomew called S. Baccio, S. Spirito that of the Holy -Spirit and the Carmine those of the Ascension of Our Lord and the -Assumption of Our Lady.” Of the latter he continues, “The festival -of the Ascension, then, in the church of the Carmine, was certainly -most beautiful, seeing that Christ was raised from the mount, which -was very well contrived in woodwork, on a cloud about and amidst -which were innumerable angels, and was borne upwards into a Heaven -so admirably constructed as to be really marvellous, leaving the -Apostles on the mount.” We may read in great detail of the impressive -_Paradiso_, an arrangement of vast wheels moving in ten circles to -represent the ten Heavens. These circles glittered with innumerable -lights arranged in small suspended lamps which represented stars. -From this Heaven or Paradiso there proceeded by means of two strong -ropes, pulleys and counterweights of lead, a platform which held two -angels bound firmly by the girdle to iron stakes. These in due time -descend to the rood-screen and announce to the Savior that He is to -ascend into Heaven. “The whole apparatus,” continues the historian, -“was covered with a large quantity of well-prepared wool and this gave -the appearance of clouds amidst which were seen numberless cherubim, -seraphim and other angels clothed in various colors.” The machines -and inventions were said to have been Cecca’s, although Filippo -Brunelleschi had made similar things long before. - -[Illustration: A WOODEN ITALIAN PUPPET, QUITE OLD - -[Property of Mr. Tony Sarg]] - -“It has been pointed out,” writes E. K. Chambers in the second volume -of his _Mediaeval Drama_, “that the use of puppets to provide a figured -representation of the mystery of the nativity seems to have preceded -the use for the same purpose of living and speaking persons; and -furthermore that the puppet show in the form of the Christmas Crib has -outlived the drama founded upon it and is still in use in all Catholic -countries.” Ferrigni describes a cathedral near Naples where this -ancient custom is still continued, the church being quite transformed -for the occasion, its walls hidden by scenery and an imitation hill -constructed at the top of which stood the Presepio. Moving figures -travelled up the hill toward the manger of Bethlehem, which was -illumined by a great light. I have heard such spectacles described by -travelers with much enthusiasm and not a little awe. Imagine the deep -impression, the reverent delight, produced among the devout worshippers -in mediaeval times! - -It must be admitted that many prelates condemned the use of these -religious fantoccini as smacking sinfully of idolatry. Abbot Hughes of -Cluny denounced them in 1086, Pope Innocent in 1210 and others also, -from time to time. But canons were never able to quite eradicate the -cherished custom, and the little figures always reappeared inside the -churches and in adjacent cloisters and cemeteries for spectacles, -mysteries and masks. The decree of the Council of Trent, however, was -instrumental in forcing most of them out of the churches, so that in -the sixteenth century they were generally to be found roaming about the -countryside and giving performances in the marketplaces and at fairs. - -[Illustration: MEDIAEVAL MARIONETTES - -[From an illustration in a twelfth-century manuscript in the -Strassbourg library]] - -There are many types of Italian pupazzi. They have been called by many -names and exhibited in many manners. They are designed and dressed -and manipulated in innumerable ways. In a twelfth-century manuscript -discovered in the Strasbourg library there is an illustration of very -primitive little _figurini_. They represent a pair of warriors caused -to fight by means of two cords; the action is horizontal. Somewhat -the same principle is employed to operate simple little dolls dancing -on a board, generally a couple of them together, the string tied to -the knee of the puppeteer. He makes the figures perform by moving -his leg and generally plays on a drum or tambourine to accompany the -motion. As a rule the name burattini is applied to the dolls with -heads and hands fashioned of wood or paper-maché and manipulated by a -hand thrust under the empty dress, a finger and a thumb fitted into -the two sleeves to work the arms, another finger used to turn or bow -the head of the doll. These pupazzi were most frequently played in -pairs by travelling showmen with little portable castelli. Fantoccini -are the puppets fashioned more or less after the human figure. They -are made of cardboard or wood and occasionally in part of metal or -plaster. They are sometimes crudely carved, sometimes modelled with -attention to every detail. They are operated by means of wires or -threads connecting them with the control, which is in the hands of the -marionettist standing concealed above. The number and arrangement of -threads and controls may be simple or intricate. Sometimes the limbs -are wired and all the wires except those of the arms are carried out -of the head through an iron tube. Another device is that of wiring the -dolls and manipulating them from below by pedals. There is no end to -the variety of contrivances invented by the makers of marionettes. The -more elaborate dolls are generally exhibited in large and substantial -castelli or on permanent stages constructed in private homes or in -theatres used entirely for fantocinni, the spectacular effects being -carried out on an amazing scale.[3] - -From earliest times the marionettes have been exceedingly popular with -both learned and ignorant. Every village was visited by ambulant shows, -every city had its large castello, frequently many of them, while noble -families had their private puppet theatres and engaged distinguished -writers to compose plays. Lorenzo de Medici is said to have enjoyed -puppet shows and to have given many of them. Cosimo I is reported to -have had the fantoccini in the Palazzo Vecchio, Francesco I in the -Uffizi: Girolamo Cardan, celebrated mathematician and physician wrote -in 1550, “An entire day would not be sufficient in which to describe -these puppets that play, fight, shoot, dance and make music.” Leone -Allaci, librarian of the Vatican under Pope Alexander VII, stopped -nightly to watch the burattini play. Prominent mechanicians and -scientists used their skill to create clever _pupazzi_; artists have -left us charming pictures of groups thronging around the castelli in -the public roads; poets and scholars wrote plays for the marionettes. - -[Illustration: FIGURES USED FOR CHRISTMAS CRIB INSIDE THE CHURCH - -Seventeenth or eighteenth century - -[From the collection of Mr. Sumner Healey, New York]] - -In the beginning the repertory of the pupazzi was derived entirely from -the _sacre rappresentazione_, consisting of scenes from the Old and -the New Testaments, stories of miracles and martyrdoms. Soon a comic -element was allowed to creep in, the better to hold the attention of -the audience. Fables were introduced for variety, and episodes from -heroic tales of chivalry, also satires reminiscent of Roman decadence. -The latter were performed by puppets fantastically dressed and -burlesqueing local types, and, naturally, speaking in the native -dialect of those particular characters. The showman improvised the -dialogue to fit the occasion, using only a skeleton plot to direct the -action just as did the actors of the _Commedia dell’Arte_. “Thus,” -claims an authority on Italian puppetry, “on this humble stage were -born types of the ancient Italian theatre, the immortal masks.” It -might be as difficult to prove as to disprove this statement, but at -any rate the pupazzi had a hand in popularizing and perpetuating the -famous _maschere_. - -At this point it might be well to digress for a moment and to -consider the commedia dell’arte which is so interwoven with the story -of Italian marionettes. Along with the commedia erudita which was -flourishing at the courts of the great Italian princes there developed -an extemporaneous, popular theatre depending greatly for its spirit -upon the invention and talent of the actors. Perhaps the beginnings -of its gay humor may be traced back to the comic and local elements -introduced into the early _sacre rappresentazione_. Perhaps the -characters were copied from the familiar buffoons of Latin comedy. At -any rate, the well-known masks or _personaggi_ of the cast represented -amusing types from all strata of Italian society, and each was -immediately recognizable by a conventionalized and rather grotesque -costume. _Arlecchino_, who originally came from Bergamo, is the chief -personage of this motley group. He is a unique figure in his strange -suit of multi-colored patches, his black mask, his peculiar weapon, -all reminiscent of the Roman _Histrio_. At first conceived as a happy, -simple fellow, he became in time a character of unbridled gayety and -pointed wit. Then there was _Pulcinella_, descended probably from the -Roman _Maccus_, a Neapolitan rogue and merry-maker whose white costume -serves to accentuate the hump in his back and his other physical -peculiarities. There were _Scaramuccia_, also of Naples, false bravo -and coward, _Stentorella_, from Florence, a mean miserly wretch, -_Cassandrino_, the charming fop and braggart, a Roman invention. -_Messer Pantalone_ is a good-natured Venetian merchant deceived by all, -_Scapino_ is the mischief maker apt to lead youth astray, _Constantine_ -of Verona is “said youth.” Then come _Brighella_, _Capitaine_, -_Pierrot_, world renowned, _Columbine_, _Isabella_, and a host of -other Italian conceptions, to say nothing of _Pasquino_, _Peppinno_, -_Ornofrio_ and _Rosina_ who are the masks of Sicily. - -[Illustration: PULCINELLA IN ITALY - -[From original color lithograph]] - -It was customary to have the plot and the principal situations -sketchily outlined for the actors. They then went into the play -supplying dialogue and improvising action and appropriate jests as the -mood of the moment dictated. The humor of the theatre was merry and -spontaneous, though frequently extremely broad and of questionable -taste. But despite this license of manners, the morals and purposes -of the plays were good, levelling shafts of satire against the frauds -and abuses of the age, poking fun and scorn at rogueries, hypocrisies, -weaknesses. The commedia dell’arte flourished brilliantly for a -century or more. Flaminio Scala was the first director who attempted -to systematize it. In 1611 he published a number of scenarii and -detailed directions for the action. However, in time the unbridled wit -degenerated into mere vulgarity, the grace and spontaneity of gesture -into absurd acrobatic tricks and grimacing, the bubbling jests and -startling situations became stale. It was then that Goldoni came to -reform the Italian drama. In his plays, it is true, one may still find -traces of the popular masks, but they are relegated to minor rôles, -subdued and properly clad. They will never wholly die out. - -Through various stages of the Italian drama the marionettes have -trailed gayly along, ever adopting the new without discarding the old. -Their repertoire is all inclusive. They have enacted sacred dramas and -legends of saints, _Sansone e Dalila_, _Sante Tecla_, _Guida Iscaretta_ -and innumerable others. They have made use of the scenarios of old -Latin plays such as _Amor non virtoso_ and _Il Basilico di Berganasso._ -When the bombastic, elaborate plays were discarded by the actors they -came into possession of the puppet showmen. Thereafter the burattini -became grandiloquent, and stalked about as princes and heroes of -tragedy, while their trappings and settings often grew correspondingly -elaborate. To fables of heroes and pastoral scenes, to the romances -of Paladins and Saracens and spectacular tales of brigands, assassins -and tyrants were added the pathetic and romantic melodramas of -foreign lands. _Il Flauto magico_, _La donna Serpente_, _Genovieffa -di Brabante_, _Elizabetta Potowsky_, everything was to be seen in the -castelli of the fantoccini, even the military plays of Iffland and -Kotzebue. Moreover Arlecchino and his band were always allowed to enter -at any time, into any situation. Indeed, when the commedia dell’arte -became at last discredited on the larger stage it sought shelter with -the puppets. Thus in the puppet booths the popular old personaggi were -kept alive among the people, where they had, indeed, been ever very -much at home. - -These old masks continue to be found to-day in the puppet shows of -Italy, as are also the melodramatic tragedies popular with the masses -and the clever, satirical comedies given in more intellectual circles. -Stendhal (Marie Henri Beyle), in his _Voyage en Italie_, reports -that in Rome he witnessed a wonderful performance of Machiavelli’s -_Mandragore_ performed for a select and highly cultured circle by -marvellous little marionettes on a stage scarcely five feet wide but -perfect in every detail. Rome has always abounded in puppet theatres. -Ernest Peixotto writes in 1903 that noblemen were in the habit of -giving plays acted by fantoccini in their palaces, plays reeking with -escapades and political satire that dared not show its face on the -public boards. Stendhal wrote also that he found Cassandrino at the -_Teatro Fiano_ very much the vogue, presented as a fashionable man of -the world falling in love with every petticoat. Teoli, who had made -the part famous, was an engraver by profession as well as an expert -marionettist. His delightful little Cassandrino was sometimes allowed -to appear in a three-cornered hat and scarlet coat suggesting the -cardinal, sometimes as a foppish Roman citizen, clever and experienced -but still with a weakness for the ladies. He was a charming instrument -for voicing popular criticism against the ecclesiastics and the -government. What wonder that Teoli’s theatre was sometimes closed and -he himself imprisoned? But Gregory XVI reopened the theatre and long -after Teoli’s death it remained in the hands of his family. - -At the present time in what was formerly this very Fiano theatre, -in the Piazza S. Apollinare, there still exists a prominent show of -fantoccini. Here the small auditorium is perfectly fitted out for the -accommodation of the very respectable middle-class audience with a -sprinkling of the aristocracy. The stage is well lighted, there is an -orchestra, the dolls are beautifully, nay, elegantly dressed. Here we -find Pulcinella entering into the plays, a well-mannered, dexterous -Pulcinella. The ballet is amazingly graceful, often ending with a -tableau or even fireworks. - -The most popular puppet theatre in Rome to-day, however, seems to be -that in the Piazza Montanara. Here the rather primitive fantoccini -present, most frequently, the ancient tales of chivalry from Ariosto -but their repertory also includes such diverse dramatic material -as _Aeneas, King of Tunis_ and _The Discovery of the Indies by -Christopher Columbus_. The audience sitting in the pit is composed -chiefly of rough, bronzed working men with thick, unkempt hair, a noisy -crowd all eating cakes or cracking pumpkin seeds between their teeth. -A spectator thus describes a performance: “To-day they are to perform -the lovely tale of _Angellica and Medoro_, or _Orlando Furioso and the -Paladins_. The curtain rises and the marionettes appear. The valiant -Roland and Pulcinella, his squire, come forth with a bound and neither -of them touches the ground. Roland is covered with iron from head to -foot and holds in his hand the Durlindana, [his sword]. Pulcinella has -white stockings, a white costume, with wide sleeves, and a white cap -with a tassel. The marionettes are two feet high, their limbs perfectly -supple, and lend themselves to any movement, etc. etc.” - -The same account tells us that the play of _Christopher Columbus_ -had been given here fourteen evenings in succession, three times an -evening. In it the Indians excited special curiosity, decked out with -splendid plumes. - -[Illustration: ITALIAN PUPPET BALLET - -[From a drawing in Hermann S. Rehm’s _Das Buch der Marionetten_]] - -In 1912 Mr. W. Story visited a similar theatre of fantoccini in Genoa -where elaborate productions (usually of the wars of the Paladins) were -presented to an ever-receptive audience. “What is that great noise of -drums inside?” inquired Mr. Story of the ticket seller. “Battaglio,” -was the reproving reply, “E sempre battaglie!” (Always battle!) -Although this perpetual fray was rather crude, it was followed by an -excellent ballet which danced the most intricate steps with masterly -ease and grace. - -There is an account by Charles Dickens of the show which he witnessed -in Genoa. It is too entertaining to be omitted. - -“The Theatre of Puppets, or _Marionetti_, a famous company from Milano, -is, without any exception, the drollest exhibition I ever beheld in my -life, etc. - -“The comic man in the comedy I saw one summer night, is a waiter at a -hotel. There never was such a locomotive actor since the world began. -Great pains are taken with him. He has extra joints in his legs, and -a practical eye, with which he winks at the pit, in a manner that -is absolutely insupportable to a stranger, but which the initiated -audience, mainly composed of the common people, receive (as they do -everything else) quite as a matter of course, and as if he were a man. -His spirits are prodigious. He continually shakes his legs, and winks -his eye. - -“There is a heavy father with grey hair, who sits down on the regular -conventional stage-bank, and blesses his daughter in the regular -conventional way, who is tremendous. No one would suppose it possible -that anything short of a real man could be so tedious. It is the -triumph of art. - -“In the ballet, an Enchanter runs away with the Bride, in the very hour -of her nuptials. He brings her to his cave, and tries to soothe her. -They sit down on a sofa (the regular sofa! in the regular place, O. P. -Second Entrance!) and a procession of musicians enter; one creature -playing a drum, and knocking himself off his legs at every blow. These -failing to delight her, dancers appear. Four first; then two; the -two; the flesh-coloured two. The way in which they dance; the height -to which they spring; the impossible and inhuman extent to which they -pirouette; the revelation of their preposterous legs; the coming down -with a pause, on the very tips of their toes, when the music requires -it; the gentleman’s retiring up, when it is the lady’s turn; and the -lady’s retiring up when it is the gentleman’s turn; the final passion -of a pas-de-deux; and going off with a bound! I shall never see a real -ballet, with a composed countenance, again. - -“I went, another night, to see these Puppets act a play called ‘St. -Helena, or the Death of Napoleon.’ It began by the disclosure of -Napoleon, with an immense head, seated on a sofa in his chamber at St. -Helena; to whom his valet entered, with this obscure announcement: - -“‘Sir Yew ud se on Low!’ (The ow, as in cow). - -“Sir Hudson (that you could have seen his regimentals!) was a perfect -mammoth of a man, to Napoleon; hideously ugly; with a monstrously -disproportionate face, and a great clump for the lower-jaw, to express -his tyrannical and obdurate nature. - -“He began his system of persecution by calling his prisoner ‘General -Buonaparte’; to which the latter replied, with the deepest tragedy, -‘Sir Yew ud se on Low, call me not thus. Repeat that phrase and leave -me! I am Napoleon, Emperor of France!’ Sir Yew ud se on, nothing -daunted, proceeded to entertain him with an ordinance of the British -Government, regulating the state he should preserve, and the furniture -of his rooms; and limiting his attendants to four or five persons. -‘Four or five for me!’ said Napoleon. ‘Me! One hundred thousand men -were lately at my sole command; and this English officer talks of four -or five for me!’ - -“Throughout the piece, Napoleon (who talked very like the real -Napoleon, and was forever having small soliloquies by himself) was very -bitter on ‘these English soldiers’ to the great satisfaction of the -audience, who were perfectly delighted to have Low bullied; and who, -whenever Low said ‘General Buonaparte’ (which he always did; always -receiving the same correction) quite execrated him. It would be hard to -say why; for Italians have little cause to sympathize with Napoleon, -Heaven knows. - -“There was no plot at all, except that a French officer, disguised as -an Englishman, came to propound a plan of escape, and being discovered -(but not before Napoleon had magnanimously refused to steal his -freedom), was immediately ordered off by Low to be hanged, in two very -long speeches, which Low made memorable, by winding up with ‘Yas!’ to -show that he was English, which brought down thunders of applause. -Napoleon was so affected by this catastrophe, that he fainted away on -the spot, and was carried out by two other puppets. - -“Judging from what followed, it would appear that he never recovered -from the shock; for the next act showed him, in a clean shirt, in his -bed (curtains crimson and white), where a lady, prematurely dressed in -mourning, brought two little children, who kneeled down by the bedside, -while he made a decent end; the last word on his lips being ‘Vatterlo.’ - -“Dr. Antommarchi was represented by a puppet with long lank hair, -like Mawworm’s, who, in consequence of some derangement of his wires, -hovered about the couch like a vulture, and gave medical opinions in -the air. He was almost as good as Low, though the latter was great -at all times, a decided brute and villain, beyond all possibility of -mistake. Low was especially fine at the last, when, hearing the doctor -and the valet say, ‘The Emperor is dead!’ he pulled out his watch, and -wound up the piece (not the watch) by exclaiming, with characteristic -brutality, ‘Ha! ha! Eleven minutes to six! The General dead! and the -spy hanged!’ - -“This brought the curtain down, triumphantly.” - -Goethe was greatly interested by the shows in Naples where every event -of local interest was introduced upon the puppet stage. The humor of -the Neapolitan Pulcinella was often vulgar; ladies were not supposed -to visit the shows, although they were frequently given in fine -society. On the street where they were most popular, however, they drew -about them picturesque audiences reminiscent of Hogarth’s sketches. -Pulcinella was made to speak with a squeaky voice by means of the -pivetta, a little metal contrivance placed in the mouth of the actor. -It is formed of two curved pieces of tin or brass, bound together and -hollow inside. The voice, passing through this, acquired a shrill and -ridiculous sound. - -Until the eighteenth century the puppets enjoyed celebrity and prestige -in Venice. Vittorio Malmani tells us that from the sixteenth century -when they became the vogue among Italian nobility, Venetian patricians -were accustomed to build elaborate little puppet theatres in their -palaces. One example of this was that of Antonio Labia, who exactly -reproduced in miniature the huge theatre, S. Giovanni Grisostomo, -famous throughout Europe, stage, boxes, decorations, machinery, -lighting facilities, costumes--everything precisely imitated the larger -theatre. The actors were figurines of wax and wood. The first drama -produced here was _Lo Starnuto d’Ercole_ (The Sneeze of Hercules) which -we may find described in Goldini’s memoirs. - -In the Piazza of San Marco and in the Piazzetta until the fall of the -Republic, so Malamani tells us, the castelli of the burattini were -numerous during carnival time. In the eighteenth century the _casotti_ -of Paglialunga and Bordogna were great rival attractions until the -former showman died and his little actors went to swell the company -of Bordogna, whose descendants continued the theatre throughout the -eighteenth century. The casotto of Bordogna has been painted by the -brush of Longhi, standing near the great dove of the Ducal Palace. - -A. Calthrop tells of his recent visit to a rough little place, -_Teatro Minerva_, where three-foot burattini, looking life size, were -manipulated crudely to the intense satisfaction of the audience. He -mentions a well-managed maschere, Guillette and her lover, a clownish -dwarf, both speaking in the Venetian dialect, and after the play, the -marionette ballet. Another account tells of a pretty little puppet -theatre with boxes, galleries and parquet where dolls thirty-five -inches high play classic tragedy of four or five acts and comedy -and pantomime, including always a marvellous ballet. Here the most -admired puppet receives encores, even bouquets and very properly bows -in response. The stages of such little theatres are as complete as -the most luxurious real stages. The figures can sit on chairs, open -bureau drawers, carry objects, and they are carefully and beautifully -costumed. The dialogue and subjects are far removed from the triviality -of the crude castelli, where the pupazzi are manipulated on the fingers -of the showman. It is not unusual to witness _Nebuccodnoser_ performed -by fantoccini or Rossini’s operas. - -In recent issues of _The Marionette_ one will find an enthusiastic -eulogy of a remarkable puppet theatre in Torino, the proprietors of -which were the Lupi brothers. They had inherited their profession from -their grandfather, a wandering showman of Ferrara, and from their -father, a man of lively talent who had established the present theatre. -The two brothers were named Luigi I and Luigi II, respectively; -only one is still living. Their show has been taken far and wide. -It travelled from Buenos Aires to London, from Chicago to Venice, -and has gained as great applause as did the puppets of the famous -Prandi brothers of Brescia in their day. The repertory embraces the -universe in time and space, extends from the flood to the siege of -Makalle; comprises mythology, natural history and city news; stretches -from China to California, from Cafrena to Greenland, from spaces in -the air to abysses of ocean, from the circles of Paradise to the -caverns of Hell. It includes the old commedia dell’arte, dramas from -all literatures, the ballets of Pratesi and Manzotti, the operas of -Meyerbeer and Verdi, all the military glories of the nation from -the battle of Goito to the occupation of Rome, all the congresses, -earthquakes, epidemics, floods, coronations, exhibitions, etc. - -In Bologna flourished the show founded by Filippo Cuccoli, whose clever -invention of the character Sandrone became so popular. In the hands of -the son, Angelo Cuccoli, the puppets continued until 1905, delighting -the public with their sprightly gayety. - -In Bologna, too, lived the marionettist whom Gordon Craig designates -simply but reverently as _Maestro_. His trade was that of a watchmaker, -but he was a master showman of burattini, and the shows in his -unpretentious castello are the true evidences of his devotion and deep -understanding of the art of the marionette. - -There are, it is claimed, over four hundred edifizi for marionettes, -large and small, in Italy, to say nothing of the wandering booths -of which there are two or three times as many. The large mechanical -theatres compete with regular players. - -The most modern maschere on the puppet stage has changed a little in -appearance, if not in spirit from the ancient masks. We are told of a -miniature Tartaglia, who twists his lips into a grimace; of a puppet, -Rogantino, who grinds his teeth; of Stenterello, who can put his finger -to his nose and scratch it; and of the newer mask, Carciofo, who has -a hollow metallic case for a body which enables him to eat macaroni, -drink and smoke. He can also undress himself! In North Italy, Gian Duja -is a puppet hero whose exploits delight the public almost as much as -those of the Paladins. He is of Piedmontese origin. He slays whomever -he encounters, modern politics being mixed up with his various and -mighty adventures. - - * * * * * - -The marionettes are an absorbing interest for the people of Sicily. -There is something appealing about the audiences of the usual modest -theatrino. It is composed entirely of men and boys; many of them may -have eaten dry bread without cheese or onions to save the small sum -required for admission. The people of the country are very poor, -but this is their favorite diversion. So they sit crowded into a -dark little hall, spellbound for hours, transported into a world -of romance which their spirits crave. It may be filled with crude, -primitive puppets, but it is glorified by the vivid intensity of their -imaginations. - -The Sicilian shows are not very unlike the Italian. One finds farces -with local maschere, grotesque comedy, passion-plays, tragedies and -occasional ballets. But of all plays those forever and most intensely -adored are the ones founded upon the episodes of Ariosto’s _Orlando -Furioso_. Night after night the successions of thrilling adventures -proceed. Year after year the same dramas are presented, regardless of -historic veracity or of the artistic unities; their spell remains the -same. Time cannot wither nor custom stale their infinite invariability. -The spectators recognize (nay, they anticipate) each puppet hero or -villain as he enters. They know every detail of every character’s -costume. They have the order of events by heart. - -Mr. Henry Festing Jones, wandering delightfully in Sicily, visited a -show in Trapani where the burattini were presenting some version of the -Paladins of France. Before entering, his guide, Pasquale, informed him: -“She will die to-night.” He referred to Bradamante. Mr. Jones expressed -regret and asked for particulars, whereupon Pasquale elucidated: “She -will die of grief at the loss of her husband.” And so, indeed, she -did. It proved an affecting scene and was read with deep pathos. The -Empress Marfisa, searching for Bradamante in the woods, finds her -prostrate in a grotto. “Farewell, sister, I am dying.” Then she dies. -An angel flutters down and receives her soul from her lips. - -More thrilling, of course, was the fighting of the red-eyed Ferrain, -performed the same night (red-eyed, incidentally, “because he was -always in a rage”). The first episode presented Ferrain and Angelica -whose husband he killed. “He cut off Duca d’Anela’s head, which rolled -about on the stage. Immediately there came three Turks. Ferrain stabbed -each as he entered, one, two, three, and their bodies encumbered the -ground as the curtain fell. - -“It rose as soon as the bodies had been removed, Ferrain stamping about -alone. There came three more Turks. He stabbed them as they came, one, -two, three, and their bodies encumbered the ground. To them there came -three knights in armour; Ferrain fought them all three together for a -very considerable time and it was deafening. He killed them all. Their -bodies, etc., together with those of the three Turks. A bloody sight.” - -These fantoccini of Trapani were large and crude, dressed in heavy -armor. An iron rod, extending up from the head, another attached to the -sword hand served for the moving and manipulating of them. Strings were -employed to raise the vizier, etc. The legs and arms were apt to swing -rather wildly in the heat of the fray, the combatants often sweeping -off their feet through the air. Then armor clashed against armor, -body against body, swords shivering against shield. Truly, an amazing -display! - -However naïve or even childishly absurd some of these exaggerated -episodes may appear, viewed with a sympathetic eye they become -manifestations of unconscious romance in the spirit of the Sicilian -people, a curiously mingled heritage which is theirs. While the -Paladins and Saracens heroically stamp across the boards of the puppet -show, one may sit back and recall the many great races dwelling about -the Mediterranean, which have had their influence in Sicily from the -Phoenicians and Greeks, Normans and Saracens down. One remembers the -reign of the Emperor Frederick II, the strange blending of East and -West, the Christian cathedrals of Moslem design and decoration, a -time inspired by the songs of the troubadours wandering through the -blossoming land and spreading their spell of Carolingian chivalry and -romance. - -The familiarity of the people with the long and intricate legends they -love so well is humorously portrayed by Mr. Henry Festing Jones. This -author was particularly fortunate in having formed a friendship with -a very busy _buffo_ of Palermo and with his entire family. Hence the -illuminating intimacy of his visits behind the scenes. In a letter -anticipating Mr. Jones’ visit, the buffo writes concerning his show -that the marionettes had just produced _Samson_ and that, “just now -in _The Story of the Paladine_, Orlando is throwing away his arms and -running about naked in the woods, mad for the love of Angelica, and -soon we shall have the burning of Bizerta and the destruction of the -Africans. This will finish in July and then we shall begin _The Story -of Guido Santo_.” This programme appears to have been carried out in -order, for Mr. Jones, arriving at the _teatrino_, found the performance -of _Guido Santo_ in full swing. - -“The buffo,” he writes, “took me into his workshop to show me two -inflammable Turkish pavilions which he was making. Ettorina in her -madness was to fire them in a few days, one in the afternoon, the -other at the evening repetition, as a conclusion to the spectacle. I -inquired, ‘Who was Ettorina and why did she go mad?’ It appeared, at -great length, that she went mad for love of Ruggiero Persiano. - -“Next morning,” continues the narrator, “I called on the buffo in his -workshop. The two inflammable Turkish pavilions were finished, ready -to be fired by Ettorina, and he was full of his devils.” This led to -another question: “I never heard of Argantino before. Did you say he -was the son of Malagigi?” - -“That is right. He did not happen to be at Roncesvalles, so he was not -killed with Orlando and the other paladins. An angel came to him and -said, ‘Now the Turks will make much war against the Christians and, -since the Christians always want a magician, it is the will of Heaven -that you shall have the rod of Malagigi, who is no longer here, and -that Guido Santo shall have la Durlindana, the sword of Orlando.’ And -it was so, and Argantino thereafter appeared as a pilgrim.” - -“I remember about Malagigi; he made all of Rinaldo’s armor.” - -“Excuse me, he made some of his armor; but he did not make his helmet, -nor his sword Fusberta, nor his horse Baiardo. First you must know that -Rinaldo was one of the four brothers, sons of Amone, and their sister -was Bradamante.” - -“I saw her die at Trapani. The Empress Marfisa came and found her dying -of grief in a grotto for loss of her husband, Ruggiero da Risa.” - -“Precisely; she was Marfisa’s sister-in-law because she married -Marfisa’s brother, Ruggiero da Risa.” - -“Then who was the cavaliere errante, Ruggiero Persiano?” - -“He was the son of Marfisa and Guidon Selvaggio, and this Guidon -Selvaggio was the son of Rinaldo.” - -“Had Bradamante no children?” - -“Guido Sante is the son of Bradamante and Ruggiero da Risa.” - -“I heard something about Guido Sante in Castellinaria the other day. -Let me see, what was it? Never mind. I hope he left children.” - -“I told you last year that he never married.” - -“Oh, yes, of course; what was I thinking of? One cannot remember -everything at once and pedigrees are always confusing at first. Then -it was for love of Bradamante’s nephew by marriage, Ruggiero Persiano, -that Ettorina has now gone mad?” - -“Bravo. And Malagigi was Bradamante’s cousin.” The buffo then -continued to tell the story of Malagigi and Argantino. How Malagigi, -the sorcerer, albeit a Christian, began to have fears of not getting -into Heaven when he died, hence decided to repent and burn all his -magic books but one. After having accomplished this, he summoned his -confidential and private devil and commanded, “Convey me to some -peaceful shore where I may repent of my sins and die of grief in a -grotto.” - -Here his friend objected that this made “consecutive fifths” with -his cousin Bradamante dying of grief in a grotto in Trapani. The -buffo admitted it would have been better if one of them had had the -originality to die in bed as a Christian, but that it was the will -of Heaven and could not be altered; besides the people who missed -the death of Bradamante would be pleased to see Malagigi die. After -repenting like S. Gerolamo in his grotto, Malagigi died there. A long -time after his son Argantino and his second cousin Guido Santo were -travelling in Asia and found the tomb. Guido knelt down, saying, “I -perceive here a sepulchre.” - -Presently the tomb opened and Malagigi’s skeleton rattled up and spoke -to them. He gave his magic book to Argantino, the horse Sfrenato to -Guido and made them swear to preserve the faith. After his skeleton -retired to the tomb it closed by a miracle while a ball of fire ran -over the stage. “And all this,” said the buffo, “happened only last -Friday. Why did you not come in time to see it? It was very emotional.” - -Later the buffo gave a private performance of this emotional scene and -then “to take the taste of the skeleton out of our mouths,” as Mr. -Jones puts it, he brought forth a _Ballo Fantastico_. It was done by -a heavy Turk who danced himself to pieces, each limb falling off and -being changed into a little devil, the head into a wizard and so on, -until there were sixteen different devils, wizards, serpents, etc., -from the one original Turk. After this there came on a marvellous -rope-dancer, extraordinarily lifelike and amusing. - -At Catania, at the _Teatro Sicilia_ of Gregorio Grasso, Mr. Jones -saw _The Passion_ performed by puppets during Holy Week. Every scene -was presented in detail, from the meeting of the Sanhedrin and the -conspiracy between Annas and Caiaphas to destroy the Nazarene to the -Resurrection and the Ascension. The figures were all newly costumed -for this occasion and their faces freshly painted, but there lingered -about the soldiers a flavor reminiscent of the Paladins. The scenes -were arranged quite in the manner of the paintings of old masters. The -table set for the Last Supper and the puppets seated around it strongly -suggested Leonardo da Vinci. The figure of Jesus, although not wholly -successful, was manipulated with great understanding. It moved but -little, and then with simple, slow gestures; it was allowed to speak -only the few words given to Christ in the Gospels. When it caused a -miracle, a great light appeared and there was music. The puppets here -also performed the _Nativita_ at Christmas. For the rest they had the -usual Sicilian repertory. - - * * * * * - -In Spain, as in Italy, one may trace the beginnings of puppetry back -to the ecclesiastic ceremonies in churches and monasteries where -articulated figures presented scenes from Holy Writ and legends of -saints and martyrs,--all this notwithstanding repeated canonical -prohibitions. These little figures remained as late as the sixteenth -century in the churches of Seville. We are told by Charles Magnin that -at the commencement of the seventeenth century a synod was held at -Orhuela, a little Valencian bishopric which solemnly forbade “admission -into churches of small images of the Virgin and female saints, curled, -painted, covered with jewels and dressed in silks and resembling -courtesans.” - -[Illustration: WOODEN SPANISH PUPPETS - -Part of a large and elaborate set - -[Courtesy of the Bradlay Studios, New York]] - -The emperor, Charles V, had a great love for curious and ingenious -mechanical toys, and with such encouragement many mechanicians applied -themselves to the invention of automatic contrivances. Giovanni -Torriani is said to have won favor by constructing a very wonderful -clock. When Charles V abdicated his throne and retired to the monastery -of Cremona, the loyal Torriani followed him to his retreat, and many an -hour this famous mathematician spent distracting the saddened monarch -with marionette shows. He constructed marvellous _titeres_, as the -Spanish puppets are called, little armed men who blew horns, beat -drums, and fought; little horses and even miniature bull-fights. - -At the marriage festival of Louis XIV and the Infanta Maria Teresa a -feature in the procession which welcomed Mazarin’s arrival in Spain was -a group of mammoth Moors and their wives, which moved ponderously along -by means of very intricate internal mechanisms. - -There had previously been theatrical puppets in Spain, but these -mechanical improvements were soon adopted by the popular _titereros_, -showmen, and the marionettes sprung up in all public places, in cities, -villages, fairs, even at court. - -The characters and repertories of the titeres were always strictly -national, although the exhibitors were frequently foreigners. Moors, -knights, giants, enchanters, conquerors of the Indies, saints, hermits, -bull-fighters, characters from the old and new testaments, all were -displayed in the puppet castello. The Spanish _Grazioso_, costumed -somewhat in the fashion of Pierrot, was never a very prominent -puppet; he later acquired the name of Don Christobal Pulichinela. A -well-known type of wandering show consisted of a blind man, led by a -boy, with a mule and wagon to carry the castello and equipment. The -blind man generally recited the text of the play, the boy operated the -puppets. Cervantes depicts a Spanish show for us where Don Quixote -and Sancho Panza saw performed, “The manner in which Signor Gayferos -accomplished the deliverance of his spouse Melisandra,” and he relates -with much spirit how Don Quixote’s chivalrous zeal interfered with the -performance of Master Peter’s puppets. Since that time, over three -hundred years, there has been little change in the titeres of Spain. - -In 1877 in Madrid Molière’s _Monsieur Pourceaugnac_ was presented by -marionettes. In 1808 a French savant was present at a Valencian puppet -show when the _Death of Seneca_ was performed. The account tells us -that, “In the presence of the audience the celebrated philosopher ended -historically by opening his veins in a bath. The streams of blood that -flowed from his arms were simulated cleverly enough by the movement of -red ribbon. An unexpected miracle, less historic than the mode of his -death, wound up the drama. Amidst the noise of fireworks the pagan sage -was taken up into Heaven in a _glory_, pronouncing, as he ascended, the -confession of his faith in Jesus Christ to the perfect satisfaction of -the audience. Spain, a country of anomalies, is not to be disconcerted -by an anachronism.” - -In Portugal the titeres were used so frequently to represent hermits -and monks in monkish garb that they come to be called _Bonifrates_. -They were quite similar to the Spanish marionettes. - - - - -_The Puppets in France_ - - “Ainsi font font font - Les petites marionettes - Elles font font - Trois petits tours et puis s’en vont.” - - -The French, scarcely less than the Italians, are devotees of the -diminutive Polichinelle. Moreover in France this devotion is -particularly noticeable in the upper classes. Perhaps it is this -interest of aristocratic and cultured circles or possibly the happy -genius and good taste of the people themselves which have endowed -the marionettes of France with such undeniable charm, a sort of chic -cleverness and at times a rare and finished beauty. - -The ancient Gauls, before their conquest by the Romans, had great -Druid gods, Belen, Esus, Witolf, Murcia, represented by huge and -fearful idols which were operated by means of internal mechanism to -terrorize into submission the fierce, barbaric worshipers who beheld -their solemn gestures. After the conquest Greek and Roman practices -were intermingled with barbarian rites and, eventually, the doctrine -of Christianity was infused into the mass of strange beliefs and -superstitions. But even in the fifteenth and sixteenth centuries, -after the new religion had become established in the land, its -priests continued to employ the moving images as they had done in the -churches of Italy. Similarly too, we find the sacred representations -and religious rites within the churches giving birth to the mysteries -and morality plays just outside which gradually spread to booths in -the market places and roamed the countryside under the guidance of -ambulant showmen. In the Provençal cribs, the _Crèches parlantes_ of -the southern cities at Christmas time, there are to-day many qualities -remaining from these old mysteries; the large decorated stages, the -technical devices, the transformations, the beautifully dressed, -articulated dolls, the music and recitations. - -One characteristic of the great French _mitouries_ was the use, -frequently and openly, of human actors along with marionettes. Many -records of such performances have been preserved, among them a -description of one celebrated annually at Dieppe on the first day -of August by a company of clergy and laity supported by several -figures set in motion by means of strings and counterweights. In the -open space before the Church of St. James there was represented the -_Mystery of the Assumption_. Four hundred _personaggi_ participated -and the marvellous spectacle attracted throngs of strangers to the -city of Dieppe. Similar performances at Christmas, Easter, or at other -times were given in all the larger cities of France, in Rouen, Lyons, -Paris, Marseilles. The plays were of a religious character. Notable as -late as the seventeenth century were the spectacles produced by the -monks of the Order of Théatines with clever movable figures upon the -presepio they constructed before their convent door. These monks won -the favor of no less a personage than Jules Mazarin, who had them give -performances in Paris. - -But, as these religious puppets ventured out from the jeweled twilight -of the cathedrals into the bright sunshine they were accosted by -flippant crews of wanderers from the South, Pulcinella, Arlecchino, -Dottore, Cassandrino, Columbine, and other protagonists of Italian -puppet drama, exploring in their castelli the highroads and villages -of a new country. The merry foreigners intermingled happily with -the native _fantoches_; they altered their names and their natures -with easy adaptability and upon the French puppet stage appeared in -sprightly guise _Polichinelle_, _Harlequin_, _Pierrot_. - -French theatrical puppets must have become established in the sixteenth -century for we find them mentioned in a work entitled _Serées_ -published 1584, by Guillaume Bouchet, juge et consul des marchands à -Poitier. Polichinelle first presented himself to the Parisian public -about 1630 and although not yet at the height of his glory he was -completely changed into a buffoon of Gascony. In 1649 the marionettes -entered into the first permanent stage erected in Paris for the _jeu -des marionettes_, by the side of the Porte de Nesle. The proprietors -of this theatre were two brothers (or father and son as some prefer -to consider them) from Bologna, Giovanni and Francesco Briocci, the -name changed by the French to Brioché. It is said that Brioché first -displayed his dolls to attract clients for himself as he originally -plied the trade of dentist. At any rate Francesco carved the dolls and -Giovanni improvised the dialogue in French interspersed with quaint -Italian or Latin sayings. So amusing were these burattini that they -became tremendously the rage. We find Brioché mentioned in the works of -the academician, Perrault, and in 1677 Nicolas Boileau speaks of him as -a well known figure in the Parisian streets, “Là non loin de la place -où Brioché préside, etc.” - -There is a well known story concerning Cyrano de Bergerac and a -trained ape of Brioché, _Fagotin_ by name. A contemporary account of -the incident thus describes the animal: “He was as big as a little -man and a devil of a droll. His master had put on him an old Spanish -hat whose dilapidations were concealed by a plume: round his neck was -a frill à la Scaramouche; he wore a doublet with six movable skirts -trimmed with lace and tags,--a garment that gave him rather the look -of a lackey,--and a shoulder belt from which hung a pointless blade.” -One day Cyrano saw the monkey arrayed in this livery wandering and -grimacing about the puppet booth. But the poet, whose sensitiveness had -been the cause of many a duel, imagined that the poor animal was making -faces at his large nose. He grew excited and drew his sword. Thereupon -the monkey, for whom this was a well-rehearsed trick, drew forth his -tiny wooden weapon in imitation. Cyrano was infuriated beyond reason -and rushing at the creature he killed it with his sword. All Paris -heard of the event and an anonymous pamphlet was published concerning -it in 1655 called “Combat de Cyrano de Bergerac contre le singe de -Brioché.” - -Another amusing tale is told of an Italian showman, supposed to have -been Brioché himself, who wandered into Switzerland where puppets -had seldom been seen. There this venturesome fellow narrowly escaped -being burned at the stake by the simple-minded inhabitants who swore -they had heard the little figures jabber, hence knew they were little -devils summoned by evil methods to do their master’s bidding. He, poor -man, was compelled to save his life by stripping the puppets naked and -displaying before his judges their small crude bodies of wood and rags -and paper. - -However, in France the puppet show gained such popularity and fame -that in 1669 Brioché was summoned to the court to amuse the royal -Dauphin, son of Louis XIV. Thus Polichinelle makes his bow in the -palace as the records of the royal accounts attest: “A Brioché, joueur -de marionettes, pour le séjour qu’il a fait à Saint Germain en Laye -pendant les mois de septembre, octobre et novembre pour divertir les -Enfants de France, 1365 livres.” The following year a French showman, -Francesco Datelin, was similarly summoned to entertain the Dauphin -with his puppets, “à raison de 20 livres par jour.” The royal interest -in marionettes extended still farther for, some years later, Francesco -Brioché and his little wooden figures were protected by a special order -of the King himself to the Lieutenant General of Police. And indeed, -they probably needed such protection, for their popularity seems to -have stirred up enmity against them. Besides they were often meddlesome -and impertinent and deserved the wrath they incurred. - -Under such favorable conditions companies of marionettes sprang up -all over France. They attracted the attention of many writers of the -day in whose works we may find them often and favorably mentioned, -Gacon, Scarron, La Bruyère, Lemierre, Arnaud. Most ambitious among the -immediate successors of the Briocci was the French showman, Bertrand, -with his audacious puppets who never hesitated to poke their wooden -noses into matters of gravest import. The revocation of the Edict of -Nantes furnished one well known occasion. The puppets took sides, -representing Catholics and Protestants upon their little stages. -Pantalone was in one faction, Harlequin in another and Polichinelle, -as Ferrigni describes him, “always something of an unbeliever, is -ready at all times to pour ridicule upon the hypocrisy of bigots and -the libertism of reformers.” The play drew crowds of all classes until -it was finally stopped by the authorities who had been notified of -it in this manner: “To M. de la Raynie, Councillor of the King in -Council. It is said this morning at the Palace that the marionettes -at the Fair of Saint Germain are representing the destruction of the -Huguenots and, as you will probably find this a serious matter for -the marionettes, I have deemed it right to give you the information -thereof so that you may make use of it according to your discretion.” -But despite an occasional rebuff, the marionettes became more and more -firmly established in the two Fairs of Saint Laurent and Saint Germain. -What clever shows, what ingenious and indefatigable showmen! Bienfait, -Gillot, Tiquet, Maurice, De Selles, Francesco Bodinière, the brothers -Ferron at _The Sign of the Giglio_, the _Théâtre des Pygmées_ of La -Grille, the show in the Rue Marais du Temple, _Il Gallo_ and many -others. - -Now indeed the emboldened fantoches began to wage a most amazing battle -royal, their opponents being no other than the managers, actors and -singers of the contemporary stage. The three great theatres alone at -this time had the privilege of representing musical opera, tragedy, -or commedie nobili. The puppets were restricted to mere farces of -one scene for not more than two characters, only one of whom was -allowed to speak and that “par le sifflet, de la pratique,” a little -contrivance which the showman put into his mouth when reciting to -produce the shrill squeak characteristic of Polichinelle from time -immemorial. But these showmen circumvented such limitations with many -devices,--pantomimes with musical interludes and figures with printed -cards hung up to explain the action, even living children combined with -puppet play. - -The large marionettes of La Grille, manipulated by wires sliding on -rails and held upright by weights and counterweights, were claimed by -their owner to be a new invention, despite the fact that similar dolls -were not unusual in Italy. At any rate they were a novelty in France -and to them King Louis XIV accorded special privileges. Nevertheless -before long they had over-stepped them and trespassed upon the rights -of the actors of the opera. The latter complained to the King. He -issued fresh interdictions. The marionettes subsided: only to break -forth again. In 1697 the Italian actors in the _Hôtel de Bourgogne_ -incurred disfavor at court and were temporarily put out of their -theatre. Bertrand immediately installed his puppets in triumph upon -their vacated stage which he, in turn, was eventually enjoined to quit -by a subsequent order of the King. Thus the struggle continued. - -In 1720 further privileges were obtained by the marionettes, six or -seven at a time being allowed to sing, dance or recite upon the stage. -Immediately the famous showman, Francisque, engaged three prominent -poets to write new plays for his burattini, Fuzilier, Lesage, and -d’Orneval. They set about creating a quite new form of dramatic art, -a master stroke which has persisted ever since, the well known _opéra -comique_. The first one, _L’ombre du cocher poète_, was given in a -booth in the Foire Saint Germain and was so enthusiastically received -that the jealous antagonism of directors and singers of the opera -was aroused more violently than ever, but the opéra comique remained -popular. Piron composed for the burattini an opéra bouffe, La Place, -Dolet, Carolet, all invented puppet parodies on the plays and actors -of the day. Favert composed his first drama for the pupazzi and Valois -d’Orville inaugurated the _Revues de fin d’année_, a criticism of the -year’s dramatic production by the mocking marionettes. - -The seventeenth and eighteenth centuries are quite rightly called the -golden age of marionettes. The puppets were executed and managed with -utmost skill, the mise-en-scène imitated the magnificence of the larger -theatres. The greater the impertinences the greater the popularity -of the puppets,--what wonder that the Comédie Française complained -of them as a “concurrence déloyale.” But with the entrance into the -puppet shows of the spectacular, the decline of the French marionettes -began. It is true that despite his crude and rather broad repartee so -popular in the two fairs, his jokes of doubtful taste relished upon -the boulevards, Polichinelle continued to be the vogue among the upper -classes. He was called to perform in the salon of the Duc de Bourbon, -of the Duc de Bourgogne, of the Duchesse de Berry, and of the Duc de -Guise at Meudon. At one time, indeed, the Duchesse de Maine had a -puppet stage built at her chateau of Sceaux and plays and epigrams -written for it by her friend and secretary, the academician Malezieu, -which finally involved an altercation between Polichinelle and the -Academy. At the same Castle of Sceaux in 1746 the Comte d’Eu had a -company of marionettes brought in and he operated and spoke for them -himself. Voltaire, present at this occasion, forgot his quarrel with -the burattini for having poked fun at his _Mérope_ and _Oreste_ and -took a hand himself at the manipulating. Eventually he found himself -composing for them and inviting them into his own castle, Cirey, where -he may have learned many things about the traditional Italian drama -from studying the personaggi of the puppet stage. - -At this time, indeed, Fourre, Beaupré, Audinot, Nicolet and Servandoni -were making lasting names for themselves as directors of marionette -theatres but it gradually came to pass that, as the audiences grew -cold, witty jests were replaced by spectacular surprises such as the -mechanical triumphs achieved by the puppets of Bienfait. We read of -M. Pierre’s show. “Here are to be seen in every detail, mountains, -castles, marine views; also figures that perfectly imitate all natural -movements without being visibly acted upon by any string, storm, -rain, thunder, vessels perishing, soldiers swimming.” We hear of -Audinot’s exhibition of life-sized _bamboches_ imitating with striking -resemblance celebrities of the day, displaying the follies and vices of -the eighteenth century courts. Children were seen acting with puppets -and there were innumerable military pieces such as, _The Bombardment of -Antwerp_, or _The Taking of Charleroi_. Poor Polichinelle, indeed! We -will scarcely be surprised to find him struggling along as best he can -and finally suffering a last indignity by losing his little wooden head -for the edification of the Parisian mob on the very day, at the very -hour, when the unfortunate monarch Louis XVI was guillotined. - -Everywhere puppets have originated among the common people: they are -primarily an expression of popular taste. Nevertheless, this rude show -of the masses has frequently aroused the curiosity of artists and some -of them have found in the very naïveté of the dolls unexpected artistic -possibilities. The delightful potentialities have been developed into -an exquisite and unique art genre in many countries, particularly in -France. - -We have seen the kings and courts entranced by the burattini of -Brioché and his followers. Lesage, Piron and other dramatists were -engaged in writing plays for the fantoches; even the great Voltaire -entertained his distinguished guests at Cirey with his own puppet -shows. Rousseau was interested in them. Gounod wrote “The Funeral -March of a Marionette.” Charles Magnin, learned member of the Académie -Française, devoted himself to the task of chronicling the long history -of puppetry. Charles Nodier, persistent visitor of the Parisian shows, -is called by some Polichinelle’s laureate for the many sparkling pages -in his works that are devoted to the marionette. - -We shall not be so greatly surprised, therefore, to learn that George -Sand had her own puppet theatre at her estate, Nohant, where for thirty -years she herself arranged the plays and dressed the dolls while her -son, Maurice, sculptured them and acted as director. It was called, -_Théâtre des amis_ and the first performance was given in 1847. This -was a very crude affair got up by Maurice Sand and Eugene Lambert -(painter of cats) for themselves and a circle of intimate friends. The -stage itself was merely a chair with its back turned to the audience, a -cardboard frame arranged in front of it with a curtain to be rolled up -and down. The operator knelt upon the seat of the chair, on his hands -were placed the puppets, which consisted merely of dresses hung upon -sticks of wood for the head, scarcely carved at all. Being tremendously -successful, this performance was followed by others. Thus the theatre -grew. - -[Illustration: GEORGE SAND’S PUPPET THEATRE AT NOHANT - -[From Ernest Maindron’s _Marionettes et Guignols_]] - -George Sand developed very decided theories about her little dolls. -She writes that she prefers the sort which may be manipulated on three -fingers to those moved by means of wires. Her feeling was that when -she thrust her hands into the empty skirts of the inanimate puppet -it became alive with her soul in its body, the operator and puppet -completely one. She disapproved of realistic puppets. The faces of her -dolls were carved with great skill but purposely left crude, painted -in oil without varnish to get the strongest effect, with real hair and -beards and special attention given to getting light into the eyes. -There were, eventually, over one hundred dolls including such as -Pierrot, Guignol, Gendarme, Isabelle della Spade, Capitaine, also well -known types and personages of the day. Very popular and subsequently -famous was the _Green Monster_ at Nohant. It appears that in one of the -early plays the cast called for a green monster. Upon the maker of the -marionettes devolved the task of supplying one. Madame Sand, nothing -daunted, discovered an old felt slipper. By using the opening as the -wide jaws of the dragon and lining it with red to represent the inside -of the mouth, a very effective, long snout was presented which, with -a hand slipped inside, could be opened and closed most fearfully and -threateningly. It was a highly successful _green monster_. Whenever it -appeared there was much applause, and nobody ever seemed to notice or -to care that it had been manufactured out of _blue_ felt. - -The repertoire of the Théâtre des amis was varied, sometimes fantastic -whimsies, sometimes travesties on daily events; sometimes the managers -grew ambitious and presented spectacular scenes with ballets; the -literary side of the production was always emphasized. These shows, -the best of their sort, continued through most troublesome times of -political upheaval and George Sand has written some touching paragraphs -upon the fact that hearts sorely grieved by these national trials, -could find distraction and a moment’s respite with the marionettes. - -The puppets, too, had their vicissitudes. At one time, Victor Borie, -who was assisting, in attempting to represent a fire, burnt down -the whole stage. It was built up anew with more puppets and better -equipment. Madame Sand dressed the new dolls as she had the old. More -helpers had to be called in, all talented persons who entered into -the work with enthusiasm. The audience always contained celebrated -people, representatives of literature, art, music and statesmanship. -Once when the puppets presented a parody upon _La Dame aux Camellias_ -(presumably not for young ladies) Dumas, fils, came to see and enjoy -the production. In 1880 the puppets moved from Nohant to Passy to the -home of Maurice Sand, where a large theatre had been prepared for them. -Here there were over four hundred elaborate dolls. But in 1889 Maurice -Sand died and the Théâtre des amis disappeared. A book written about it -was published in 1890. - -[Illustration: PUPPETS OF GEORGE SAND’S THEATRE AT NOHANT - -[From Ernest Maindron’s _Marionettes et Guignols_]] - -Equally illustrious and possibly more exquisite, more precious, -were the puppets of the _Erotikon theatron de la rue de la Santé_, -established in 1862. Here it is said puppetry was raised to an ideal -level. Here, an enthusiastic press of the day proclaimed, here was -the proof of how highly developed a naïve and simple art may become -in the hands of rare spiritual and æsthetic personalities. Another -journal, _Le Boulevard_, exclaimed, “Again a new theatre! An intimate -theatre, Erotikon theatron, that is to say _Theatre of Amorous -Marionettes_. Reassure yourselves, everything that transpires is most -conventional; the blows of the cudgel are always protectors of -morality and if a mother would not see fit to bring her daughter, on -the other hand, painters and literateurs of talent take delight in it.” - -It was indeed an exceptional experiment, a gathering of artists, -sculptors, musicians, actors, authors; Lemercier de Neuville, the -guiding spirit, assisted in his efforts by Carjat and Gustave Doré, -and also by Amedée Rolland, Jean Dubois, Henri Monnier, Théodore de -Banville, Bizet, Poulet Malasses, Champfleury, Duranty, Henri Dalage -and others, each contributing something toward the perfection of the -whole. M. Lemercier de Neuville was in the beginning architect, mason, -painter, machinist, carpenter, decorator, hairdresser and tailor, -actor, singer, dancer and imitator. Alfred Delvau has written an -entertaining history of this bizarre little theatre. The project seems -to have been suggested informally at the home of M. Amedée Rolland, by -a group of distinguished men of letters who had been lunching together, -among them De Neuville, who proceeded to transform the idea thus -lightly suggested into a concrete reality. - -The auditorium seated only twenty people; its walls were painted with -mural decorations by artists of the group, as was the proscenium arch -of the stage. The stage itself was only a trifle over two yards wide, -but it was well equipped for the presentation of quite elaborate -faeries. For the most part, however, there were merely the pupazzi upon -the stage, which M. de Neuville worked himself upon his fingers. Their -faces were modelled with unsurpassed refinement and animation, their -creator having lavished his heart and talent in the making of them. -His _Pierrot Guitariste_ was, according to Maindron, the most charming -of all puppets, in gesture and bearing a masterpiece of mechanical and -plastic art. Others have called it the most highly perfected puppet -ever created. Another remarkable doll was the violoncellist who could -enter, bow in one hand, instrument in the other, seat himself, tune up -and play. There was a Spanish dancer particularly graceful and alluring -as well as a wonderful ballet, worked on one horizontal string, which -glided in and out and back and forth. Sarah Bernhardt was represented -among these fascinating pupazzi and Jules Simon, Coquelin, cadet, and -other celebrities familiar in Paris. As de Neuville lived among the -individuals he was representing what wonder that his mimicry was close -to perfection? - -This altogether rare little theatre unfortunately endured for only -a year and produced in all but six or seven delightful if slightly -shocking pieces, although more had been written for it. Perhaps the -dissimilarity of talents comprising it was too great, but at least its -inspired cynicisms, amusing audacities and exquisite spectacles have -won the lasting acclamations of the French press, of royalty and of the -greatest geniuses of the day. - -[Illustration: - - SIVORI - PIERROT GUITARISTE - COQUELIN CADET - -Puppets of Lemercier de Neuville, Erotikon theatron de la rue de la -Santé - -[Reproduced from Ernest Maindron’s _Marionettes et Guignols_]] - -In the shadow play, as well as in the play of pupazzi, French artists -have attained great successes. The first _Ombres Chinoises_, so -called, of importance started simply enough about 1770 when Dominique -Seraphin, a young man of twenty-three, established his little show in -Versailles. In the beginning for the amusement of children, little -comical dialogues such as _The Broken Bridge_, or _The Imaginary -Invalid_ (from Molière), were presented by silhouette figures with -articulated limbs. In 1774 after a few years of unusual success, -Seraphin moved to Paris where, under royal protection, his little -shadows became very well established. Although they had been ensconced -in the Palais Royal by favor of the king yet they managed through the -cleverness of Seraphin to sustain themselves in popular favor after the -overthrow of royalty. Indeed they were said to be the first to avail -themselves of advertisements in the form of posted placards. - -The advertisement was rather charming: - - “Venez, garçon, venez fillette, - Voir Momus à la silhouette. - Qui, chez Seraphin, venez voir - La belle humeur en habit noir. - Tandis que ma salle est bien sombre - Et que mon acteur n’est que l’ombre - Puisse, Messieurs, votre gaîté - Devenir la réalité.” - -Long after the death of Seraphin, until 1870 in fact, the show -continued in the hands of his descendants, presenting pieces especially -written for it, with music composed to accompany the shadows. - -It was the art critic, Paul Eudel, who first published an illustrated -volume of such fairy pieces and melodramas composed by his grandfather -in the first quarter of the nineteenth century. Half a century later -Lemercier de Neuville, who was interested in _pupazzi noir_ as well as -in other puppets, published another collection of little plays with -fifty illustrations and with explanations of designs and methods of -producing the shadows. De Neuville had enlarged the scope but had not -changed the principles of the art. He presented animals who opened -their jaws, processions and caricatures of celebrities such as Sarah -Bernhardt, Zola, and others. - -[Illustration: TABLEAU - -From a shadow play of _The Prodigal Son_ at the Chat Noir - -[Designed by Henri Rivière]] - -Then a little later came the wonderful shadows, now designated as -_Ombres Françaises_, and shown at the Chat Noir, famous cabaret of -Montmartre where gathered literary and artistic Bohemia. “The Chat Noir -has an art of its own,” writes Anatole France, “that is at once mystic -and impious, ironical, sad, simple and profound, but never reverential. -It is epic and mocking in the hands of the precise Caran d’Ache. It has -a bland and melancholy viciousness in Willette, who is, as it were, -the Fra Angelico of the cabarets. It is symbolic and naturalistic with -the very capable Henri Rivière. The forty scenes of the ”Tentation“ -of St. Anthony amaze me. They exhibit lovely coloring, daring fancy; -impressive beauty and forcible meaning. I put them far above the -imps depicted by the austere Callot.” These comedies, spectacles, -military epics, oratorios, mysteries, Greek scenes, burlesques and -pantomimes, were indeed conceived with a certain large poetic glamour. -It was Caran d’Ache who made the great artistic contribution of giving -up articulation of individual figures, for the most part, to move great -numbers of them along. He invented perspective in shadows, using masses -of figures in different planes and producing a sense of solidarity -and immensity. His masterpiece, _Epopée_, the evocation of the Grand -Army of Napoleon, presented with epic grandeur company after company -of cuirassiers in long lines, the profiles diminishing in height as -the figures receded from the eyes. It conveyed, as one critic avers, -the idea of great space and of a vast army of men marching in serried -ranks “to victory or to death.” A few single figures were allowed to -stand out distinctly like the Little Corporal on horseback, there was -little speech only music and an occasional command. The effect of this -military silhouette was most impressive. - -Next came Henri Rivière, who added the variety of color to the shadows, -and furthermore, by the use of two magic lanterns, created dissolving -views so that the background might be altered at will. The subjects -of his elaborate pantomimes were such as _The Wandering Jew_, _The -Prodigal Son_, and _The Temptation of St. Anthony_. Of the latter, -Rehm has given us an admiring appreciation. “We saw the sun setting -into the sea, the forests trembling in the morning breeze; we saw -deserts stretching out into the infinite, the oceans surging, great -cities flaming up in the evening with artificial lights and the moon -silvering the ripples of the rivers upon which barges were silently -and slowly gliding along. He (Rivière) employs everything from the -picturesque style of watercolor spread on with a brush to the imitation -of Japanese color prints, pen sketch and poster style, Gothic or -Pre-Raphaelite characteristics and naturalistic impressionism. In _The -Sphinx_ where the conquerors of all centuries, from the Pharaohs to -Napoleon, file past this monument of eternity; in his _March of the -Stars_ where shepherds and their flocks, beggars, slaves and fishermen, -and the Wise Men from the East make their pilgrimage to the Virgin -with the Divine Child; in the _Enfant Prodigue_ where the son of the -patriarch sets out for Egypt accompanied by his herds, his caravan, his -riders,--to return, a beggar,--everywhere we see this art, dreamlike -and philosophic, legendary, fantastic, sublime, creating ecstatic -illusions.” Of _The Sphinx_, a collaboration of Rivière and Caran -d’Ache, Jules Lemaître writes, “Here we have a true epic poem, simple -yet grandiose.” - -Thus the magic touch of genius has transformed naïve shadows into -something altogether wonderful while crude pupazzi, animated with -thumb and fingers of the artist, have grown gloriously sophisticated. -The marionettes that are moved by wire or string also had their -renaissance in the sympathetic, stimulating atmosphere of Paris. Their -technical development J. M. Petite has called a veritable triumph of -ingeniousness, of prestidigitation, and of mechanics. The first of the -_Operator-Magicians_ was Thomas Holden, who came to Paris around 1875. -His puppets performed the most perilously difficult feats. Following in -his footsteps came two brothers who rivalled him in skill; Alfred and -Charles de Saint-Genois, who took the names of Dickson and John Hewelt -respectively. The puppets of Dickson are said to have operated as if -by magic. They were mute and appeared on the stage singly, but the -perfect elasticity and the winged grace of their gestures seemed truly -supernatural. They were displayed at the celebrated theatre of Robert -Houdin. - -John Hewelt gave productions of quite a different nature. He -constructed not only a marionette stage for his actors, but an -orchestra of puppets with an animated little leader, and diminutive -spectators in the front boxes, a little lady with an opera glass, -another with a fan, perfectly gowned in the latest fashions, applauding -or chatting after the approved manner. Upon the stage appeared -startlingly lifelike figures impersonating Yvette Guilbert and other -celebrated actresses and actors of the day. Hewelt stood concealed on -a platform overlooking and manipulated his puppets by three controls, -with his feet as well as his hands. But despite his unsurpassed -inventiveness, his production did not quite satisfy the spirit. One -marvelled at the difficulties overcome more than at the beauty of the -performance. - -As ingenious mechanically as the shows of John Hewelt and Dickson, but -conceived and carried out in a far more inspired and artistic manner, -were the puppets of the Galérie Vivienne. _Le Petit Théâtre de M. Henri -Signoret_ (1888–1892) has been immortalized in the writings of Anatole -France, most rare and delicate critic. It was an undertaking seriously -entered upon by some of the artistic spirits in Paris who desired to -witness intelligent and sympathetic performances of the classic drama -of all lands; Greek plays, the mysteries of the Middle Ages, Italian -and Spanish comedy of the sixteenth century. Apparently the stage of -the day did not satisfy this desire. After encountering insurmountable -difficulties in assembling an adequate cast of good actors, it was -decided to use marionettes. Forty friends, all artists, combined to -help the director, who was the fastidious literateur, M. Signoret. The -result was a brilliant success. - -The theatre was like a little jewel case in its delicate detail; -it seated only two hundred and fifty people. The puppets were most -carefully constructed. The same skeleton framework was used for them -all but individual heads, hands and chests were put on each frame -which was finally costumed according to design. Both the modelling of -the faces and the costuming were the inspired creations of artists. -The marionettes were moved on rails in grooves or slides, the arms -and neck being wired and manipulated by pedals from underneath. The -audience was seated low so that the mechanism was invisible. The -public who patronized this marionette theatre, indeed, consisted -of such interesting people as Jules Lemaître, Émile Faguet, Anatole -France, Hugues Leroux, and they were unanimous in their approval. -The repertoire included classic drama of every epoch: _The Birds_ by -Aristophanes, _Abraham_ by the Abbess Hrotswitha, _Gardien Vigilant_ -by Cervantes, _The Tempest_ by Shakespeare, _Tobie_ and _The Legend of -St. Cecelia_ by M. Boucher, _L’Amour dans les Enfers_ by Amédée Pigeon -written expressly for the marionettes of M. Signoret. - -But let the fluent pen of the illustrious and enthusiastic witness -picture them to you. “I have already made the avowal,” declares Anatole -France, “I love the marionettes and those of M. Signoret please me -particularly. These marionettes resemble the Egyptian hieroglyphics, -that is to say, something mysterious and pure and when they represent a -drama of Shakespeare or Aristophanes I think I see the thoughts of the -poet being unrolled in sacred characters upon the walls of the temple.” -Of the representation of _The Tempest_ he writes: “M. Signoret’s -marionettes have just acted Shakespeare’s _Tempest_. It is hardly an -hour since the curtain of the little theatre fell on the harmonious -group of Ferdinand and Miranda. I am still under the charm; as Prospero -says, ‘I do yet taste some subtleties of the Isle.’ What a delightful -play! And how true it is that exquisite things are doubly exquisite -when they are unaffected.... - -“Look at the marionettes of _The Tempest_. The hand that carved them -imprinted on them the features of the ideal, whether it be tragic -or comic. M. Belloc, a pupil of Mercie, has modelled for the little -theatre heads which are either powerfully grotesque or of a charming -purity. His Miranda has the subtle grace of a figure of the early -Italian Renaissance and the virginal fragrance of that fortunate -fifteenth century which made beauty bloom a second time in the world. -His Ariel in his gauze tunic spangled with silver reminds one of a -miniature Tanagra figure, doubtless because aerial elegance of form is -a particular attribute of Hellenic art in its decline. - -“These two pretty puppets spoke with the clear voices of Mesdemoiselles -Paule Verne and Cecile Dorelle. As for the more masculine parts in -the drama, Prospero, Caliban, and Stephano, poets such as MM. Maurice -Bouchor, Raoul Ponchan, Amédée Pigeon, Felix Rabbé spoke for them. Not -to mention Coquelin, cadet, who did not disdain to repeat the prologue -as well as the amusing part of Trinculo, the clown. - -“The decorations also had their poetry. M. Lucien Doucet represented -Prospero’s cave with that cunning grace which is one of the -characteristics of his talent, etc.” - -Again: “In the meantime I have seen the marionettes of the Rue Vivienne -twice and I have enjoyed them very much. I am infinitely thankful to -them for having replaced living actors. - -“They are divine, these dolls of M. Signoret and worthy of giving form -to the dreams of the poet whose mind Plato says, was ‘the sanctuary of -the Graces.’ - -“Thanks to them we have Aristophanes in miniature. When the curtain has -risen on an aerial landscape and we have watched the two semicircles -of birds taking their places on either side of the sacrifice, we -have formed some idea of the theatre of Bacchus. What a delightful -representation! One of the two leaders of the birds turning to the -spectators utters these words: ‘Feeble men, like unto the leaf, vain -creatures fashioned out of clay and wanting wings, unhappy mortals -condemned to an ephemeral and fugitive life, shadows, baseless -dream....’ It is the first time, I think that marionettes have spoken -with this melancholy gravity.” - -All this is very interesting and very serious, no doubt, but what -of the piping, impertinent voice of Polichinelle? And of this merry -Guignol who makes the children laugh? It may seem odd to insert these -slapstick buffoons into the midst of aristocratic literary puppets, -but after all Guignol was growing and thriving contemporaneously with -them and the hardy little fellow has outlived the most of them. Less -elaborate and socially less select than those others installed in their -artistic theatres, these al fresco performances in the Champs Élysées, -in the gardens of the Tuileries and Luxembourg follow the traditional -custom of their kind. The _castellet_ of Guignol is little different -from Punch’s booth, the dolls are most often simple creatures worked -on the fingers, squeaking extemporary dialogue such as one might hear -from the pupazzi of Italy or the figures of the Chinese peripatetic -showman swathed in his linen bag. - -Polichinelle has been through difficult times. The French Revolution -found him obscure but a patriot, rejoicing at the new order of things. -Later he was discovered amusing Emperor Napoleon the Third at the -Tuileries Palace. In 1854 the French Zouaves and Grenadiers in the -Crimea took Polichennello along with them and he loyally followed up to -the very battlefield. But oftenest he was to be seen, through the long -lapse of years, humiliated, humbled,--dancing on a board at the twitch -of a horizontal string tied to the knee of some little Savoyard boy who -beat a tambourine or blew upon a pipe and sang a pathetic song as he -journeyed on to Paris. And there, too, on sidewalks and, when the wind -blew cold, in the shelter of arches puppets danced on the board and the -little boy gathered his pennies to send back home to his mother. - -Thus Polichinelle has pursued his incredible career until we find him -to-day with a devoted wife La Mère Gigogne and many well known if -less popular fellows, such as Pierrot, and Harlequin, to say nothing -of his many delightful and successful offspring. There is Lafleur -the Polichinelle of Picardy, favorite of Amiens, a handsome peasant -fellow always pleasant spoken even when beating up the policeman. -Jacques is a little buffoon who entertains the public of Lille in his -modest basement theatre. There in _Joseph sold by his Brothers_, or -_Ali Baba and the Forty Thieves_ he performs the principal parts (“la -comédie pour un sou”). Most prominent of the progeny of Polichinelle is -Guignol. Indeed he somewhat over-shadows his sire. - -Although he has established himself so thoroughly in Paris, Guignol -first came from Lyons. His creator was the modest but expert -marionettist, Laurent Mourguet. It is he who is reported to have -said to the friends weeping at his deathbed, “I shall never make -you cry as much as I have made you laugh.” Guignol originated in a -picturesque but humble cellar show. Although he has now moved into -new and finer quarters, he remains a modest workman simply dressed, -perpetually harried by his landlord and always with insufficient funds -to pay his rent. He has a wife, long suffering _Madelon_, and a wild -and wicked son _Guillaume_ and along with them one finds _Gnaffron_, -_Gringellet_, _Bobine_, _Bambochnette_, _le Gendarme_, _le Médecin_, -_le Propriétaire_, _le Juge_, all these and many others. - -In the Gardens of the Luxembourg, on the Champs Élysées or elsewhere -in Paris, one may come upon these little actors merrily performing -on small stages erected for them, and with an audience of spellbound -children and nursemaids sitting before the castellet. - -Most celebrated of these Parisian theatres is that of the _Vrai -Guignol_ in the Champs Élysées. M. Anatole, the founder of it, was -the first who undertook to expand the repertoire of Guignol and to -introduce pieces of adventure whose very names delight one: _The -Brigands of the Black Forest_, _The Enchanted Village_, _Mother -Michel and her Cat_, _The Temptation of St. Anthony_, and many more. -Unfortunately for M. Anatole there was no copyright law for puppet -plays and when a rival showman wanted to give a new play he merely -went to see Anatole’s performance and then reproduced it. But Anatole -himself deserves his reputation. He was an artist with prodigious -ingenuity: he wrote his own pieces, he could give twenty distinct -voices in one show as well as manipulate the dolls. He himself carved -the puppets’ heads while his wife made the costumes. - -Inspired by his success a young literateur, Charles Duranty, attempted -in 1862 to _uplift_ Guignol. He had an elegant little castellet erected -and he spent months preparing the plays, giving them style and some -sort of philosophical turn. His figures were created by artists. -The prologue, it is said, was composed by a poet. The result was--a -failure. His show appealed to too limited an audience; it was too -artistic for the nursemaids and soldiers. The Tuileries were not for -philosophy. The scenes soon were left to Guignol and the Commissaire -who are so dear and delightful to their Parisian public. And again -recently, a version of Rostand’s _Chantecler_ was given by the puppets. -There were to be seen chickens, peacocks, dogs, even a magnificent -rooster, but Guignol and Guillaume were wanting. Surprised at first, -before long the children began to clamor for their heroes,--and they -had to be satisfied. - -On the steamship La France, now sailing back and forth across the -ocean, one may find a little theatre for Guignol in the children’s -room. It is operated every day by Paul Boinet who is considered one of -the best Guignol experts in France and was specially engaged by the -French Line for that reason. He operates plays, we are told, in which -there are sometimes as many as fifteen actors and to each puppet’s -voice he manages to give a different intonation. The children’s room of -the steamer holds about fifty people and is filled to capacity at each -performance not only with children but with grown-up people. - -Meanwhile literary puppets continue to afford pleasure in the artistic -salons or in semi-public productions throughout Paris. It would be vain -to attempt to mention them all. They are of every type. The artists -of France have the _habit_ of the marionette, they express themselves -spontaneously and gladly in this métier and hence we find them giving -more or less informal presentations of poetic or satiric drama here -and there, from year to year. M. Émile Renie had _le théâtre des -marionettes de la Rue des Martyrs_; Cayot established a _théâtre des -pupazzi_ in his photographic studio. At the Paris Exposition of 1900 -there flourished a marionette theatre with a troupe of 4,000 dolls of -whom the leading actors were marvels of mechanical perfection. Quite -recently a show was installed at the Musée Grevin with decorations by -Jules Cheret. It was not a great financial success and was obliged -to close its doors. In 1896 in the Salons of _la Plume_, Lugné Poë -(Director of L’Œuvre) produced a marionette play of Alfred Jarry and -Claude Terrasse entitled _Ubu Roi_. The former also made the drawings -for two programmes, the latter was the leader of his orchestra. - -Jules Lemaître in his _Impressions de Théâtre_ portrays with great -interest several puppet productions witnessed by him. One was the chic -Revue in four tableaux given in 1889 at the Salon de Helder by the well -known authoress, Gyp. It was called _Tout à l’égout_, a very clever -and original parody of the season past. There Gyp had represented the -type for which she has grown famous, Lou-lou the pert little French -miss as seen on the Champs Élysées. There also promenaded the literary -and political celebrities satirized in the inimitable style of the -keen-eyed Gyp. The parts were read by amateurs, effectively but with no -attempt at eloquence. - -[Illustration: GUIGNOL AND GNAFRON - -Presented by Pierre Rousset, French showman - -[From Ernest Maindron’s _Marionettes et Guignols_]] - -Very different in spirit was the puppet drama, _Noël ou le Mystère de -la Nativité_, by the poet Maurice Bouchor who had been active also in -the Erotikon theatron and that of M. Signoret. It was written in four -tableaux, in verse. The music for this delicate little mystery was -composed by Paul Vidal, the dolls were designed by MM. Henri Lombard -and J. Belloc, scenery by Félix Bouchor, brother of the poet, Henri -Lerolle and Marcelle Rieder. Lemaître described the performance as a -masterpiece of grace and beauty, particularly the last tableau of -the Adoration. “The music of the lullaby, rarely exquisite, soft and -celestial, etc. The Virgin puppet, almost immobile, merely inclining -slightly forward toward the Infant while singing, had the candor of a -lily and appeared as beautiful in the light in which she was bathed -as the purest and most naïve Virgin of the primitive painters.” -Another play by the same poet was given in 1894. It was in verse, five -tableaux. M. Lemaître considered it even superior as a drama to _Noël_ -though possibly a bit strong for the puppets in its philosophy. It was -the last performance, unfortunately, of the “delicious marionettes of -Maurice Bouchor.” - -The latest word I have heard of French puppets comes from the war zone. -Mr. Henry S. West has written in a recent number of the _Literary -Digest_ of French troops in the forests of Champenoux and Parroy who -had taken an oath “never to retreat from Lorraine.” Hence they have -made themselves a comfortable park with flower beds, gravel paths, -rustic bench, all in their _Parc des Braves_. Most diverting, however, -are their elaborately constructed scenes of puppet warfare. The most -famous of these is _The Seven Chasseurs of Domèvre_. It appears that -seven French soldiers at Domèvre held a bridge against a small horde -of Germans. It was a brave deed which resounded through Lorraine. Some -clever lad wrote several stanzas about it and tacked them up on trees. -This gave the idea to a dramatic critic who was off active duty for -the time. He and his friends worked together and in a week completed -the little show and placed it where it could be seen by every soldier -passing on his way to battle. - -A grassy knoll was chosen. An arched bridge of two feet was erected -under which real water was made to flow. On one side of the bridge were -piled tiny logs and trees behind which were the seven Chasseurs eight -inches high dressed in the old red and blue French uniform, little caps -on their heads, wooden guns in their hands. Twenty Germans in real -field-grey were attempting to charge. Some were dead, others falling, -three running away, all with scared expressions carved upon their -little wooden faces. The verses were nailed up near by: - - “There were seven Chasseurs of Domèvre - Who were so exceedingly brave - When the Germans attacked - They got thoroughly whacked, - ‘Voila!’ said the men of Domèvre.” - - - - -_Puppet Shows of Germany and of Other Continental Countries_ - - -Perhaps it was the luxuriant forests of Germany offering abundant -material and opportunity which encouraged the native aptitude, at any -rate the inhabitants of the land have at all times been noted for their -skill in wood carving. Moreover they appear to take a certain delight -in mechanical devices. From very early times these interests were -applied to the making of mechanical toys and dramatic puppets. - -In the dark ages we find the people of the country carving a grotesque -sort of wooden doll, called _Kobold_ or _Tattermann_ which they set up -in the chimney and worshipped as a heathen household deity. Later these -little figures came to be worked by wires. As far back as the twelfth -century and according to Charles Magnin even in the tenth century, the -word _Tocha_ or _Docha_ was used to signify a kind of puppet. One of -the earliest Minnesingers mentions _Tokkenspil_ in his poem and another -speaks of the _Jongleuren_ attracting their audiences by displaying -little dolls which they pulled out at any time from under their -mantles. - -The subject of the early Tokkenspiel seems to have been gathered -chiefly from the legends of the _Edda_, and from the _Hildebrandslied_ -and the _Niebelungenlied_. Praetorius mentions: “Foolish jugglers’ -tents where old Hildebrand and such _Possen_ are played with _Dokken_, -called puppet comedies.” Later the mystery play appeared and the -automatic _Kruppenspiel_, religious drama here as elsewhere opening -up a path for the profane. These plays were founded upon such themes -as, _The Fall of Adam and Eve_, _Goliath and David_, _Judith and -Holofernes_, _King Herod_ or _The Siege of Jerusalem_. - -Of the fourteenth and fifteenth centuries we have little positive -data. Romantic subjects appear to have been used for the puppets, also -history and fable such as _The Four Sons of Aymon_, _Genevieve of -Brabante_, _The Lady of Roussillon_, and even _Joan of Arc_ which was -quoted in another piece performed in 1430. - -Invariably the comic element appears in the puppet shows of all -nations. In Germany and Austria the buffoon has always been a part of -even the most tragic dramas, lending variety and relief by his good -natured, if somewhat obvious jests. The first names by which he was -known in Germany may have been Meister Eulenspiegel or Hemmerlein, -later it became Hanswurst and Kasperle. The name Kasperle, so Rabe -claims, came through Austria and Professor Pischel goes still further -in his assertion that the prototype for Kasperle was brought into the -land over two thousand years ago from India. Later, of course, Italian -and French players introduced Pulcinella and Arlecchino with their -merry company. - -In Hamburg puppets have been popular from earliest times. It was in -1472 that a showman announced _The Public Beheading of the Virgin -Dorothea_. This theme remained a favorite in the puppet plays of that -city for centuries, while the long suffering martyr continued to be -ever more and more elaborately but neatly beheaded, in full view of -the audience. In the eighteenth century an announcement proclaimed: -“Exceptional marionette players with large figures and, accompanied by -lovely singing, the execution of Dorothea.” The play of _The Prodigal -Son_ was another great favorite. It gradually lost its religious -character and became a rather gruesome affair producing with ingenious -mechanical appliances metamorphoses of which the country has always -been particularly fond. For instance, Reibehand, a tailor who set -up a booth in the horse market of Hamburg, advertised in 1752: “The -Arch-prodigal chastened by the four elements, with Harlequin a joyous -companion of the great criminal.” This _extra-moral_ piece, given in -great style, displays the prodigal about to partake of fruit which -turns into skulls in his hands, then water becomes transformed into -fire, rocks rend apart disclosing a corpse hanging from a gallows. As -it swings in the wind, the limbs fall off and then collect again, on -the ground, and arise to pursue the prodigal, and so on with similarly -pleasing surprises. - -In 1688 another showman, Elten, advertised _Adam and Eve_ and following -it _Jackpudding in a Box_ and later another announces: _Elijah’s -Translation into Heaven_, or _The Stoning of Naboth_, followed by a -farce, _The Schoolmaster Murdered by Jackpudding_ or _The Baffled Bacon -Thieves_. - -There had been in Hamburg, however, French marionette troupes which -gave very artistic puppet operas based upon mythological subjects, -such as _Medea_, including in one of its casts a puppet who smoked! -These plays were produced in combination with acts by living actors, -jugglers, acrobats, and trick horses. - -As far back as the sixteenth century scepticism and sorcery had become -the order of the day with the Germans who have naturally a tendency -toward philosophical reflections, as well as a leaning toward the -occult and supernatural. It was then that _Faust_, embodying both of -these tendencies, first appeared upon the puppet stage, with most -significant consequences for German literature. - -This puppet play might be sufficiently interesting in itself, but the -fact that it became the inspiration for one of the world’s greatest -dramas may lend an added justification for pausing a moment to trace -its curious history. Early in the sixteenth century it is said that the -Tokkenspieler presented, at the Fairs, _The Prodigious and Lamentable -History of Doctor Faustus_. In 1587 the famous _Spiesische Faust -Buch_ was published in Frankfurt and recorded the adventures of a -semi-historical charlatan who had wandered through Germany in the early -sixteenth century. He was famous not only for his skill in medicine but -in necromancy and other similar arts. He may have been identical with -Georgius Sabellicus who called himself Faustus Junior, implying that -there had been a still earlier Faust. He may possibly have been the -Bishop Faustinus of Diez, seduced from the right path by Simon Magus, -or the printer of Mainz, Johann Faust, who was declared to have been a -sorcerer. Whoever he was, the disreputable conjurer tricked fate into -granting him an immortal name. In 1588 two students of Tübingen and a -publisher were punished for putting forth a puppet play based upon this -Spies book. There are other versions of the Faust puppet show, that -played at Strassburg, that of Augsburg, of Ulm and of Cologne, each -varying slightly from the others. They were all first produced about -the time of Marlowe’s famous drama on the same theme or only a trifle -later. - -The story of the Faust play has a tremendous appeal; it is a picture -of man’s vain desires and vain regrets. We find the scholar Faust -alone in his study, meditating over the wasted years of research and -the wisdom of this world which is so limited at best. He turns to the -black arts and summons up an evil spirit to serve him. In one version -of the puppet play Faust calls up numerous devils and decides to select -as his own particular servant the swiftest. Thereupon the evil spirits -describe their speed. One claims to be “as swift as the shaft of -pestilence”; the next is “as swift as the wings of the wind”; another -“as a ray of light”; the fourth “as the thought of man”; the fifth “as -the vengeance of the Avenger.” But the last, who is Mephistopheles, -is as swift “as the passage from the first sin to the second.” Faust -replies: “That is swift indeed. Thou art the devil for me.” Then he -signs the pact with his blood. A raven flies in and carries away the -message. Mephistopheles is bound for twenty-four years to provide Faust -with all the pleasures of this world and also _to answer truthfully -every question asked him_. In return Faust pledges his soul to the -devil at the expiration of the time. - -Mephistopheles carries Faust to the court of the Count of Parma where -he entertains the count and countess with magical shows, calling up -Samson and Delilah, David and Goliath, Solomon and the Queen of Sheba. -Throughout the play Faust is always taken seriously; Kasperle supplies -the ludicrous element. His buffoonery is at times really amusing. As -an assistant of Faust’s servant Wagner, he meddles with magic, on his -own responsibility. Having picked up a few words of incantation, he -uses them according to his own pleasure; but Kasperle is wiser than his -master for he very shrewdly refuses to sign away his soul. However, he -has discovered that by pronouncing the potent syllables “Perlippe” he -can summon up demons and by saying “Perlappe” he can make them vanish. -Thereupon he amuses himself (and the audience) by reciting “Perlippe, -perlappe, perlippe, perlappe,” so often and in such quick succession -that the poor demons get quite out of breath and very irritable. - -In the last act we find Faust back after twelve years at his study in -Wittenburg. He has had his fill of pleasures and is sick at heart and -repentant. He asks Mephistopheles whether there would be a chance of -a sinner like himself coming to God. Mephistopheles, compelled by his -oath to answer truthfully, vanishes with a cry of terror which is an -admission of the possibility. Faust, with new hope in his heart, kneels -before the image of the Virgin in supplication. But Mephistopheles -reappears with a vision of Helen of Troy to tempt Faust, who resists -but finally succumbs. Forgetting the Virgin he rushes out with Helen -in his arms. Immediately he returns and reproaches Mephistopheles for -deceiving him, because the vision has turned into a serpent in his -embrace. “What else did you expect from the devil?” asks Mephistopheles. - -Faust realizes he is lost. Moreover his time is up, for the devil -having served him both night and day considers that he has done -twenty-four years work in twelve. Wandering the streets in despair -Faust comes upon Kasperle, now the nightwatchman, and tries naïvely -to cheat the devil by offering Kasperle his own coat. But the shrewd -fellow is too keen to be thus taken to eternal torture in another’s -place. Ten o’clock strikes, then eleven. “Go,” says Faust to Kasperle, -“go and see not the dreadful end to which I hasten.” Kasperle goes out. -Twelve o’clock strikes and Faust hears the terrible sentence pronounced -upon him: “Accusatus est, judicatus est, condamnatus est.” The fiends -appear amidst flames and smoke and drag him away to his horrible fate. -Kasperle returning and finding him gone, exclaims: “Poof! What a smell -of brimstone!” - -Even the briefest review of the plot cannot fail to move one somewhat -for there is in this crude puppet show a deep and general human -appeal. An earnest and anxious man to whom life has not been over-kind -stakes all in his eagerness and craving for truth. Despite the naïve -superstitions and the childish humor scattered throughout the play the -tragic seeking of a human soul, the struggle between Mephistopheles -and Faust demands our sympathy. In this respect there is more dramatic -intensity and more human interest to the puppet show than one finds in -either Marlowe’s play or even Goethe’s. In the former Faust is pictured -with a desire to _possess_ and we know that he is lost from the -beginning; in Goethe’s drama Faust is consumed with a desire to _live_ -and we know throughout that he will be saved by his very struggles. In -the puppet play Faust is finally condemned, but until the very end, by -Mephistopheles’ own admission, he might have been saved. - -The play was tremendously popular all over Germany. In 1705 the -puppets got themselves into trouble with the clergy by a performance -brought from Vienna to Berlin where it was announced, _Vita, Geste -e Descesa all’ Inferno del dottore Giovanni Faust_. Because of the -storm of approval aroused by the impious passages in the drama the -performance was finally prohibited in Berlin. But elsewhere productions -of _Faustus_ flourished. In 1746 in Hamburg an amusing announcement -proceeded to allay the fears of timid folk in the following manner: -“History of the Arch-sorcerer Doctor Johannes Fauste. This tragedy -is presented by us, _not_ so fearfully as it has been previously by -others, but so that everyone can behold it with pleasure.” - -Half a century later Schutz and Dreher, very successful showmen of -Berlin with a splendidly equipped puppet stage, presented among -numerous old pieces of knightly romance, mythology and biblical -legend, the tragedy of _Faust_. It was acclaimed by high and low. -Then Geisselbrecht, a rival showman of Vienna, strove to outdo this -production and gave an elaborate Faust play with little figures whom -he made lift and cast down their eyes, even cough and spit very -naturally,--a feat which Kasperle was nothing loath to perform over -and over again as we may imagine. It was this very Geisselbrecht who -served as a model for _Pole Poppenspäler_, the delightful little novel -which Theodor Storm has written around the figure of a wandering puppet -showman. Geisselbrecht toured with his puppets and gave performances -all over the country, in Frankfurt among other places. The crowning -significance of his _Faust_ production was the fact that young Goethe, -who was very fond of puppet shows, is supposed to have seen this play -and to have drawn from it the first inspiration for his masterpiece, -_Faust_. - -In his childhood Goethe had always manifested great interest in toy -theatres and puppets. At twenty years of age he wrote for his own -amusement, _The Festival of Plundersweilen_, a satire on his audience -of friends and family to be performed by marionettes. Later he -perfected it and produced it on a puppet stage specially erected for -the purpose at Weimar. There also he composed another puppet play to -celebrate the marriage festivities of Princess Amelia. Both of these -dramas are included in his works. In _Wilhelm Meister_ and in the -_Urmeister_ we find many paragraphs devoted to the toy theatre of his -childhood. But more important than this was the contribution of the -little _Puppen_ toward his immortal _Faust_. They not only suggested -the theme but offered models for the treatment of it which Germany’s -great genius was not too proud to follow.[4] - -The unprecedented prominence of the Puppenspiel during the seventeenth -century was brought about by the long theological strife between the -clergy and the actors of the legitimate stage. The preachings and -denunciations of Martin Luther had put an end to dramatic church -ceremonies of which there seem to have been many. It went so far that -the ministers refused to administer the sacraments to actors. The -latter protested and appealed, but the people were restrained through -their fear of the Church. Consequently the profession fell into such -disrepute that the number of regular theatres rapidly decreased and -troupes were disbanded, while the humiliated and neglected players were -forced to join puppet companies and read for the marionettes to earn a -living. - -It was a great opportunity for the marionettes. After the Thirty Years’ -War showmen came into Germany from England, France, Holland, Italy, -even from Spain. To add to the attraction of their productions they -combined with the plays dancers, jugglers, trained bears and similar -offerings. In 1657 in Frankfurt Italian showmen established the first -permanent theatre for puppets. In 1667 a similar theatre was erected -for marionettes in the Juden Markt of Vienna where it remained for -forty years. In Leopoldstadt in the Neu Markt _Pulzinellaspieler_ -gave performances in the evenings except Fridays and Saturdays, after -_angelus domini_. Even the Emperor Joseph II is said to have visited -this _Kaspertheater_ in Leopoldstadt. - -A curious dramatic medley began to be presented. “At the end of the -seventeenth century,” writes Flögel, “the _Hauptundstaatsactionen_ -usurped the place of the real drama.” These were melodramatic plays -with music and pantomime, requiring a large cast composed partly of -mechanical dolls, partly of actors. It was only timidly that the actors -thus ventured to return to the stage in the rôles of virtuous people -(to be sure of the sympathy of the audience). The famous showmen Beck -and Reibehand were noted for these performances, the subjects of which -were martyrdoms of saints, the slaughter in the ancient Roman circuses -and the gory battles of the Middle Ages (in all of which, needless to -say, the puppets performed the parts of the slaughtered and martyred, -as when the ever popular _Santa Dorotea_ was decapitated and applauded -so vigorously that the showman obligingly stepped out, put the head -back on the body and repeated the execution). In 1666 in Lüneberg, -Michael Daniel Treu gave the following _Demonstratioactionum_: “I: the -History of the city of Jerusalem with all incidents and how the city -fell is given naturally with marvellous inventions openly presented in -the theatre; II: of King Lear of England, a matter wherein disobedience -of children against the parent is punished, the obedience rewarded; -III: of Don Baston of Mongrado, strife between love and honor, etc., -etc.” Then there followed in the list of plays _Alexander de Medici_, -_Sigismundo, tyrannical prince of Poland_, _the Court of Sicily_, -_Titus Andronicus_, _Tarquino_, _Edward of England_ and, of course, -_Doctor Johanni Fausto, Teutsche Comedi_ (to distinguish it from -Marlowe’s tragedy). - -When one considers that these plays with all the necessary business -were long and complicated, one may imagine the difficulty of the -art of puppet showmen. Everything connected with the presentation, -the settings, directions and the plays themselves had to be learned -by heart. Young boys generally attached themselves to showmen as -apprentices and observed and studied for years before they were even -allowed to speak parts. These had to be acquired by listening, for -although the owner of the puppets generally had a copy of the play it -was so precious a possession that he guarded it most carefully. - -The amazing repertory of the Puppenspiel during the seventeenth and -eighteenth centuries ranged from myth and history to any event of the -day of intrinsic interest. In 1688 we find the marionette manager, -Weltheim, giving translations of Molière, also the old _Adam and Eve_ -followed by a buffoonery called _Jack Pudding in Punch’s Shop_ and the -strange assortment of _Asphalides, King of Arabia_, _The Lapidation of -Naboth_, _The Death of Wallenstein_. Weltheim used students of Jena and -Leipsig to read for his puppets. - -When in 1780 Charles XII of Sweden fell dead in the trenches of -Friedrichschall, slain (so popular tradition averred) by an enchanted -bullet, his death was immediately dramatized and produced on the puppet -stage. In 1731 the disgrace of Menschikoff was made into a drama -performed in German by the English puppets of Titus Maas, privileged -comedian of the court of Baden Durlach,--“With permission, etc., etc., -there will be performed on an entirely new theatre and with good -instrumental music, a Hauptundstaatsaction recently composed and worthy -to be seen, which has for title--The Extraordinary vicissitudes of good -and bad fortune of Alexis Danielowitz, Prince Menzikoff, great favorite -of the Czar of Moscow, Peter I of glorious memory, to-day a real -Belisarius, precipitated from the height of his greatness into the most -profound abyss of misfortune; the whole with Jackpudding, a pieman, a -pastry-cook’s boy and amusing Siberian poachers.” Although Titus Maas -had permission to perform in Berlin his show was quickly stopped for -political reasons. - -The undisputed predominance of puppets upon the German stage gradually -subsided in the eighteenth century as Gottsched and Lessing revived -the art of poetry and drama. The actors assumed their own place in -the theatre; the Puppen returned to a more modest sphere. But they -continued to be popular. After Schutz und Dreher in Berlin came Adolf -Glasheimer’s humorous satires of which the hero was _Don Carlos_, with -Kasperle to amuse the children, the whole arrangement conducted in -connection with a _Conditerei_. In 1851 a revival of marionettes in -cultural circles occurred and people streamed to see the clever show in -Kellner’s Hotel at Christmas time. Richter, Freudenberg and Linde were -three other favorite showmen of Berlin. - -There had been, indeed, some very exclusive and artistic marionettes -at the castle of Eisenstadt in Hungary. Here Prince Nicholas Joseph -von Esterhazy had his own very elegant stage with dolls exquisitely -perfect and magnificently dressed. He even assembled an orchestra for -them, the leader of which was no other than Joseph Haydn himself. This -great musician did not scorn composing symphonies for the puppets, _The -Toy Symphonies_ and _The Children’s Fair_, both charmingly playful -compositions. He also wrote five operas for these distinguished -marionettes, _Filemon and Baucis_, _Genievre_, _Didone_, _Vendetta_, -_The Witches’ Sabbath_. But it was not his noble patron alone who -influenced Haydn to compose for the puppets. Previously he had become -interested and had written an opera called _The Lame Devil_ for the -burattini of an Italian puppet player, Bernardoni, in Vienna. - -The marionettes have likewise attracted genius in other fields. The -Romanticists, Arnim and Brentano, as well as the poets Kerner, Uhland -and Mörike had interested themselves in shadow plays rather than puppet -shows. But Heinrich Kleist wrote a very sympathetic and profound little -essay called _Concerning the Marionette Theatre_. He seeks to discover -the mysterious charm in puppet gesture and he suggests that the great -dramatists must have watched the puppet plays with unusual interest and -that artists of the dance might well learn the art of pantomime from -the little figures. - -In Cologne there has been developed a very unique, local puppet show -called the _Kölner Hanneschen Theater_. The originator was Christoph -Winter who invented the characters, established the standing theatre -and remained for fifty years its director. Upon his small stage -there appeared not only Kasperle, but a whole row of funny folk -types, mirroring in their little scenes the bubbling love of living -characteristic of the people they represent. The ingenious showman -had a saying that whatever type of man one had to deal with, give him -the sort of sausage he most enjoys. In accordance with this idea he -provided three shows, one for children, which was amusing but harmless, -one for the usual adult audience, which was more sophisticated, and -one especially suited to the rough Sunday crowd of laboring men who -thronged into the show, which, needless to say, was as vulgar as -possible. Hanneschen, Mariezebill, Neighbor Tünnes and his wife, -the village tailor and a host of others were always introduced and -furthermore any person in the vicinity who had made himself unpopular -was sure to be caricatured. Neither rank nor age was a protection. -Another unvarying principle was the happy ending; even _Romeo and -Juliet_ was altered to comply with the rule. - -It is difficult now, perhaps, to think of Munich as it was just before -the war, a joyous center of literature and art. It was, however, in -this happy environment that the puppets rose to the very summit of -their honors and successes. In Munich one may find two charming little -buildings which were erected and maintained solely for the marionettes. -The oldest of these was built for the old showman, fondly called Papa -Schmidt by his devoted public. His career was a long one, terminating -with gratifying appreciation which many another worthy marionettist -has unfortunately failed to receive. It was in 1858 that the actor, -Herr Schmidt, took over a complete little puppet outfit of the retired -General von Heydeck who had been entertaining King Louis and his court -with satirical little puppet parodies. Installing these dolls in a -_Holzbaracke_ he opened a permanent theatre there for which Graf Pocci, -his constant advisor and friend, wrote the first play based upon the -tale of _Prinz Rosenrot und Prinzessin Edelweiss_. Graf Pocci continued -all his life to write little fairy plays for these puppets, over fifty -in all. The subjects were well known fairy tales, Undine, Rapunzel, -Schneewitschen, Der Rattenfänger von Hamlin, Dornröschen, and all the -others. The children loved them and the merry little Kasperle whose -humor, if a bit clumsy, was altogether clean and wholesome. Encouraged -by his initial success, Schmidt went to great expense and pains to -enlarge and elaborate his cast. His daughter, an assiduous helper, was -kept busy dressing the dolls of which there were eventually over a -thousand. - -After long years of success, Papa Schmidt experienced some difficulties -due to moving his puppet show and decided to retire. To the honor of -Munich be it said, however, that he was not allowed to do so. The city -magistrates who, as youngsters, had adored the antics of Kasperle, -voted unanimously to build a municipal puppet theatre and to rent it to -old Papa Schmidt for his marionette shows. This was done and in a small -comfortable building situated in one of the parks, with an adequate -auditorium and stage, with space for the seven operators who guide the -wires and manage the complicated mechanism for _transformations and -surprises_, with trained readers to speak the parts behind the scenes, -with choruses and music whenever they were required, the ninety-four -year old showman worked with his dolls until the end of his life, -furnishing happy hours to countless children. - -[Illustration: MARIONETTE THEATRE OF MUNICH ARTISTS - - _Upper_: Scene from Maurice Maeterlinck’s _The Death of Tintagiles_ - _Lower_: Scene from Arthur Schnitzler’s _The Gallant Cassian_ -] - -The celebrated _Marionette Theatre of Munich Artists_, although -inspired by the example of Papa Schmidt, was founded upon an altogether -different basis and with other aims and ideals. Paul Brann, an author -of local fame, was the instigator of it as well as its director. This -small but elaborate modern theatre was built by Paul Ludwig Troost, -and decorated elegantly but with careful taste, by other artists -interested in the enterprise. The stage itself is equipped with every -possible device useful to any modern theatre. There is a revolving -stage such as that used by Reinhardt, and a complicated electrical -apparatus which can produce the most exquisite lighting effects. The -expensive furniture is often a product of the _Königlichen Porcellan -Manufactur_. The mechanism for operating the figures is very perfect, -the dolls themselves as well as the costumes, scenery, curtains, -programs, etc., are all designed and executed by well known artists -such as Joseph Wackerle and Taschner, Jacob Bradle, Wilhelm Schulz, -Julius Dietz and many others. Indeed the scenic effects produced at -this little marionette theatre have given it the reputation of a model -in modern stagecraft. - -The triumphs of these Munich puppets, however, do not depend altogether -on pictorial successes. Upon the miniature stage there are presented -dramas of the best modern poets as well as the older classic plays and -the usual Kasperle comedies. Puppets must remain primitive or they lose -their own peculiar charm, but the primitive quality may be ennobled. -Brann does not in the least detract from the innate simplicity which -the marionettes possess. Indeed, he considers this not a limitation but -a distinguishing trait. However, he has added poetic art to the old -craft and has expanded the sphere of the puppets. He has proven their -poetic possibilities and justified their claim to the consideration -of cultured audiences. The repertory has been specially selected to -suit his particular dolls, somewhat pantomimic, on the whole, with a -great deal of music. Generally the plays deal with incidents unrelated -to everyday life and these marionettes convey their audiences with -unbelievable magic to arcadian lands of dream and wonder. Graf Pocci’s -little Kasperle pieces were not scorned by these artistic marionettes -nor the old Faustspiel, Don Juan and the Prodigal Son, nor the -folk-plays of Hans Sachs. To these were added a rich variety, including -many forgotten operettas of Gluck, Adam, Offenbach, Mozart and others, -Schnitzler’s _Der Brave Cassian_, Maeterlinck’s _Death of Tintagiles_, -and _Sister Beatrice_, and dramas of Hoffmansthal. The popularity of -these puppet productions in Munich, and their success all over the -world, where they have been taken travelling into foreign lands, attest -the worth and value of the interesting experiment. For art, music and -literature a new medium has been discovered, or rather an old one -re-adapted to suit the requirements of the modern poetic drama. - -Of recent years the shadow play has not been altogether overlooked in -Munich. In a 1909 issue of the _Hyperion_, Franz Blei, æsthete and -critic, describes two exquisite shadow plays performed in the salon of -Victor Mannheimer. The figures and scenery were the work of a young -architect, Höne; actors read the text, and Dr. Mannheimer directed. -“One thing,” writes Blei, “I believe was clear to all present: that -both of the plays thus presented, unhampered by perspiring, laboring -and painted living actors, appealed more strongly to the inner ear than -they could possibly have done in any other theatre. The author was -allowed to express himself, rather than the actor. The stage setting -and the outlines of the shadows, very delicately cut in accordance -with the essential traits of the characters, presented no more than -a delightful resting place for the eye and the imagination of the -beholder was unrestricted in supplying the features while lingering -on the extreme simplicity of the picture.” Elsewhere too in Germany -one finds appreciation of the possibilities of the shadow play, in its -simplest form as well as in its sophisticated uses. - -Exotic and rare are the dainty marionette figures fashioned by Richard -Teschner in Vienna. From a performance of Javanese shadows witnessed -in Munich the artist received the first suggestion for these delicate, -precious creations. The thin, flexible limbs give us the feeling of -the Eastern Wayangs. To this Teschner has gradually added a bit of the -German folk spirit, quite noticeable in his society dramas where the -little dolls resemble comfortable, bourgoisie Germans and only their -fleshlessness reminds us of the Javanese origin. In other plays the -Eastern flavor is purposely maintained. There is, for instance, the -strange magician with the Assyrian headdress, or the enchantress in -gorgeous stiff robes with menacing eyebrows, altogether oriental, and -strange and beautiful. The grotesque and curiously misshapen animal -forms conceived by Teschner remind us of deep-sea monsters similar to -Hauptmann’s Nickelmann and of early Christian conceptions of Infernal -frightfulness to be found in the Witches’ Kitchen of Faustus, or in -the Temptations of St. Anthony. The smoothly finished, carefully -fashioned naked figures have a rather brazen daintiness, permissible -on the puppet stage alone. They offend perhaps at first sight by their -deliberate daring but they possess a certain precise charm, a rather -winning, rather quaint appeal. These precious little marionettes have -been exhibited in private circles only. - -[Illustration: MARIONETTES OF RICHARD TESCHNER, VIENNA - -[Reproduced from _Deutsche Kunst und Dekoration_]] - -In Baden-Baden just before the war a quite remarkable and thriving -puppet show was to be found, belonging to Ivo Pühony. These clever -dolls were carved out of wood and were most adroitly manipulated, -marvellously so, we are told. The repertory of the puppets was very -extensive and ambitious. At the outbreak of the war Ivo Pühony -packed his dolls away in cases and left them in Baden-Baden. In -1914 Ernest Ehlert, actor and manager, and Fräulein E. Weissmann -took the neglected little creatures to Berlin where they performed -with tremendous success. They produced, among other things, _Doctor -Sassafras_, a puppet play by Pocci and no less ambitious a drama than -Goethe’s _Faust_. The latter received a real ovation as a serious, -artistic interpretation of the masterpiece; many witnesses declared the -production more effective than when given upon the larger stage. The -_Frankfürter Zeitung_ contained this description of the performance: -“The drama had a much purer and stronger emotional effect in this -symbolic, miniature presentation with its modest and reliable lighting -effects than is possible in the hard reality of the larger stage. The -circle of the heavenly army shimmering in magic red reminding one of -the pious fantasies of Beato Angelico; the voices of the archangels -sounding from above; the gleam of white light when the voice of the -Lord was heard; the dark chasm leading to the depths of the earth, out -of which the wonderful little figure of Mephistopheles appeared -and then, blinded by the radiance of Divinity, turned aside and -covered himself with his bat’s wing: all this provided a pure artistic -satisfaction which called forth enthusiastic applause.” - -Less serious in nature but very remarkable were the famous _Two Dancing -Chinamen_ in the troupe of puppet actors. These agile little dolls, -like figures from a Russian ballet, danced to the music of a phonograph -with perfectly captivating antics. One witness has written: “It is hard -to imagine how perfectly the slightly mechanical tone of the phonograph -combines with the slightly mechanical motion of the figures to give an -expression of what the fashionable philosopher of our day calls the -_élan vital_.” The last heard of Pühony’s puppets was a prospective -trip they were to take to the front for entertaining the soldiers and -the grave problem of whether it would be wise to allow the erstwhile -favorite marionette _Caruso_ to go along, considering that, despite his -power to amuse, he was after all a representative of the enemy. - -Less excellent, crude puppet shows have gone wandering from village -to village through Germany and Austria in recent years, but they -have become more and more rare. These shows perform generally in the -little town halls, with the villagers, high and low, crowding in to -see performances of _Faust_ (ever welcome) or Hamlet (with a happy -ending), or, favorite of all, the life and death of the famous brigand -_Schinder Hannes_. The love of the Germans for puppet entertainment is -also constantly expressed in the little private puppet shows and shadow -plays given by or for the children in their homes, usually gotten up -for Christmas or birthday festivities. - - * * * * * - -In most Continental countries there may still be found traces and -survivals of the old style puppet show and occasionally experiments -with marionettes in the new manner. It is said that in Bohemia the -marionette plays are the only form of drama now given in the native -tongue. A very famous showman of Bohemia was Kopecki who travelled -about with his show from town to town. A prominent Bohemian minister -now residing in New York relates that he remembers these puppets and -the terror which clutched his boyish heart whenever the little wooden -devil appeared, opening and closing his horrible mouth and emitting the -most inhuman and frightful noises. He remembers the comic characters -of the shows, a rude peasant and his wife. The peasant always wielded -a stick and there were many threatened beatings, but they never took -place. In 1885 the names of Kopecki and of another showman, Winizki, -were made doubly prominent by the publication of a book of their -old puppet plays taken down in shorthand by two Viennese authors -from performances they witnessed and written finally in wonderful -Hoch-Deutsch. - -[Illustration: BOHEMIAN PUPPETS - - _Upper_: Devil, Priest, Peasant - _Lower_: Soldier, King and Queen - -[Property of the Reverend Vincent Pisek, New York]] - -In Hungary the gypsies have always been the puppeteers, travelling -about with their rough little figures and accompaniment of music. From -Moldavia comes a report of gypsy players at Christmas time in the -olden days, one man crying out through the streets, “To the puppets, -to the puppets!” followed by two other gypsies with a little theatre -of marionettes. In these shows at the time of the Turkish wars in 1829 -miniature Turks and Cossacks were made to belabor each other. - -In Russia religious puppet plays were very common. There used to be -in Moscow a regular mystery performed by marionettes on the Sunday -before Christmas. It represented three Christian martyrs thrown into -a fiery furnace and was performed in front of the great altar of the -Moscow cathedral. Crude popular shows also wandered about and in 1812 -Mr. Daniel Clarke discovered in Tartary, among the wandering Cossacks -of the Don, common little dolls made to dance on a board by means of a -string tied to the knees of a boy. These had probably been introduced -and become established back in the remote ages in this out-of-the-way -location. - -Mr. Alexander Zelenko, formerly a professor at the University of -Moscow, has written some interesting facts concerning modern Russian -puppets. He says: “There still are travelling comedians who wander -all over the country with their little outfits of dolls and folding -screens. In most cases a so-called hand organ is used, and very often -a monkey or a bird picks out the tickets of happiness. The performer -uses a contrivance in his mouth to alter his voice for the different -impersonations. The principal hero is ‘Petrouchka’ or ‘Diminutive -Peter,’ the same as German ‘Kasperle’ and English ‘Punch.’ The hero -makes much mischief in a horse trade with a gypsy or with a German -doctor, a policeman or a recruiting officer. For such mischief the -devil takes his body into hell. - -“Even now, as in the olden times, satires on social endeavor are very -often introduced, but only the common street-class enjoy them. From -time to time the educators take part in this movement and try to raise -the standard and to introduce the puppets into the school festivals. - -“Some of these plays came into Russia from the West through Austria -and Poland,--old Christmas beliefs connected with religious or -nationalistic traditions. These Christmas Crib plays are mostly seen -in Southern and Western Russia and Poland. Some of the Russian artists -have been interested in the production and have given very fine -performances. I myself introduced many of this kind of marionettes into -the activities of the Children’s Clubs in Moscow. Very interesting -articles about the ethnographic and folklore value of these plays have -been written in Russian scientific magazines.” - -In Poland, until the middle of the eighteenth century, there were -frequent puppet performances given in churches and monasteries around -Christmas time to amuse the people between mass and vespers. In the -play of _Szopka_ (stable) M. Magnin tells us there were little dolls -of wood or cardboard representing Mary, Jesus, Joseph, the angels, -the shepherds, the three Magi on their knees with offerings of gold, -incense and myrrh, not forgetting the ox and the ass and Saint John’s -lamb. There generally followed after this the massacre of the innocents -in the midst of which Herod’s own son perished by mistake. The wicked -prince, in his despair, called upon Death who soon appeared in the -form of a skeleton and cut off Herod’s head with a scythe. Then a -black devil with a red tongue, pointed horns and a long tail, ascended -and picked up the King’s body on his pitchfork and bore it off to -perdition. To this peculiar performance were often added indecorous -variations, despite the holy place in which it was performed. After -being finally expelled from the interior of the churches, it continued -to be popular for over a century, delighting both the rural and -the urban population of Poland from Christmas to Shrove Tuesday. -To this day performances of the Crib, or _Szopka_, are given by -ambulant puppet shows. The text is sung and spoken: the figures, -moving in pairs, represent characters of the old mysteries, also folk -types, heroes, spirits, etc. The stage for these shows appears to -be prescribed by tradition, of a certain structure, with intricate -national architectural details. It is not surprising to learn that -Stanislaw Wyspianski, Poland’s great dramatic and poetic genius, was -strongly interested in and influenced by this national type of puppet -stage which seems to have been the original inspiration for his later -strongly patriotic productions. - -In Denmark, the puppets have pushed their way into literature. We find -that Johan Ludvig Heiberg, a prominent Danish dramatist, has written -several satirical marionette plays. - -In Holland where _Jan-Classenspiel_ have been long established, the -puppet stage is a favorite diversion. Powel wrote in 1715 of its long -standing popularity with the people and we are told that the cultured -classes also found relaxation in the marionettes. Beyle states that -during his studies at Rotterdam he always left his book at the sound of -the showman’s trumpet. - -The little Polichinelle of Belgium is called _Woltje_ which signifies -little Walloon and he has many clownish but harmless tricks with which -to delight his public. The popularity of the _Poechelnellespiel_ -in Brussels may be imagined from the fact that, prior to the war, -there were fifteen standing puppet theatres offering every possible -enticement. Two very famous showmen were Toone and Machieltje who for -forty years gave performances to every class of audience, Machieltje -specializing on the popular plays, Toone giving private performances. -The successor of Toone was George Hembauf while the show of Machieltje -descended to Laurent Broeders, who have a wonderfully equipped theatre -in the suburbs. They possess over six hundred marionettes whose elegant -costumes can be changed (there are over eleven hundred of these -elaborate costumes). The Laurent Broeders do all the speaking for -their dolls and the repertoire includes a wide range of subjects from -important events in Flemish history to Dumas, adapted for puppets, and -the old play of _Les Quatre Fils Aymon_. Another large puppet show is -that of Pieter Buelens. He has four hundred puppets consisting chiefly -of officers, chevaliers and kings, each knight so richly dressed that -his robes cost from thirty to forty francs apiece. The dolls are about -a metre high, made of cardboard and carefully articulated so that the -gestures are extremely graceful. The scenery is naïve but picturesque; -eight complete sets including two palace scenes, two wood scenes (one -Winter, one Summer), two rooms, a prison, a rock, etc. The latest and -most modern theatre for marionettes is the _Petit Théâtre_ founded by a -group of æsthetes,--Louis Picard, James Ensor, Thomas Braun, Gregoire -le Roy,--and devoted to a naïvely refined art of puppetry. It was -opened with the pastoral opera of Mozart, _Bastien et Bastienne_, the -poetic version by Gautier-Villars. - -In Antwerp the puppet shows are less elaborate and are generally -to be found off in inconspicuous corners around the wharves where -they are frequented chiefly by the laboring classes. There the -drama varies from mockery of local occurrences to tales of Turks, -bandits, kings, shepherds, sailors. One of these shows was the famous -_Poesjenellenkelder_, the cave of the Polichinelles, where in a dark, -gloomy cellar by the glimmer of a few smoking oil lamps the old and -ever moving romantic dramas of the puppet show were performed for an -appreciative and unspoiled audience. Hendrik Conscience, the Flemish -novelist, has described how in his boyhood he often spent his last -penny to witness the sufferings of the patient Genoveva or some -similarly affecting performance. This old underground theatre, we are -told, was open until the outbreak of the war. - - - - -_Puppetry in England_ - - “Triumphant Punch! with joy I follow thee - Through the glad progress of thy wanton course.” - - -Thus exclaims Lord Byron, and he is but one of the long list of English -poets, dramatists and essayists who have found delight and inspiration -at the puppet booth. “One could hardly name a single poet from Chaucer -to Byron, or a single prose writer from Sir Philip Sidney to Hazlitt -in whose works are not to be found abundant information on the subject -or frequent allusions to it. The dramatists, above all, beginning with -those who are the glory of the reigns of Elizabeth and James I, supply -us with the most curious particulars of the repertory, the managers, -the stage of the marionettes.” With this introduction M. Magnin brings -forward a brilliant array of English authors in whose works we may find -traces of the puppets, Shakespeare, Ben Jonson, Beaumont and Fletcher, -Milton, Davenant, Swift, Addison, Steele, Gay, Fielding, Goldsmith, -Sheridan and innumerable others. - -In _The Winter’s Tale_ Autolycus remarks: “I know this man well. He -hath been a process server, a bailiff, then he compassed a motion of -_The Prodigal Son_.” Many other dramas of Shakespeare have similar -allusions. Milton’s _Areopagitica_ contains these lines: “When God gave -Adam reason, he gave him freedom to choose: he had else been a mere -artificial Adam, such an Adam as seen in the motions.” - -Perhaps the casual mention of a popular diversion in the literature -of a nation is not as impressive as the fact that it has served to -suggest the themes of numberless dramas and poems. Shakespeare is said -to have taken the idea for _Julius Cæsar_ from the puppet play on the -same subject which was performed near the Tower of London in his day; -Ben Jonson’s _Everyman Out of his Humour_, Robert Greene’s _Orlando -Furioso_, Dekker’s best drolleries and certainly _Patient Grissel_ -in the composition of which he had a hand, Marlowe’s _The Massacre -at Paris_ and many others may safely be said to have been suggested -by the puppets. There are marionettes in Swift’s _A Tale of a Tub_, -illustrated by Hogarth. - -Some authorities claim that Milton drew the argument for his great -poem from an Italian marionette production of _Paradise Lost_ which -he once witnessed. Byron is supposed to have found the model for his -_Don Juan_ in the popular play of Punch’s, _The Libertine Destroyed_. -Hence it cannot be an exaggeration to state that even in England, where -the puppets are not supposed to have attained such prestige as on -the Continent, they were, nevertheless, not wholly insignificant nor -without weight. - -As is usually the case, the puppets in England appear to have had a -religious origin. Magnin mentions as an undoubted fact the movement -of head and eyes on the Crucifix in the monastery of Boxley in Kent, -and one hears not only of single articulated images but of passion -plays performed by moving figures within the sacred edifices. E. K. -Chambers has found the record of a Resurrection Play in the sixteenth -century by “certain small puppets, representing the Persons of Christe, -the Watchmen, Marie and others.” This was at Whitney in Oxfordshire, -“in the days of ceremonial religion,” and one of these puppets which -clacked was known as _Jack Snacker of Whitney_. It is certain that -similar motions of sacred dramas and pageants given by mechanical -statuettes were not unusual within the Catholic churches, and that -during the reign of Henry VIII they were destroyed, as idols. Under -Elizabeth and James, religious puppet-shows went wandering about the -kingdom, giving the long drawn out moralities and mysteries, _The -Prodigal Son_, _The Motion of Babylon_ and _Nineveh with Jonah and the -Whale_, a great favorite. - -These early motions or drolls were a combination of dumb show, masques -and even shadow play. Flögel explains that the masques were sometimes -connected with the puppets or given sometimes as a separate play. -“These masques,” he writes, “consist of five tableaux or motions which -take place behind a transparent curtain, just as in Chinese shadows. -The showman, a silver-covered wand in his hand and a whistle for -signalling, stands in front of the curtain and briefly informs the -audience of the action of the piece. Thereupon he draws the curtain, -names each personage by name as he appears, points out with his wand -the various important actions of his actors’ deeds, and relates the -story more in detail than formerly. Another masque which Ben Jonson’s -_Bartholomew Fair_ describes is quite different, for here the puppets -themselves speak, that is, through a man hidden behind the scenes, who -like the one standing out in front is called the interpreter.” - -As early as 1575 Italian pupazzi appeared in England and established -themselves there. An order of the Lord Mayor of London at the time -authorizes that, “Italian marionettes be allowed to settle in the city -and to carry on their strange motions as in the past and from time -immemorial.” Piccini was a later Italian motion-man, but very famous, -giving shows for fifty years and speaking for his _Punch_ to the last -with a foreign accent. - -There is little doubt, despite much discussion, that the boisterous -English Punch is a descendant of the puppet Pulcinello, brought over by -travelling Italian showmen. Isaac d’Israeli writes of his ancestry, in -the second volume of _Curiosities of Literature_, “Even Pullicinella, -whom we familiarly call Punch, may receive like other personages of -not greater importance, all his dignity from antiquity: one of his -Roman ancestors having appeared to an antiquary’s visionary eye in a -bronze statue: more than one erudite dissertation authenticates the -family likeness, the long nose, prominent and hooked; the goggle eyes; -the hump at his back and breast; in a word all the character which so -strongly marks the Punch race, as distinctly as whole dynasties have -been featured by the Austrian lip or the Bourbon nose.” - -The origin of the name _Punch_ has given rise to various theories. Some -claim it is an anglicizing of Pulcinello, Pulchinello or Punchinello; -others that it is derived as is Pulcinello from the Italian word -_pulcino_, little chicken, either, some say, because of the squeak -common to Punch and to the chicken or, others aver, because from little -chicken might have come the expression for little boy, hence puppet. -Again, it is maintained that the origin is the English provincialism -_punch_ (short, fat), allied to _Bunch_. - -The older Punchinello was far less restricted in his actions and -circumstances than his modern successor. He fought with allegorical -figures representing want and weariness, as well as with his wife -and the police. He was on intimate terms with the Patriarchs and the -champions of Christendom, sat on the lap of the Queen of Sheba, had -kings and lords for his associates, and cheated the Inquisition as well -as the common hangman. After the revolution of 1688, with the coming -of William and Mary, his prestige increased, and Mr. Punch took Mrs. -Judy to wife and to them there came a child. The marionettes became -more elaborate, were manipulated by wires and developed legs and -feet. Queen Mary was often pleased to summon them into her palace. -The young gallant, Punch, however, who had been but a garrulous -roisterer, causing more noise than harm, began to develop into a -merry but thick-skinned fellow, heretical, wicked, always victorious, -overcoming Old Vice himself, the horned, tailed demon of the old -English moralities. A modified Don Juan, when Don Juan was the vogue, -he gradually became a vulgar pugnacious fellow to suit the taste of the -lower classes. - -During the reign of Queen Anne he was high in popular favor. _The -Tatler_ mentions him often, also _The Spectator_; Addison and Steele -have both aided in immortalizing him. Famous showmen such as Mr. Powell -included him in every puppet play, for what does an anachronism matter -with the marionettes? He walked with King Solomon, entered into the -affairs of Doctor Faustus, or the Duke of Lorraine or Saint George in -which case he came upon the stage seated on the back of St. George’s -dragon to the delight of the spectators. One of his greatest successes -was scored in _Don Juan or The Libertine Destroyed_ where he was in his -element, and we find him in the drama of Noah, poking his head from -behind the side curtain while the floods were pouring down upon the -Patriarch and his ark to remark, “Hazy weather, Mr. Noah.” In one of -Swift’s satires, the popularity of Punch is declared to be so enormous -that the audiences cared little for the plot of the play, merely -waiting to greet the entrance of their beloved buffoon with shouts of -laughter. - -[Illustration: PUNCH HANGS THE HANGMAN - -From a Cruikshank illustration of Payne-Collier’s _Tragical Comedy of -Punch and Judy_] - -At the beginning of the nineteenth century when Lord Nelson, as the -hero of Abukir, was represented upon every puppet stage, he and Mr. -Punch held the following dialogue: - -“Come to my ship, my dear Punch, and help me defeat the French. If you -like I will make you a Captain or a Commodore.” - -“Never, never,” answered Punch. “I would not dare for I am afraid of -being drowned in the deep sea.” - -“But don’t have such absurd fears,” replied the Admiral. “Remember that -whoever is destined from birth to be hanged will never be drowned.” - -Gradually a sort of epic poem of Punch grew up, and there were regular -scenes where the dissolute, hardened fellow beats his wife and child, -defies morality and religion, knocks down the priest, fights the -devil and overcomes him. In 1828 Mr. Payne-Collier arranged a series -of little plays called _The Tragical Comedy of Punch and Judy_. In -this labor he was assisted by the records of the Italian, Piccini, -who, after long years of wandering through England, had established -his Punch and Judy show in London. The series was profusely and -delightfully illustrated by Cruikshank. These pictures and those of -Hogarth have perpetuated for all times the funny features of Punch and -Judy. - -“With real conservatism,” writes Maindron, “the English have preserved -the figure and repertory of Punch almost as it was in the oldest days -of Piccini and his predecessors.” And it is thus one might find Punch -on the street corner to-day, maltreating his long-suffering wife, -teasing the dog, hanging the hangman. Mr. W. H. Pollock tells us of -stopping with Robert Louis Stevenson to watch a Punch and Judy show -given by a travelling showman in “bastard English and slang of the -road.” Stevenson delighted in it, and Mr. Pollock himself exclaimed: -“Everybody who loves good, rattling melodrama with plenty of comic -relief must surely love that great performance.” - -But to return to the shows and showmen of other times. In the -Elizabethan period the motions were very prominent. The puppets -sometimes took over plays of the day, and satirized them cleverly -upon their own stages, the dolls costumed as nearly as possible like -the prominent actors whom they imitated. Later, when for a time the -Puritans abolished the theatres, the marionettes were allowed to -continue their shows, and thus the entire repertory of the real stage -fell into their hands. Permanent puppet stages grew up all over London: -people thronged to the puppets. - -In Ben Jonson’s _Bartholomew Fair_ he allows the showman, Lanthorn -Leatherhead, to describe his fortunes: “Ah,” he said, “I have made -lots of money with _Sodom and Gomorrah_ and with the _City of Norwich_ -but _Gunpowder Plot_, that was a veritable gift of God. It was that -that made the pennies rain into the coffers. I only charged eighteen -or twenty pence per head for admission, but I gave sometimes nine or -ten representations a day.” Captain Pod, a seventeenth century showman -mentioned in other writings of Ben Jonson, had a large repertory -including, among other plays, _Man’s Wit_, _Dialogue of Dives_, -_Prodigal Son_, _Resurrection of the Saviour_, _Babylon_, _Jonah and -the Whale_, _Sodom and Gomorrah_, _Destruction of Jerusalem_, _City of -Nineveh_, _Rome and London_, _Destruction of Norwich_, _Massacre of -Paris with the Death of the Duke de Guise_ and _The Gunpowder Plot_. -In 1667 Pepys records in his _Diary_ that he found “my Lady Castlemane -at a puppet play, Patient Grizell.” _The Sorrows of Griselda_, indeed, -was very popular at the time, also _Dick Whittington_, _The Vagaries of -Merry Andrew_ and _The Humours of Bartholomew Fair_. The marionettes, -indeed, grew so much the vogue, and the rivalry was felt so keenly -by the regular theatres, that in 1675 the proprietors of the theatre -in Drury Lane and near Lincoln’s Inn Fields formally petitioned that -the puppets in close proximity be forbidden to exhibit, or be removed -to a greater distance, as they interfered with the success of their -performances. - -But not alone the theatres objected to the competition of the puppets. -One may read in _The Spectator, XVI_, that _young Mr. Powell_ made his -show a veritable thorn in the flesh of the clergy. It was stationed in -Covent Garden, opposite the Cathedral of St. Paul, and Powell proceeded -to use the church bell as a summons to his performances, luring away -worshippers from the very door of the church. Finally the sexton was -impelled to remonstrate. “I find my congregation taking the warning -of my bell, morning and evening, to go to a puppet show set forth by -one Powell, under the Piazzas, etc., etc. I desire you would lay this -before the world, that Punchinello may choose an hour less canonical. -As things are now, Mr. Powell has a full congregation while we have a -very thin house.” - -This same Powell was the most successful motion maker of his day. He -originated the _Universal Deluge_ in which Noah and his family enter -the ark, accompanied by all the animals, two and two. This show was -given fifty-two consecutive nights, and was repeated two centuries -later by the Prandi brothers in Florence. Powell had booths in -London, Bath and Oxford, and played to most fashionable audiences. -_The Tatler_ and _The Spectator_ mention him frequently. It was his -Punch who sat on the Queen of Sheba’s lap, who danced with Judy on -the Ark, and made the famous remark to Noah concerning the weather. -He gave numerous religious plays, such as the “Opera of Susannah or -Innocence Betrayed,--which will be exhibited next week with a new pair -of Elders.” In 1713 he presented _Venus and Adonis or The Triumphs of -Love_, a mock opera. As another attraction to his shows, the ingenious -marionettist invented a fashion model, the little puppet, _Lady Jane_, -who made a monthly appearance, bringing the latest styles from Paris. -The ladies flocked to the puppets when she was announced on the bills. - -A well known competitor of Powell was Pinkethman, in whose scenes the -gods of Olympus ascended and descended to strains of music. Crawley -was another rival. He advertised his show as follows: “At Crawley’s -Booth, over against the Crown Tavern in Smithfield, during the time -of Bartholomew Fair, will be presented a little opera called the Old -Creation of the World, yet newly revived, with addition of Noah’s -Flood, also several fountains, playing water during the time of the -play. The last scene does present Noah and his family coming out of the -Ark with all the beasts, two and two, and all the fowls of the air seen -in a prospect sitting upon trees: likewise over the Ark is seen the sun -rising in a glorious manner; moreover a multitude of angels will be -seen in a double rank, which presents a double prospect, one for the -sun, the other for the palace where will be seen six Angels ringing -bells. Likewise Machines descend from above, double and treble, with -Dives rising out of Hell and Lazarus seen in Abraham’s bosom, besides -several figures dancing jigs, sarabands, and country dances to the -admiration of the spectators: with the merry conceits of Squire Punch -and Sir John Spendall.” - -After these motion makers, came other showmen with many inventions. -Colley Cibber wrote dramas for marionettes, and his daughter, the -actress, Charlotte Clarke, founded a large puppet theatre. Russell, -the old buffoon, is said to have been interested in this project also, -but it finally failed. When the Scottish lords and other leaders of -the Stuart uprising of 1745 were executed on Tower Hill, the beheading -was made a feature by the puppet exhibitions at May Fair and was -presented for many years after. Later Clapton’s marionettes offered a -play of Grace Darling rescuing the crew of the Forfarshire, “with many -ingenious moving figures of quadrupeds.” Boswell tells us in his _Life -of Johnson_ about Oliver Goldsmith, who was so vain he could not endure -to have anyone do anything better than himself. “Once at an exhibition -of the fantoccini in London, when those who sat next to him observed -with what dexterity a puppet was made to toss a pike, he could not -bear that it should have such praise, and exclaimed with some warmth, -‘Pshaw! I could do it better myself!’” Boswell adds in a note, “He -went home with Mr. Burke to supper and broke his shin by attempting -to exhibit to the company how much better he could jump over a stick -than the puppets.” Dr. Johnson was a great admirer of the fantoccini -in London, and considered a performance of _Macbeth_ by puppets as -satisfactory as when played by human actors. - -At the end of the eighteenth century, Flockton’s show displayed five -hundred figures at work in various trades. Browne’s _Theatre of Arts_, -1830–1840 travelled about at country fairs showing _The Battle of -Trafalgar_, _Napoleon’s Army Crossing the Alps_ and the _Marble Palace -of St. Petersburg_. Some marionettes of the nineteenth century became -satirical, attacking literature and politics with mischievous energy. -Punch assumed a thousand disguises; he caricatured Sheridan, Fox, Lord -Nelson. William Hazlitt wrote seriously in praise of puppet shows. - -There are gaps in the history of English puppets which seem to imply a -decline in the popularity of that amusement. One comes upon occasional -records of shows straggling through the countryside, and giving the -old, timeworn productions of _Prodigal Son_ or _Noah_, or _Pull Devil_, -_Pull Baker_. During the reign of George IV, puppets were found at -street corners, dancing sailors, milkmaids, clowns, but Punch, as ever, -the favorite. - -Even now, puppets on boards may be seen in the streets of London. Of -the old shows, one resident of that city relates: “When I was a child, -marionettes used to go about the streets of London in a theatre on -wheels about as big as a barrel organ, but I dare say I am wrong about -size, because one cannot remember these things. I remember particularly -a skeleton which danced and came to pieces so that his bones lay about -in a heap. When I was properly surprised at this he assembled himself -and danced again. I was so young that I was rather frightened.” - -There is to-day one of the old professional marionette showmen -wandering about in England, Clunn Lewiss, who still has a set of -genuine old dolls, bought up from a predecessor’s outfit. For fifty -years he has been traveling along the roads, like a character strayed -out of Dickens. He has interested members of artistic coteries in -London, who have been moved by the old man’s appeals for help, and some -attempts have been made to revive interest in his show. Surely Clunn -Lewiss deserves some recognition. - -Altogether unconnected with popular puppets were the highly complicated -mechanical exhibitions of Holden’s marionettes. The amazing feats -performed by Holden’s puppets astonished not only England, but all the -large Continental and American cities where they were displayed. They -were tremendously admired. The surprising dexterity of manipulation, -and the elegance of the settings had never been surpassed. In Paris, -however, de Goncourt wrote of them: “The marionettes of Holden! These -creatures of wood are a little disquieting. There is a dancer turning -on the tips of her toes in the moonlight that might be a character of -Hoffman, etc. - -“Holden was more of an illusionist than a true marionettist. He -produced exact illusions of living beings, but he was lacking in -imagination. The fantoches of Holden were certainly marvels of -precision, but they appeal to the eye and not to the spirit. One -admired, one did not laugh at them. They astonished, but they did not -charm.” - -[Illustration: OLD ENGLISH PUPPETS - -Used by Mr. Clunn Lewiss in his wandering show - -[Courtesy of Mr. Tony Sarg]] - -There have been several interesting amateur marionette shows within -the last decade. There are the Wilkinsons, two clever modern painters -who have taken their puppets from village to village in England and -also in France. They traveled about with their family in a caravan and -wherever they wished to give a show, they halted and drew forth a -stage from the rear end of the wagon. Their dolls are eight inches high -or more and they require four operators. They are designed with a touch -of caricature, and they perform little plays and scenes invented by the -Wilkinsons, very amusing and witty. Not long ago Mr. Gair Wilkinson -gave a very successful exhibition of his show at the Margaret Morris -Theater in Chelsea for a short season. - -The Ilkely Players, of Ilkely, Yorkshire, are a group of young women -who produced puppet plays for some five or six years, touring through -England. Their dolls were rather simple, mechanically; only the arms -were articulated, for the most part; the heads were porcelain dolls’ -heads. Nevertheless this group of puppeteers deserves the credit -they attained by reviving the classic old show of _Doctor Faustus_, -at Clifford’s Inn Hall, Chelsea. They also gave very interesting -productions of Maeterlinck’s _The Seven Princesses_, and Thackeray’s -_The Rose and the Ring_, dramatized by Miss Dora Nussey, who was the -leader of the group. Inspired by their success, Miss Margaret Bulley -of Liverpool produced a puppet play of Faustus before the Sandon -Studio Club. Miss Bulley’s puppets were quite simple wooden dolls with -papier-maché heads and tin arms and legs, each worked with seven black -threads. The costumes were copied after old German engravings of the -eighteenth century and the production proved very effective. - -Most highly perfected, and most exquisite of English puppets to-day -are those of the artist, Mr. William Simmonds, in Hampstead. They -originated in a village in Wiltshire as an amusement at a Christmas -party given by Mr. and Mrs. Simmonds every year to the village -children. The audience was so delighted that the next year more -puppets were made with a more attractive setting. Friends then became -so enthusiastic that the creators of the puppets realized what might -be done, and in London, the following Spring, they began giving small -private shows. - -[Illustration: MR. GAIR WILKINSON AND ASSISTANT AT WORK ON THE BRIDGE -OF THEIR PUPPET THEATRE [Reproduced from _The Sketch_, 1916]] - -The productions are only suited to a small audience of forty or -fifty. The puppets are mostly fifteen inches high, some smaller; the -stage is nine feet wide, six deep, and a little over two feet high. -The scenery is painted on small screens. At present there are three -scenes, a Harlequinade, a Woodland Scene and a little Seaport Town. -The puppets are grouped to use one or the other of these scenes. They -do not do plays but seem to find their best expression in songs and -dances connected with various by-play and “business” and a slight -thread of episode which is often varied, never twice alike. Mr. -Simmonds manipulates the puppets entirely alone and cannot work with -anyone close. He frequently operates a puppet in each hand, all with -the utmost dexterity and delicacy, and manages others by means of -hanging them up and moving them slightly at intervals, at the same time -singing, whistling, improvising dialogue or imitating various noises! -People generally expect to find half a dozen manipulators behind the -scenes. - -Mr. Simmonds himself carves the heads, hands and feet of his -marionettes in wood (usually lime) and paints them in tempera to avoid -shine. They are beautifully done. Some are dressed, some have clothes -painted on them. Some are quite decorative, others impressionistic or -frankly realistic. Not contented with the little-bit-clumsy doll, Mr. -Simmonds has perfected his puppets with great technical skill until -they move with perfect naturalness, some with dignity, some with grace, -some with humor, each according to its nature. - -In the Harliquinade the scene is hung with black velvet, lighted from -the front, which gives the effect of a black void against which the -figures of Harlequin, Columbine, Clown, Pantaloon and others appear -with sparkling brilliancy and vivid color. In the Seaport Town, a -medley of characters appear,--a sailor, a grenadier, a fat woman, -an old man, the minister, etc. There are songs used in this to give -variety. Particularly clever is an English sailor of the time of Nelson -who comes out of a public house and dances a jig, heel-tapping the -floor in perfect time, his hands on his hips and his body rollicking in -perfect character while he sings, “On Friday morn when we set sail.” -Another excellent dancing doll is the washerwoman of the old sort, -short and stout and great-armed, jolly and roughfaced. - -In the Woodland Scene, creatures of the wood appear,--faun, dryad, -nymph, young centaurs, baby faun, hunted stag, a forester, a dainty -shepherd and a shepherdess, etc. The little sketch is entirely -wordless, having only musical accompaniment played by Mrs. Simmonds -upon a virginal or a spinet, or an early Erard piano (date 1804). The -sound is just right in scale for the puppets; anything else would -seem heavy. The fauns in this scene are most popular, particularly -the _Baby_ who has an extraordinary tenderness, and skips and leaps -with the agility of a live thing. The act of extreme dreaminess and -beauty is described thus by one who was privileged to witness it. -“In one scene a man went out hunting. He hid behind a bush. A stag -came on. He shot the stag which lay down and died. Then there came -one or two creatures of the wood, who could do nothing, and at last -a very beautiful nymph, lightly clothed in leaves. She succeeded in -resuscitating the stag, who got up and bounded away. When they had -gone, the hunter who had watched it all from behind the bush came out, -and that was all. Music all the time. No words. The stag was quite -astonishing.” - -Although he is now living and working in Florence, Mr. Gordon Craig -must not be omitted from any account of English marionettes and -advocates of the puppets. Quite apart from the class of artistic -amateurs and equally remote from the usual professional marionettist of -to-day, Mr. Craig stands rather as a new prophet of puppetry, recalling -in stirring terms the virtues of the old art, and adding his new and -individual interpretation of its value. - -Puppets are but a small portion of the dramatic experiment and -propaganda which Mr. Craig is so courageously carrying on in Florence. -But they are not the least interesting branch of his undertakings. He -has assembled a veritable museum of marionette and shadow play material -from all over the world. Pictures of some parts of his collection -appear regularly in “The Marionette.” There are also delightful puppet -plays appearing in this pamphlet. But this is not all. - -With the marionette used as a sort of symbol, Mr. Craig has been -conducting research into the very heart of dramatic verities, and -producing dramatic formulas which should apply on any stage at any -time. He has invented his marionettes to express dramatic qualities -which he deems significant, and in his puppets he has attempted to -eliminate all other disturbing and unnecessary qualities. Thus he -creates little wooden patterns or models for his artists of the stage, -and he applies in actual usage Goethe’s maxim: “He who would work for -the stage ... should leave nature in her proper place and take careful -heed not to have recourse to anything but what may be performed by -children with puppets upon boards and laths, together with sheets of -cardboard and linen.” - -At the beginning of his experiments with marionettes Mr. Craig and his -assistants constructed one large and extremely complicated doll which -was moved on grooves and manipulated by pedals from below, with a small -_telltale_ to indicate to the operator the exact effect produced. But -this marionette was not satisfactory for Mr. Craig’s purposes. - -He then directed his energies in an exactly opposite direction, toward -simplification. The result was small, but very impressive dolls, carved -out of wood and painted in neutral colors,--the color of the scenes in -which they moved, to allow for the fullest and most variable effects -produced by lighting. Most interesting, too, the manner in which -Mr. Craig applied his theories concerning gesture with these little -puppets. Each marionette was allowed to make one or two gestures,--no -more. But these gestures had to be exact, invariable, and the perfect -indication of whatever meaning they were intended to convey. Before -inventing the action of a puppet, Mr. Craig would study, for days or -weeks, watching various people making the movement and expressing -the emotion he desired to portray. Then he would extract from these -observations the general and essential qualities of this particular -gesture; all else, due to the peculiarities of individuals, was left -out as irrelevant for the stage. Hence when Mr. Craig’s puppet moves, -it moves simply, significantly and--one more essential--surely. For -nothing is left to chance. The gesture, once selected, is produced with -infinite care and is made invariable. No whim of the manipulator, no -accident of chance, can alter it. One motion of the finger operates -the figure, and the result is assured. - -Naturally a character may be required to exhibit varied succeeding -emotions, not encompassed by one or two motions. In that case the -figure is taken off the stage and replaced by another similar in -appearance but differently articulated for a different purpose. There -are sometimes as many as six or eight puppets for one character. -Mr. Craig has experimented with his marionettes in many plays, some -comedy, some tragedy. It is not recorded whether he has ever given one -finished puppet production: it is immaterial. The idea embodied in -these little puppets is immense,--a valuable and lasting contribution -to constructive dramatic criticism. - - - - -_The Marionettes in America_ - - “They come from far away. They have been the joy of innumerable - generations which preceded our own; they have gained, with our - direct ancestors, many brilliant successes; they have made them - laugh but they have also made them think; they have had eminent - protectors; for them celebrated authors have written. At all - times they have enjoyed a liberty of manners and language which - has rendered them dear to the people for whom they were made.” - - ERNEST MAINDRON - - -How old are the marionettes in America? How old indeed! Older than the -white races which now inhabit the continent, ancient as the ancient -ceremonials of the dispossessed native Indians, more indigenous to -the soil than we who prate of them,--such are the first American -marionettes! - -Dramatic ceremonials among the Indians are numerous, even at the -present time. Each tribe has its peculiar, individual rites, performed, -as a rule, by members of the tribe dressed in prescribed, symbolic -costumes and wearing often a conventionalized mask. Occasionally, -however, articulated figures take part in these performances along with -the human participants. Dr. Jesse Walter Fewkes has published a minute -description of a theatrical performance at Walpi which he witnessed in -1900, together with pictures of the weird and curious snake effigies -employed in it. - -The Great Serpent drama of the Hopi Indians, called _Palü lakonti_, -occurs annually in the March moon. It is an elaborate festival, the -paraphernalia for which are repaired or manufactured anew for days -preceding the event. There are about six acts and while one of them is -being performed in one room, simultaneously shows are being enacted -in the other eight _kivas_ on the East Mesa. The six sets of actors -pass from one room to another, in all of which spectators await their -coming. Thus, upon one night each performance was given nine times and -was witnessed by approximately five hundred people. The drama lasts -from nine P.M. until midnight. - -Dr. Fewkes gives us the following description of the first act: “A -voice was heard at the hatchway, as if some one were hooting outside, -and a moment later a ball of meal, thrown into the room from without, -landed on the floor by the fireplace. This was a signal that the first -group of actors had arrived, and to this announcement the fire tenders -responded, ‘Yunya ai,’ ‘Come in,’ an invitation which was repeated by -several of the spectators. After considerable hesitation on the part -of the visitors, and renewed cries to enter from those in the room, -there was a movement above, and the hatchway was darkened by the form -of a man descending. The fire tenders arose, and held their blankets -about the fire to darken the room. Immediately there came down the -ladder a procession of masked men bearing long poles upon which was -rolled a cloth screen, while under their blankets certain objects were -concealed. Filing to the unoccupied end of the kiva, they rapidly set -up the objects they bore. When they were ready a signal was given, and -the fire tenders, dropping their blankets, resumed their seats by the -fireplace. On the floor before our astonished eyes we saw a miniature -field of corn, made of small clay pedestals out of which projected corn -sprouts a few inches high. Behind this field of corn hung a decorated -cloth screen reaching from one wall of the room to the other and from -the floor almost to the rafters. On this screen were painted many -strange devices, among which were pictures of human beings, male and -female, and of birds, symbols of rain-clouds, lightning, and falling -rain. Prominent among the symbols was a row of six circular disks the -borders of which were made of plaited corn husks, while the enclosed -field of each was decorated with a symbolic picture of the sun. Men -wearing grotesque masks and ceremonial kilts stood on each side of this -screen. - -[Illustration: MARIONETTES EMPLOYED IN CEREMONIAL DRAMA OF THE AMERICAN -INDIANS - -_Upper_: Serpent effigies, screen and miniature corn field used in Act -I of the _Great Serpent Drama_ of the Hopi Katcinas - -[From _A Theatrical Performance at Walpi_, by J. Walter Fewkes, in the -Proceedings of the Washington Academy of Sciences, 1900, Vol. II] - -_Lower_: Drawing by a Hopi Indian of articulated figurines of corn -maidens and birds - -[From _Hopi Katcinas_, by J. Walter Fewkes]] - -“The act began with a song to which the masked men, except the -last mentioned, danced. A hoarse roar made by a concealed actor -blowing through an empty gourd resounded from behind the screen, and -immediately the circular disks swung open up-ward, and were seen to be -flaps, hinged above, covering orifices through which simultaneously -protruded six artificial heads of serpents, realistically painted. -Each head had protuberant goggle eyes, and bore a curved horn and a -fan-like crest of hawk feathers. A mouth with teeth was cut in one -end, and from this orifice there hung a strip of leather, painted red, -representing the tongue. - -“Slowly at first, but afterwards more rapidly, these effigies were -thrust farther into view, each revealing a body four or five feet long, -painted, like the head, black on the back and white on the belly. -When they were fully extended the song grew louder, and the effigies -moved back and forth, raising and depressing their heads in time, -wagging them to one side or the other in unison. They seemed to bite -ferociously at each other, and viciously darted at men standing near -the screen. This remarkable play continued for some time, when suddenly -the heads of the serpents bent down to the floor and swept across the -imitation corn field, knocking over the clay pedestals and the corn -leaves which they supported. Then the effigies raised their heads and -wagged them back and forth as before. It was observed that the largest -effigy, or that in the middle, had several udders on each side of the -belly, and that she apparently suckled the others. Meanwhile the roar -emitted from behind the screen by a concealed man continued, and wild -excitement seemed to prevail. Some of the spectators threw meal at the -effigies, offering prayers, amid shouts from others. The masked man, -representing a woman, stepped forward and presented the contents of -the basket tray to the serpent effigies for food, after which he held -his breasts to them as if to suckle them. - -“Shortly after this the song diminished in volume, the effigies were -slowly drawn back through the openings, the flaps on which the sun -symbols were painted fell back in place, and after one final roar, made -by the man behind the screen, the room was again silent. The overturned -pedestals with their corn leaves were distributed among the spectators, -and the two men by the fireplace again held up their blankets before -the fire, while the screen was silently rolled up, and the actors with -their paraphernalia departed.” - -There are some acts in the drama into which the serpent effigies do -not enter at all. In the fifth act these Great Snakes rise up out of -the orifices of two vases instead of darting out from the screen. This -action is produced by strings hidden in the kiva rafters, the winding -of heads and struggles and gyrations of the sinuous bodies being the -more realistic because in the dim light the strings were invisible. - -In the fourth act two masked girls, elaborately dressed in white -ceremonial blankets, usually participate. Upon their entrance they -assume a kneeling posture and at a given signal proceed to grind -meal upon mealing stones placed before the fire, singing, and -accompanied by the clapping of hands. “In some years marionettes -representing Corn Maids are substituted for the two masked girls,” -Dr. Fewkes explains, “in the act of grinding corn, and these two -figures are very skillfully manipulated by concealed actors. Although -this representation was not introduced in 1900, it has often been -described to me, and one of the Hopi men has drawn me a picture of the -marionettes.” - -“The figurines are brought into the darkened room wrapped in blankets, -and are set up near the middle of the kiva in much the same way as the -screens. The kneeling images, surrounded by a wooden framework, are -manipulated by concealed men; when the song begins they are made to -bend their bodies backward and forward in time, grinding the meal on -miniature metates before them. The movements of girls in grinding meal -are so cleverly imitated that the figurines moved by hidden strings at -times raised their hands to their faces, which they rubbed with meal as -the girls do when using the grinding stones in their rooms. - -“As this marionette performance was occurring, two bird effigies were -made to walk back and forth along the upper horizontal bar of the -framework, while bird calls issued from the rear of the room.” - -The symbolism of this drama is intricate and curious. The effigies -representing the Great Serpent, an important supernatural personage in -the legends of the Hopi Indians, are somehow associated with the Hopi -version of a flood; for it was said that when the ancestors of certain -clans lived far south this monster once rose through the middle of the -pueblo plaza, drawing after him a great flood which submerged the land -and which obliged the Hopi to migrate into his present home, farther -North. The snake effigies knocking over the cornfields symbolize -floods, possible winds which the Serpent brings. The figurines of the -Corn Maids represent the mythical maidens whose beneficent gift of corn -and other seeds, in ancient times, is a constant theme in Hopi legends. - -The effigies which Dr. Fewkes saw used were not very ancient, but in -olden times similar effigies existed and were kept in stone enclosures -outside the pueblos. The house of the _Ancient Plumed Snake of Hano_ is -in a small cave in the side of a mesa near the ruins of Turkinobi where -several broken serpent heads and effigy ribs (or wooden hoops) can now -be seen, although the entrance is walled up and rarely used. - -The puppet shows commonly seen to-day in the United States are of -foreign extraction or at least inspired by foreign models. For many -years there have been puppet-plays throughout the country. Visiting -exhibitions like those of Holden’s marionettes which Professor Brander -Matthews praises so glowingly are, naturally, rare. But one hears of -many puppets in days past that have left their impression upon the -childhood memories of our elders, travelling as far South as Savannah -or wandering through the New England states. Our vaudevilles and -sideshows and galleries often have exhibits of mechanical dolls, such -as the amazing feats of _Mantell’s Marionette Hippodrome Fairy-land -Transformation_ which advertises “Big scenic novelty, seventeen -gorgeous drop curtains, forty-five elegant talking acting figures in -a comical pantomime,” or _Madam Jewel’s Manikins_ in Keith’s Circuit, -Madam Jewel being an aunt of Holden, they say, and guarding zealously -with canvas screens the secret of her devices, even as Holden himself -is said to have done. - -Interesting, too, is the story of the retired marionettist, Harry -Deaves, who writes: “I have on hand forty to fifty marionette figures, -all in fine shape and dressed. I have been in the manikin business -forty-five years, played all the large cities from coast to coast, -over and over, always with big success; twenty-eight weeks in Chicago -without a break with Uncle Tom’s Cabin, a big hit. The reason I am -selling my outfit is,--I am over sixty years of age and I don’t think -I will work it again.” How one wishes one might have seen that _Uncle -Tom’s Cabin_ in Chicago! In New York at present there is Remo Buffano, -reviving interest in the puppets by giving performances now and then in -a semi-professional way with large, simple dolls resembling somewhat -the Sicilian burattini. His are plays of adventure and fairy lore. - -Then, too, in most of our larger cities from time to time crude popular -shows from abroad are to be found around the foreign neighborhoods. It -is said that at one time in Chicago there were Turkish shadow plays in -the Greek Colony; Punch and Judy make their appearance at intervals, -and Italian or Sicilian showmen frequently give dramatic versions of -the legends of Charlemagne. - -In Cleveland two years ago a party of inquisitive folk went one night -to the Italian neighborhood in search of such a performance. We found -and entered a dark little hall where the rows of seats were crowded -closely together and packed with a spellbound audience of Italian -workingmen and boys. Squeezing into our places with as little commotion -as possible we settled down to succumb to the spell of the crude -foreign fantoccini, large and completely armed, who were violently -whacking and slashing each other before a rather tattered drop curtain. -Interpreted into incorrect English by a small boy glued to my side, -broken bits of the resounding tale of _Orlando Furioso_ were hissed -into my ear. But for these slangy ejaculations one might well have -been in the heart of Palermo. A similar performance is described by -Mr. Arthur Gleason. It was a show in New York, the master of which was -Salvatore Cascio, and he was assisted by Maria Grasso, daughter of the -Sicilian actor, Giovanni Grasso of Catania. - -[Illustration: ITALIAN MARIONETTE SHOW Operated in Cleveland for a -season. Proprietor, Joseph Scionte [Courtesy of Cleveland _Plain -Dealer_]] - -“For two hours every evening for fifty evenings the legends unrolled -themselves, princes of the blood and ugly unbelievers perpetually -warring.” There was, explains Mr. Gleason, some splendid fighting. -“Christians and Saracens generally proceeded to quarrel at close -range with short stabbing motions at the opponent’s face and lungs. -After three minutes they swing back and then clash!! sword shivers -on shield!! Three times they clash horridly, three times retire to -the wings, at last the Christian beats down his foe; the pianist -meanwhile is playing violent ragtime during the fight, five hidden -manipulators are stamping on the platform above, the cluttered dead are -heaped high on the stage.” When one considers that such puppets are -generally about three feet high and weigh one hundred pounds, armor and -all, and are operated by one or two thick iron rods firmly attached to -the head and hands, what wonder that the flooring of the stage is badly -damaged by the terrific battles waged upon it and has to be renewed -every two weeks! - -Far removed from these unsophisticated performances, however, are the -poetic puppets of the Chicago Little Theatre. I use the present tense -optimistically despite the sad fact that the Little Theatre in Chicago -has been closed owing to unfavorable conditions caused by the war. But -although “Puck is at present cosily asleep in his box,” as Mrs. Maurice -Browne has written, we all hope that the puppets so auspiciously -successful for three years will resume their delightful activities, -somehow or other, soon. - -At first the originators of the Chicago marionettes travelled far -into Italy and Germany, seeking models for their project. Finally in -Solln near Munich they discovered Marie Janssen and her sister, whose -delicate and fantastic puppet plays most nearly approached their own -ideals. They brought back to Chicago a queer little model purchased in -Munich from the man who had made Papa Schmidt’s Puppen. But, as one -of the group has written, the little German puppet seemed graceless -under these skies. And so, Ellen Van Volkenburg (Mrs. Maurice Browne) -and Mrs. Seymour Edgerton proceeded to construct their own marionettes. -Miss Katherine Wheeler, a young English sculptor, modelled the faces, -each a clear-cut mask to fit the character, but left purposely rough in -finish. Miss Wheeler felt that the broken surfaces carried the facial -expression farther. The puppets were fourteen inches high, carved in -wood. The intricate mechanism devised by Harriet Edgerton rendered -the figures extremely pliable. Her mermaids, with their serpentine -jointing, displayed an uncanny sinuousness. Miss Lillian Owen was -Mistress of the Needle, devising the filmy costumes, and Mrs. Browne -with fine technique and keen dramatic sense took upon herself the task -of training and inspiring the puppeteers as well as creating the poetic -ensemble. - -[Illustration: MARIONETTES AT THE CHICAGO LITTLE THEATRE - -Production of _Alice in Wonderland_ under Mrs. Maurice Browne’s -direction - -_Upper_: The Duchess’s Kitchen - -_Lower_: The White Rabbit’s House] - -The Chicago puppets are neither grotesque nor humorous and they have -little in common with the puppet of tradition. Theirs is an element -of exquisite magical fairy-land, with dainty beings moving about in -it, who can express beauty, tragedy and tenderness. Their repertoire -consists for the most part of fantasies written or adapted by members -of the group. The first was a delicious fairy adventure, a play for -children, _The Deluded Dragon_, founded upon an old Chinese legend, -wherein a lovely Prince seems to follow a Wooden Spoon down the River -certain that he will chance upon Adventure, which he does. The play -was decidedly successful, despite a most unfortunate accident at the -first performance caused by the impetuosity of the somewhat hurried -puppeteers. To be more explicit, “the fierce but fragile dragon parted -in the middle, his five heads swinging free of his timorously lashing -tail.” “The same year,” continues Miss Hettie Louise Mick, herself -puppeteer and composer of marionette plays, “Reginald Arkell’s charming -fantasy, _Columbine_, was produced with more patience and proved a -wholly delightful and almost finished thing.” - -The next year two fairy tales were presented, _Jack and the Beanstalk_ -and _The Little Mermaid_, both dramatized by the puppeteers. Great -technical advances had been made in the latter play and a delicate, -fantastic effect attained, approaching the ideals of the founders. The -last and most ambitious performance of this season was Shakespeare’s -_A Midsummer Night’s Dream_, given not only for children but openly -for the grown-ups. Of this production Miss Mick has written: “Puck, -who had been known formerly as the rather stiff little fairy who -introduced and closed each play in rhyme, now became his romping, -pliant self, tumbling through the air, doubling up in chortling -glee upon his toadstool and pushing his annoying little person into -every disconcerted mortal’s way. Titania emerged, a glowing queen of -filmy draperies, attended by flitting elves, and Oberon resumed his -crafty, flashing earth-character, his attendants being two inflated -and wholly impudent bugs. The Mechanicals, while clumsy, fulfilled -their parts well and brought the outworn humor of Shakespeare into -hilarious reality, the scene between Pyramus and Thisbe never failing -to bring roars of appreciation from the audience. Only the Greeks -were a dank and dismal failure. Hurriedly constructed to meet the -rapidly approaching production date, they were awkward, long-headed, -stiff-jointed creatures highly unlike their graceful originals. But -the lighting and settings, and the prevailing atmosphere of exquisite -unreality were such that the audience came night after night for five -weeks, and at the end of that time, when the theatre closed for the -season, demanded more.” - -Mrs. Browne, in an informal letter about her puppets, has written -concerning this performance: “I don’t think I ever have seen such -delicate beauty as was achieved at the end of the Midsummer: I say it -in all simplicity because I have a curious, Irish feeling that the -little dolls took matters into their own hands and for once allowed us -a glimpse into their own secret world. The audience, whether of adults -or of children, never failed to respond with a sudden hush and the -poor, tired girls who had been working in great heat over the colored -lights for two hours never failed to get their reward.” Mrs. Browne -then proceeded to give an idea of the patient toil behind the scenes. -“We rehearsed six hours a day for about seven weeks to prepare the -play. Six girls worked the puppets; there were about thirty of them, -so you can see how many characters each girl had to create and how -many dolls she had to work (my puppeteers spoke for each puppet they -handled). Besides the actual workers, I had an understudy whose duty it -was to stand on the platform back of the girls to take their puppets -from them when the scenes were moving quickly and many characters were -leaving the stage at once; she then hung the puppets where they could -be easily reached for their next entrance. Hers was, of course, the -most thankless task of all because she had none of the pleasure, and -the accuracy of the performance depended upon her efficiency. None who -have not worked with puppets can understand the nervous strain of these -performances.” - -The third year of the Chicago puppets saw progress in many directions. -The enthusiasm of the puppeteers had finally been aroused to the -point where each contributed suggestions in the line of mechanical -construction or the adapting of plays. Mr. H. Carrol French of the -South Bend Little Theatre came to be puppet manager and added many -improvements to the mechanism of the dolls, constructing the bodies of -wire instead of wood (some suggestions for which he received through -the courtesy of Mr. Tony Sarg). The new dolls were more sensitive to -manipulation than the old, and more individual in their gestures. The -repertoire for this season consisted of two little fairy plays, _The -Frog Prince_ and _Little Red Riding Hood_, adaptations of Miss Mick, -and then _Alice in Wonderland_, made into a play by Mrs. Browne. -While this play never wove so strong a poetic spell as _A Midsummer -Night’s Dream_, it marked great strides in skill on the part of the -manipulators. This same year the little puppets went on a tour, not -only into the suburbs of Chicago but, under the auspices of the -Drama League, as far as St. Louis. Let us hope that at some not too -distant date Puck, moving sprite among this brave and poetic band of -marionettes, will gaily revive and travel farther with his troupe so -that we all may witness and enjoy his fairy charms.[5] - -[Illustration: MARIONETTES AT THE CLEVELAND PLAY HOUSE - -Presenting _The Life of Chopin_ - -Puppets and scenery designed by Carl Broemel] - -The Cleveland Playhouse has had its puppet stage from the very -beginning of the organization. Mr. Raymond O’Neil, the director, -has always taken a great interest in the puppets. He believes, with -Mr. Gordon Craig, that they might well serve as models in style, -simplicity and impersonality for living actors, but he also avers that -they are capable of presenting certain types of drama as effectively -if not more satisfactorily than the best of actors, and certainly -better than any second-rate performers. When the Cleveland Playhouse -was still a very small, informal group it was decided to produce a -serious marionette play. The director selected for this purpose _The -Death of Tintagiles_, written by Maeterlinck expressly for puppets. A -Cleveland artist, Mr. George Clisby, worked out the proper proportions -for the marionettes and the stage and their relation to each other. -It is recognized by all who witness them that the effectiveness and -success of the Cleveland productions are due in great part to the happy -proportions prevailing in the marionette scenes and the sense of a -complete, harmonious whole which they create. - -Mr. Clisby also designed the costumes for the first dolls, and the -scenery. Only the significant and essential was allowed upon his -little stage, strong, simple lines and colors, a few poplar trees upon -a hilltop in the blue dusk of the evening, or plain, gloomy chambers -with high arches leading away into mysterious passages, or at the very -last, merely a door, a massive, closed iron door set in bare walls. The -figures were planned in the same spirit. Being very small they were -given practically no features, a scowling eyebrow, a dignified beard, -long hair or short, stiff or flowing, being sufficient indication of -the type represented. - -Miss Grace Treat, who made and dressed most of the marionettes, caught -and embodied the artist’s ideal in strange, tall puppets, naïve but -marvelously impressive. The construction of these puppets, although -extremely simple, had to be planned and executed patiently. Often a -marionette was taken apart and made over again until the right effect, -or the proper gesture, was obtained. The puppets are somewhat like rag -dolls, of a soft material, stuffed with cotton or scraps, weighted and -carefully balanced with lead. Five and at most seven strings are used -and the control is very primitive. This studied simplicity in structure -and in costume has given the Cleveland puppets a naïve style,--their -limitations both defining and emphasizing the significance of each -little figure. Miss Treat was also the master-manipulator of the -puppets and in her hands the stiff little Ygraine took on heroic and -tragic proportions. - -For many months a small group of faithful enthusiasts struggled to -attain the standard set for them by director and artist. The play was -finally given before an audience of Playhouse members. Mr. O’Neil -produced the strangely beautiful lighting with the crudest facilities -imaginable. The parts were read by members of the group who had been -working along patiently with the manipulators until words, settings and -action had grown perfectly harmonious. Those who were privileged to -witness this first production were deeply thrilled by the poetic beauty -of it, and still mention it as an unusual experience. - -Encouraged by this initial success, the group determined to continue -with marionettes. But the Playhouse itself was going through a winter -of vicissitudes and the puppeteers were compelled to endure and suffer -many delays and disappointments. Rehearsing in a rear room of an empty -house loaned for the season (and often fabulously cold!) with readers -and operators dropping out one by one from sheer discouragement or -because of war work, trying out several plays which for one reason or -another proved impossible, still a nucleus of the old group, with the -addition of a few new workers, held on, held out through this second -season under the ever optimistic leadership of Grace Treat. After -moving into other temporary quarters, to be exact, into the high and -dingy little ball-room of an old residence turned boarding-house, the -group produced a very successful repetition of _Tintagiles_.[6] - -Meanwhile the Playhouse had purchased a little church which it -remodeled, decorated and equipped as a permanent theatre. During this -time, and under most trying circumstances brought about by the war, the -director contrived to present several productions for the first Winter -in the new playhouse, among them two marionette performances. Most of -the puppeteers and readers for both of these plays were new at the work -and had to be trained from the very beginning. The stage, too, had been -altered to admit of a cyclorama, improved lighting arrangements and, -quite incidentally, a stronger and safer _bridge_. Nevertheless certain -methods and principles of manipulating were evolved which somewhat -raised the dexterity of the group as a whole. - -One of the plays we produced was _Shadowy Waters_ by Yeats, a dreamy, -far-away, old Irish drama which lent itself beautifully to our type of -poetic puppets. Mr. John Black designed the colorful costumes and the -scene upon the deck of a vessel. The pleasure of making and dressing -the impressionistic dolls was delegated to me, but all willing members -of the group were allowed to share in this privilege. There were five -long-suffering readers and four patient operators, besides the director -of the group, who also manipulated, with extra assistance, at the -very end, to carry the marionettes back and forth behind the scene. -Mr. O’Neil also generously helped in staging the production. Many and -varied were the rehearsal evenings we spent together. But, when at -last the curtain slowly fell upon the Queen in her turquoise gown with -“hair the color of burning” and her dark, melancholy lover beside her, -deserted by the sailors and drifting away over shadowy blue waters -to the strains of the magic harp, we all felt that we had created -something of beauty, despite our inexperience and obvious shortcomings. - -[Illustration: MARIONETTES AT THE CLEVELAND PLAY HOUSE - - Production of _Shadowy Waters_ by W. B. Yeats - Puppets and scenery designed by John Black -] - -The other puppet play was somewhat in the nature of a departure at -the Playhouse. A little narrative of the life of Chopin, written by -Mr. Albert Gehring, was read to the accompaniment of piano selections -from Chopin’s music while dainty little figures of the period, gently -moving, enacted the scenes in the story as it proceeded. This method -has had many and ancient precedents in the ambulent puppet shows of -the Middle Ages. The success of the experiment has suggested to some -puppeteers in the group the idea of further attempts in this manner. -Mr. Carl Broemel was the artist who designed the elegantly clad and -exquisite little dolls, as well as the setting for the play. The latter -was a remarkable example of a miniature interior which, despite its -diminutive furnishings, had nothing petty about it but gave one the -unified, powerful effect of a dignified painting, poetically and simply -conceived. - -Thus the Cleveland puppets have struggled along through hard days of -war and worries, very much alive although perhaps less active than -they may hope some day to be. Plans have been made to start rehearsing -a play longer and more important than the recent endeavors, (possibly -Hauptmann’s _Hannele_). The problem of a permanent marionette theatre -depending upon volunteer workers is unbelievably difficult, but we feel -that with time the solution can be found not only for our group but for -other communities as well who may venture upon this fascinating minor -branch of dramatic endeavor.[7] - -To New York accrues the credit of having to-day professional -marionettes on exhibition in a theatre on Broadway. Created by -the inventive genius of Mr. Tony Sarg, and sustained through the -sympathetic interest of Mr. Winthrop Ames, these most accomplished and -amazing dolls made their debut at the Neighborhood Playhouse over a -year ago, whence, after, arousing great enthusiasm, they moved into the -Punch and Judy Theatre. There, before an audience of appreciative big -and little folk, they performed three tales of fable and fantasia, or -as the headlines of a newspaper described it, after the manner of the -old advertisements: “Master marionettes of new Refinements. Strangely -Human Semblance and Various Illusion ... Tale and Whimsey.” - -The story of these marionettes began over five years ago in London, -where Mr. Sarg had his studio in _The Old Curiosity Shop_, made famous -by Dickens. There he worked at his illustrating and played with his -puppets. The performances he gave for the amusement of himself and -his friends encouraged him in becoming more and more absorbed in -the miniature stage. After the war had broken out, Mr. Sarg came to -New York and brought his marionettes along. Here he continued his -professional activities, illustrating diligently and most successfully, -with interludes of puppet play. When, finally, Mr. Ames became -interested in presenting these puppets to the public, it was found -necessary to enlarge and elaborate upon the original pattern, and after -many months of experimenting, patient labor and happy inspiration, Mr. -Sarg perfected the ingenious, three-foot marionettes used in these -first public productions. - -[Illustration: MR. TONY SARG’S MARIONETTES BEHIND THE SCENES] - -Each of his thirty-six or more little figures was designed with an -eye to its special uses; some require as many as twenty-four strings -for the manipulating. One of the little figures is a masterpiece of -flexibility. Of her it has been written: “This doll is an Oriental -dancer. Her contortions and posturings are in perfect imitation of the -living Nautch-girl and it is safe to say that nothing ever seen on -the puppet stage of America at least can surpass the ease and grace -with which her little body sways backward in an inverted crescent, the -ethereal lightness of her circling about the stage and the abandon of -her attitudes in the dance.” Another critic comments with an almost -audible chuckle: “... a nine days’ marvel and most improper. She pains -and shocks all right thinking people by her shameless display of those -allurements against which all the prophets have warned the sons of men.” - -I myself was even more impressed by Mr. Sarg’s puppet-juggler. He is -an adorable little expert, tossing and catching his many golden balls -with such tense, nervous concern, jerking his head left and right to -watch first this hand, then that, then a ball high in air and, having -accomplished his trick, he stands with such justifiable pride and -swelling of chest to receive the well-earned plaudits of the audience! -It was a quite irresistible bit of mimicry. There is, indeed, a nice -humor and an enjoyable but not overemphasized flavor of the grotesque -in these marionettes. Heads, hands and feet are a little exaggerated -in proportion to the rest of the body; added to this, the ease with -which they accomplish the humanly impossible and the difficulty with -which they perform some very trivial and ordinary human acts all bring -about a curious absurdity which is highly amusing. - -Of the three plays presented the opening season, the first was _The -Three Wishes_, an old fairy tale dramatized by Count F. Pocci for the -marionette theatre of Papa Schmidt in Munich and re-adapted by Mr. -Ames. “The tiny stage,” writes Miss Anne Stoddard, “is set in a shadow -box; the curtain rises on a sunny knoll with a glimpse of red roofs -in the valley below; bright butterflies flutter above the grass; a -saucy Molly cotton-tail bobs across the hillside.” Another witness of -the performance continues: “The supernatural is a ready aid to the -marionette drama. Hence one is not surprised to find in the first play -of Mr. Sarg’s entertainment a fairy being released from an imprisoning -tree by an old woodcutter and offering her liberator the familiar -three wishes. The tale bears one of the morals familiar in German -folklore. The woodcutter, having received his wish-ring, is awed by -the responsibility which rests upon him and rushes to consult with the -wife of his bosom. She is equally perturbed, but guards the ring for -him while he departs to hold conference with the schoolmaster, but how -perverse is human nature! The wife, entertaining a neighbor during his -absence, casually expresses the wish for a plate of sausages. Presto, -sausages hot and tempting appear before her. The woodcutter, returning -and discovering what use his wife has made of the first wish, angrily -wishes the sausages were growing at the end of her nose, and lo, so -they are. The third wish still remains. But what will avail all the -honor and wealth in the world if one’s wife is to make one ridiculous -by carrying sausages on the end of her nose? Clearly there is nothing -to be done but to utilize the third wish in wishing the sausages off -again. And, this accomplished, the fairy appears to preach a homely -sermon, pointing out how vain are human wishes and ambitions. Let each -gain what he would have by his own will and industry and be contented -with the lot he carves for himself. - -“The edifying import of this tale is no less impressive than the -spirited enactment of it,--the grace of the fairy, the ardor of the -woodcutter, the nagging of the wife, the fervent emotion displayed -by the housedog at the smell of the sausages. Such a mingling of -fable, parable and sermon, of petty human nature with the inscrutable -supernatural which hedges us all in is the authentic material of -puppet-drama.” - -The other two plays, expertly written by Mrs. Hamilton Williamson, -displayed to the greatest advantage the particular talents of the -puppet virtuosi. It is thus that she depicts the task of the marionette -dramatist. “When Mr. Sarg first told me he wanted a snake-charmer, a -juggler, an Oriental dancer, an elephant and a donkey in one play, I -thought I couldn’t possibly get them together; but, you see, I did.” -Yes, indeed, and more besides in the way of adventure, mystery and -humor, very cleverly devised in the energetic, simple language best -suited to the naïve audience of puppet actors. Nor did the duties of -Mrs. Williamson end with her literary labors. Many and inspired were -her humbler but equally arduous and indispensable achievements for -these puppets. - -A similar versatility was displayed by the young women who operated the -puppets. Aside from the laboriously acquired precision essential in -mastering the intricate controls devised for the dolls, each puppeteer -has interested herself in other phases of the ancient craft. Some of -them made the elaborate and colorful costumes for the dolls. Some -helped manufacture the properties, tiny but complete and delightful. -My very first glimpse of the marvelous puppets, indeed, was when, led -by Mrs. Williamson, I came to a very dirty brownstone house not far -from Washington Square, and, entering a gloomy hallway, penetrated -through into the dark rear room where the puppeteers were at work, -all in overalls, all very busy, all very amiable. Someone was sawing -wood, someone was hammering, someone was up on the bridge practicing -the donkey and there was a tiny, live monkey perched on the lumber -which littered the floor. Puppets and monkey ... of course!--following -the example of Brioché and his Fagotin and perfectly true to the best -traditions! - -[Illustration: A TRICK PUPPET - -In Mr. Tony Sarg’s production, _The Rose and the Ring_; showing how -Gruffanuff becomes instantly beautiful upon finding the magic ring] - -It is Mr. Sarg who has trained and inspired all of his workers, who -has designed the costumes as well as the faces and hands of the dolls, -modeled after his drawings, who has invented the clever mechanism -and most of the scenery and ingenious “business” of the stage, who -has directed the actors’ interpretation of the lines, selected the -incidental music, superintended the lighting effects, all with an easy -air of merely enjoying his little hobby. - -The play selected by Mr. Sarg for his puppets during their second -season was a very fortunate choice. It was Thackeray’s little fairy -story, _The Rose and the Ring_, made into a drama by one of the -puppeteers, Miss Hettie Louise Mick, who had dramatized other tales -for marionettes when she was working with the Chicago puppets. -Nothing could have been better suited to the nature of Mr. Sarg’s -dolls, humorous, dainty, delicious, all in quaint trappings, and with -divertingly elaborate settings suggestive of the Victorian era quite -proper to the story. To add to the excellence of his production, -Mr. Sarg secured Mrs. Browne to advise in staging and to direct the -rehearsing. She applied her usual methods, training the puppeteers -first through having them act out and speak the lines themselves before -operating the dolls. The manipulators always talk for the marionettes -they operate. - -To facilitate in taking the show about the country a collapsible stage -was constructed and the puppets were reduced in size. This diminution -of stature brought about a new refinement, a more mincing manner and -a more piquant facial eccentricity. Early in Spring, _The Rose and -The Ring_ went on a Western tour, visiting Detroit, Ann Arbor and -Cleveland. Mr. Sarg had a group of six manipulators, including Miss -Lillian Owen, mistress of the wardrobe and a sort of right-hand man, -and Mr. Searle, master stage mechanic and constructor of clever scenery -and properties, another right-hand man in fact, and Miss Mick, who -wrote the play. A musician also came along and produced the tinkly, -tinny, toy music so properly attuned to the puppet play. The production -abounded in pretty surprises, horrible suspenses, fairy magic, -transformations, shadow play, dancing dolls, piano playing puppets, -knights in armor, animals, everything desirable! Throughout there was -the flow of Thackeray’s inimitable, good-natured satire, skillfully -preserved by Miss Mick. After enthusiastic receptions wherever he -visited with them, Mr. Sarg returned to New York with his marionettes -and installed them in the Punch and Judy theatre, where they continued -to enjoy their usual popularity. - -Mr. Sarg has been asked why he does not attempt poetic drama with his -marionettes. He is faced, of course, with the problem which confronts -all the puppet showmen here in America of finding material suitable for -a given type of doll and also acceptable to local audiences, hitherto -unacquainted with the characteristics and traditions of the burattini. -Concerning a possible performance of one of Maeterlinck’s dramas by the -marionettes, Mr. Sarg has said: “I am turning that over in my mind. -The practicable difficulty is the exaggerated walk of the dolls, which -always brings laughter from the audience. But I dare say I can manage -that all right when I have a chance to work over it a bit.” Let us -hope that this minor difficulty will not prove insurmountable, for, as -Mr. H. K. Moderwell in the _Boston Transcript_ has so aptly written: -“If he will draw further from the ancient and noble sources of puppet -literature, if he will bid his dolls enact some of those dramas which -have made the art of the marionette an inspired art, he will merit the -plaudits of all puppet-starved America.” - - - - -_Toy Theatres and Puppet Shows for Children_ - - -Whether, out of their infinite variety, the puppets please or fail to -satisfy us, there is one audience invariably eager for them. Puppet -shows for children, toy theatres managed by children, what could be -more fitting? Specially adapted, professional performances such as the -Guignol and Casperle plays have ever catered to youthful tastes with -astonishing and perennial success. The home-made booths for simple -dolls worked on the fingers are so quickly contrived. Little stages for -marionettes are easy to construct out of ordinary kitchen tables. Mr. -Gordon Craig gives explicit directions as well as an excellent drawing -in his letter, _The Game of Marionettes_, which is published in _The -Mask_, volume five. Shadow plays can be arranged by merely stretching -a sheet across a door with a cardboard frame and cardboard figures -pressed behind it and a light to illuminate the silhouettes. How much -fun to have Red Riding Hood thus portrayed, for a birthday party or the -shadow of Santa Claus with his reindeer sailing over the shadow gables -and down the shadow of the chimney on Christmas eve! - -The _Juvenile Drama_ of Skelt and his successors, Park, Webb, Redington -and Pollock, has been immortalized by Stevenson in his little essay, _A -Penny Plain and Twopence Colored_. Printed on thin sheets of cardboard -to be cut out and colored by the youthful stage manager (unless he -bought, oh shame! the _Twopence Colored_), were characters and scenes -for the most exciting plays. Special properties for illuminating and -coloring could be acquired also, at extra expense. The words of the -drama, plus directions, were printed in a pamphlet. They were based -upon thrilling old English melodramas; they presented startling and -highly theatrical situations. - -“In the Leith Walk window all the year round, there stood displayed a -theatre in working order, with a _Forest Set_, a _Combat_, and a few -_Robbers Carousing_ in the slides; and below and about, dearer tenfold -to me! the plays themselves, those budgets of romance, lay tumbled -one upon the other. Long and often have I lingered there with empty -pockets. One figure, we shall say, was visible in the first plate -of characters, bearded, pistol in hand, or drawing to his ear the -clothyard arrow. I would spell the name: was it Macaire or Long Tom -Coffin, or Grindoff, 2d dress? Oh, how I would long to see the rest! -How--if the name by chance were hidden--I would wonder in what play he -figured and what immortal legend justified his attitude and strange -apparel! And then to go within to announce yourself as an intending -purchaser, and, closely watched, be suffered to undo those bundles and -to breathlessly devour those pages of gesticulating villains, epileptic -combats, bosky forests, palaces and warships, frowning fortresses and -prison vaults--it was a giddy joy.” - -“And when at length the deed was done, the play selected and the -impatient shopman had brushed the rest into the gray portfolio, and -the boy was forth again, a little late for dinner, the lamps springing -into light in the blue winter’s even, and _The Miller_, or _The -Rover_, or some kindred drama clutched against his side, on what gay -feet he ran, and how he laughed aloud in exultation!” And Stevenson -confesses: “I have, at different times, possessed _Aladdin_, _The Red -Rover_, _The Blind Boy_, _The Old Oak Chest_, _The Wood Daemon_, _Jack -Shepard_, _The Miller and His Men_, _Der Freischuetz_, _The Smuggler_, -_The Forest of Bondy_, _Robin Hood_, _The Waterman_, _Richard I._, -_My Poll and my Partner Joe_, _The Inchcape Bell_ (imperfect), and -_Three-fingered Jack the Terror of Jamaica_; and I have assisted -others in the illumination of the _Maid of the Inn_ and _The Battle of -Waterloo_. In this roll-call of stirring names you read the evidences -of a happy childhood.”[8] - -In Germany, also, toy theaters abound, better equipped possibly, and -more carefully constructed, but lacking somewhat the quaint and fiery -delightfulness of the English juvenile drama. - -There could be no more spontaneous testimonial of the love of children -for the puppets than the throngs who crowded into Papa Schmidt’s -Kasperle theatre to witness his familiar, jolly little shows of -fairy-tale and folklore. In striving to meet the tastes and needs of -children, Schmidt earned the reward of becoming the best beloved man -in the city. It is interesting to note that when, once, he became -discouraged and wished to retire, the city magistrates, urged by the -_superintendent of the schools_, unanimously voted to build him a -permanent little theatre. - -And Goethe, that German genius of most universal appeal, records that -he devoted many hours of his childhood to puppet play. Kept at home -during the dreary days of the Seven Years’ War when Frankfurt was -occupied by the French, he diverted not only himself but his family -with the little marionette theatre which he had received as a Christmas -gift. It is thus that he describes his introduction to the puppets who -were to delight his boyhood, to amuse his youth and to inspire him -eventually with the suggestion for his great Faust drama. - -“I can still see the moment--how wonderful it seemed--when, after the -usual Christmas presents, we were told to sit down before a door which -led from one room into another. It opened, but not merely for the -usual passing in and out; the entrance was filled with an unexpected -festiveness. A portal reared itself into the heights which was covered -by a mystic curtain. At first we marvelled from a distance and as our -curiosity became greater to see what glittering and rustling things -might be concealed behind the half-transparent drapery, a little chair -was assigned to each of us and we were told to wait in patience. - -“So then we all sat down and were quiet. A whistle gave signal, the -curtain rose and disclosed a scene in the Temple, painted bright red. -The High Priest Samuel appeared with Jonathan, and their curious -dialogue seemed most admirable to me. Shortly thereafter Saul came upon -the scene in great distress, over the insolence of the heavy-weight -warrior who had challenged him and his followers to combat. How -relieved I was when the diminutive son of Jesse sprang forth with -shepherd’s crook, wallet and sling and spoke thus: ‘Almighty King -and great Lord! Let none despair because of this. If your Majesty -will permit me, I will go forth and enter into combat with the mighty -giant.’ The first act was ended and the audience extremely desirous to -learn what would happen next,” etc., etc. - -[Illustration: GERMAN PUPPET SHOW FOR CHILDREN - -Designed for use in the home - -[Reproduced from _Kind und Kunst_]] - -The puppets may indeed boast of having delighted child geniuses of -every country and of having inspired their later years. We are told -that at the age of eleven Stanislaw Wyspianski, the great poet, -painter and dramatist of Poland, built himself a large stage or -_Crib_ imitating architecturally the Castle of Wawel. On this stage -he produced various dramas based upon the history of that royal burg, -with the help of figures which he himself invented. “Perhaps,” his -biographer suggests, “already there was germinating in his boyish soul -the idea of the Theatre-Wawel which in his manly productiveness brought -forth manifold fruits.” (L. de Schildenfeld Schiller.) In Italy, too, -we find the great dramatist Goldoni devoted to puppet play as a child -and writing dramas for the burattini which he is said to have adapted -later, with great success, for the larger stage. - -Most famous, perhaps, of all popular puppets for children to-day are -the Guignols in Paris. A typical performance might be found in the -garden of the Luxembourg, where a little stage has been erected. One -has the privilege of standing outside the roped-off space with passing -pastry cooks, milliners’ girls and street urchins, or one may pay to -enter and sit down on a chair among the children and nurses. Coachmen -rein up and watch from their high perches at the curb. Polichinelle -first comes upon the stage with his piping voice, or the Director, a -doll in evening dress with waxed mustachios, welcomes the audience. -Then Guignol and the terrifying family scenes! - -Mr. W. Caine has given a very illuminating analysis of the guignols. -“But who are all these people? Guignol, Guillaume, the Judge, the -Patron, the Nurse? You might know that Guignol is Guillaume’s father, -while Guillaume is the son of Guignol. The Gendarme, on the other hand, -is the Gendarme, while the Judge, similarly, is the Judge. The Patron -is none other than the Patron, and who should the Nurse be, in the -name of common sense, but the Nurse? The Gendarme is always killed, -always. The Judge expends his wrath impotently, always. The Patron is -invariably worsted, the Nurse has no sort of luck. Guignol represents -the proletariat. He wears a dark green jacket and a black hat.... -His face is large and foolish, for he is what is known as a benet, a -simpleton.... He tries to give his own baby its dinner by thrusting -it head-first into a stewing pan. Guillaume wears a red hat and pink -blouse.... Guillaume is, in one word, a rascal. It is certain when once -Guillaume gets hold of a stick, or musket, or a stewing-pan (anything -will do) that somebody will bite the dust.” - -The enthusiasm of the juvenile audience grows most intense over the -exploits of this favorite, and it is not unusual when Guillaume is -sore put to it and the Gendarme is about to pounce upon him, to -hear a shrill little voice from the audience cry out, ‘Take care, -Guillaume, the Gendarme is behind the door!’ When for the first time -the adventurous Guillaume ascended in an aeroplane, so great was his -success that the price of seats in the Champs Élysées went from 10 -centimes to 25!!” - -Guignol is often to be found during the season at bathing resorts and -at the seashore. Each of the larger shows in Paris has a portable booth -belonging to it wherein its little cast can be sent out to perform at -private entertainments. It is not uncommon for the play to be sent to -the orphans and waifs in this manner as a special treat for fête days. - -We find the puppets equally beloved by the children of Italy. In _The -Marionette_ there is a sympathetic picture of a juvenile audience at -the theatre of the Lupi family in Torina. “On the evenings of ordinary -days the auditorium does not differ in aspect from that of the other -theatres. To see it in its especial beauty one must go to the Sunday -afternoon performance, when hundreds of boys and girls fill the seats -and benches, and form, in the _platea_ and the boxes, so many bouquets, -garlands of blond heads; and the variety of light bright colors of -their clothes give it the appearance of a sala decked with flowers and -flags for a fête. - -“On the rising of the curtain one may say that two performances begin. -It is delightful, during a spectacular scene, to see all those eyes -wide open as at an apparition from another world--those expressions of -the most supreme amazement, in which life seems suspended--those little -mouths open in the form of an O, or of rings and semicircles--those -little foreheads corrugated as if in a tremendous effort of philosophic -cogitation, which then relax brusquely as on awaking from a dream. -Then, all at once, at a comic scene, at a funny reply or action of one -of the characters, whole rows of little bodies double up with laughter, -lines of heads are thrown back, shaking masses of curls, disclosing -little white necks, opening mouths, like little red caskets full of -minute pearls; and in the impetus of their delight some embrace their -brother or sister, some throw themselves in their mother’s arms, and -many of the smallest fling themselves back in their seats with their -legs in the air, innocently disclosing their most secret _lingerie_. -And then, to see how in the passion of admiration they furiously push -aside the importunate handkerchief which seeks their little noses, or -deal a blow without preface to whoever hides from them the view of the -stage! There are three hundred pairs of hands that applaud with all -their might, and that, among them all, do not make as much noise as -four men’s hands; one seems to see and to hear the flutter of hundreds -of rosy wings, held by so many threads to the seats. - -“And the admiring and enthusiastic exclamations are a joy to hear. At -the unexpected opening of certain scenes, at the appearance of certain -lambs or little donkeys or pigs that seem alive, there are outbursts -of ‘Oh!’ and long murmurs of wonder, behind which comes almost always -some solitary exclamation of a little voice which resounds in the -silence like a sigh in a church, and ... ‘Ah, com’e bello!’ ... that -breaks from the depths of the soul, that expresses fulness of content, -a celestial beatitude.” - -[Illustration: ENGLISH TOY THEATRE - - _Upper_: Figures to be cut out for the Juvenile Dramas - _Lower_: Back scene for _Timour the Tartar_ - -[Courtesy of B. Pollock, 73 Hoxton Street, London]] - -When Mr. Tony Sarg brought _The Rose and The Ring_ west it was a rare -privilege for the children of Cleveland to see this winsome puppet play -and an equal pleasure for those elders who witnessed the performance -with them. _What_ was behind the little curtain? A few boys and girls -went tiptoe up to peek. Then, listen! there is music and then, oh! the -funny little man singing a song, and oh! the long-nosed little King -snoring on his throne, and the funny soldier, Hedsoff, saluting so -briskly, and the ugly old Lady Gruffanuff! And see the Fairy Blackstick -come floating in and do things and say things to people and Princess -Angelica playing piano and dancing. How can she, so little and only a -dolly? What a fat Prince Bulbo and oh, the armoured men on horseback -fighting! (“Why ha’ dey dose knives, Mudda?” questioned one little -girl, aloud, all unacquainted with the days of Chivalry). And then the -roaring Lion! My four-year-old daughter still calls the lion a bear: -but it pleased her notwithstanding, particularly the _roar_ of it. -“Oh, I just juve Mr. Sarg’s ma-inette dolls, Mudda,” she exclaimed, a -day after the blissful event. “Why don’t we have ma-inette dolls many -times?” Why indeed, or, why not?! - -Elnora Whitman Curtis, in her book _The Dramatic Instinct in -Education_, emphasizes the educational value of puppets. She would have -shows in the schools, or better yet, in playgrounds with the advantage -of fresh air. Subjects, she claims, could be vivified, literature and -history lessons more deeply impressed upon the great number of pupils -who never get beyond the grades. And for older children there would -be the training in the writing of dialogues, in the declaiming of -them, practice in fashioning the puppets, the costumes, the scenery, -the properties and in operating and directing. Miss Curtis concludes: -“Anyone who has watched a throng of small boys and girls as they sit -in the tiny, roped-off square before a little chatelet in Paris on -the Champs Élysées, or those that gather in Papa Schmidt’s exquisite -little theatre in Munich, or before the tiny booths at fairs and -exhibitions anywhere in Italy, must have noticed the rapturous delight -of these small people. The tiny stage, its equipment, accessories, -the diminutive garments and belongings of the puppets satisfy the -childish love of the miniature copies of things in the grown-up world. -Their animistic tendencies make it easy to endow the wooden figures -with human qualities and bring them into close rapport with their own -world of fancy. The voice coming from some unknown region adds the -mystery which children dearly love, and before the magic of fairy-tales -their eyes grow wide with wonder. The stiff movement of the puppets, -their sudden collapses from dignity, are irresistibly funny to the -little people and the element of buffoonery is doubly comical in its -mechanical presentation.” - -Less specifically, but with equal conviction of their deep educational -importance, Gordon Craig proclaims: “There is one way in which to -assist the world to become young again. It is to allow the young mind -to learn nearly all things from the marionette.” - - - - -_A Plea for Polichinelle_ - - -I am making a plea for Polichinelle and I hope I shall be pardoned for -summoning to my assistance some of his more eloquent and illustrious -admirers. We have seen that the past has eminently honored him, but -there is also ample testimony that he can adapt himself to our present -time and taste, nay more, to the various tastes and tempers of this -modern day. For there are divers theories and principles among critics -of the puppets, but the puppets are so versatile they can play many -parts in many manners. “Chacun a son gout!” quoth Polichinelle with a -flourish. - -There are those who believe that the grotesque is an inherent, -indispensable trait of the marionette; that, as Flögel claims, -Kasperle, quintessence of grotesque comedy, belongs inseparably to the -marionette stage and that everything else is meaningless, insipid, -and merely experimental. Similarly, Professor Wundt asserts that -the ministration to the sense of the comic is the chief function of -the puppets and perhaps the greatest factor in their popularity. He -mentions their mirth-provoking superiority to the situation, the -element of the unexpected, heightened enormously by wooden creatures -who imperturbably proceed upon occasions to contradict the very law -of gravity. These traits, he feels, are essential and distinguishing -characteristics of marionettes. - -In comparing the merry Kasperle theatre of Munich with the serious -puppet theatre established by the young artists of that city, Wilhelm -Michel emphasizes this point of view. “Pure tragic effects cannot -emanate from the marionette stage because, in the first place, there -are no human beings acting upon it but rather ironies of humanity, -mockeries of men; suffering cannot be given upon it, only travesties of -suffering. If this constitutional irony of the puppet is not handled -in an artistic spirit, unbearable dissonances occur.... The working of -the marionette stage is pure, unmixed gayety. The dolls are not, as -our young poets imagine, representatives and agents of submission, but -rather delightful little liberators, amiable, amusing victors over the -petty doubts which we all carry about with us in unobserved corners of -our souls.” - -This opinion is undeniably supported by traditional usage. Humor may -vary from the buffoonery of Hanswurst to the satirical subtleties of De -Neuville’s pupazzi, but the spirit of comedy has had a representative -on the puppet stage in every land. What a long list might be compiled, -starting with the hunchback Vidusaka of ancient India, then on through -Semar of Javanese comedy, Karagheuz of Turkey, Pahlawan of Persia -(squeaking in the same feigned voice as the English Punch), to say -nothing of Maccus, the Roman Puppet, and Arlecchino, and Pulcinella -with their merry train from all over Italy, even including the later -Signor Macaroni. There are the German and Austrian Hanswurst and -Kasperle, Jackpudding and Punch in England, Polichinelle, Harlequin, -Jean Potage, and even more recently Guignol and Guillaume in France, -Paprika, Jancsi of Hungary, Picklehoerring of Holland and ever so many -more, rollicking and indispensable humorists of the puppet theatre. -M. Charles Magnin, most distinguished historian of the marionette, -proclaims his unalterable faith in Polichinelle: “Do you know, then, -what Polichinelle is? He is the good sense of the people, the brisk -sally, the irrepressible laughter. Yes, Polichinelle will laugh and -sing as long as the world contains vices, follies and things to -ridicule. You see very well that Polichinelle is not near his death. -Polichinelle is immortal!” - -Professor Pischel agrees that the puppet play is the favorite child -of the people and merely the step-child of the cultured because it -owes its origin to the common people and is a clearer mirror of their -thoughts and feelings than any more finished poetry. Mr. Howard, -too, in the _Boston Transcript_, somewhat resents the marionette -performances in the new manner, feeling that the old traditional shows -were “more childlike, more simple, more human.” - -Innumerable artists of the last few decades, however, esteem the -marionette as an excellent medium of serious dramatic expression, -possessing a poetic style and a conventionalized, impersonal -symbolism. Ernst Ehlert, himself an actor as well as lover of puppets, -writes thus of Pühony’s marionettes: - -“The object of every work of art, the thing that makes it truly -artistic, is the attainment of the greatest possible emotional effect -with the simplest possible means. What makes a work of art a real -delight is that it does not fully express but merely suggests and -excites the imagination of the observer to help in the presentation -of the reality. That is why a puppet play is not only more amusing -but more artistic than a real one.” He continues: “Puppets, moreover, -have style. They are cut out sharply to represent their particular -characteristics, and those characteristics are pronounced. The manager -of a puppet show has a free hand in the fashioning of such a company -as best carries out his creative impulse. But with real actors it -is impossible to make them other than they are, to subordinate them -entirely to the manager’s will. I have been an actor, both in Germany -and in Russia ... so I know.” - -Again, Mr. Arthur Symons, after witnessing the fantoccini of the -Cortanzi theatre in Rome, expresses the following belief in the -art-marionette: “Gesture on the stage is the equivalent of rhythm in -verse. In our marionette, then, we get personified gesture, and the -gesture, like all forms of emotion, generalized. The appeal in what -seems to you these childlike manoeuvers is to a finer because to a more -intimately poetic sense of things than the merely rationalistic appeal -of our modern plays.” Furthermore, he adds concerning the puppet: “As -he is painted so he will smile, as the wires lift or lower his hands so -will his gestures be and he will dance when his legs are set in motion. -There is not, indeed, the appeal to the senses of the first row in the -stalls at a ballet of living dancers. But why leave the ball-room? It -is not nature one looks for on the stage in this kind of a spectacle, -and our excitement in watching it should remain purely intellectual. -This is nothing less than a fantastic and direct return to the masks of -the ancient Greeks, that learned artifice by which tragedy and comedy -were assisted in speaking to the world in the universal voice by this -deliberate generalizing of emotions.” - -The marionettes of M. Signoret, as we have seen, from Anatole France’s -enthusiastic account, presented the classic drama of all epochs to the -satisfaction of the most acutely sensitive critics of Paris. M. Paul -Margueritte brilliantly eulogizes them in the following discussion: -“They are indefatigable, always ready. And while the name and too -familiar face of a living actor imposes upon the public an obsession -which renders illusion impossible or very difficult, the puppets being -of wood or cardboard possess a droll, mysterious life. Their truthful -bearing surprises, even disquiets us. In their essential gestures there -is the complete expression of human feelings. We had it proved at the -representations of Aristophanes; real actors would not have produced -this effect. In them the foreshortening aided the illusion. Their masks -in the style of ancient comedy, their few and simple movements, their -statuesque poses, gave a singular grace to the spectacle.” - -This leads us to the well-known name of Gordon Craig and to his -inspired, emphatic utterances concerning the actor and the marionette. -No one of late has done as much as he toward reviving the interest in -puppets and stimulating curiosity concerning them. His collection of -puppets and shadow figures forms a veritable museum of marionettes -from all parts of the world. His many articles in _The Mask_ and in a -later publication called _The Marionettes_, both published in Florence -at the Arena Goldoni, direct attention to the puppet;--more, it must -be admitted, as a model or suggestion to the actor, than as a minor -art-form in itself. Recognizing its many merits, Mr. Craig would send -the modern actor to the school of the burattini to learn virtues of -silence, obedience, “to learn how to indicate instead of imitate.” He -deems the stage of to-day devoid, in great part, of genuine dramatic -value, filled up with much meaningless realistic detail, inartistic -and irritating gestures, and prominent players exhibiting their own -peculiar personalities more or less attractively in various rôles. He -would agree with Anatole France: “The actors spoil the play for me. I -mean good actors,--their talent is too great; it covers everything. -There is nothing left but them. Their personality effaces the work -which they represent.” Indeed, Gordon Craig boldly proclaims: “The -actor must go and in his place comes the inanimate figure, the -Über-marionette we may call him until he has won for himself a better -name.” And in _The Promise of a New Art_ he has written: “What the -wires of the Über-marionette shall be, who shall guide him?--The wires -which stretch from Divinity to the soul of the poet are wires which -might command him.” - -These sentiments are familiar to those acquainted with the art and -writings of Mr. Craig, but it is indeed interesting to find somewhat -similar ideas expressed in the delightful but “different” manner -of a most eminent contemporary, Mr. G. Bernard Shaw. In a letter -concerning the puppets of his acquaintance, Mr. Shaw has written: “In -my youth (say 1865–75) there was a permanent exhibition in Dublin, the -proprietor of which was known as Mons Dark, which is Irish for Monsieur -d’Arc. From that show I learned that marionettes can produce a much -stronger illusion than bad actors can; and I have often suggested that -the Academy of Dramatic Art here try to obtain a marionette performance -to teach the students that very important part of the art of acting -which consists of not acting: that is, allowing the imagination of the -spectator to do its lion’s share of the work.” - -Aside, however, from this not insignificant value as an example to -the actor of the future, the marionette has a positive and individual -contribution to make in the field of drama, a contribution which -the marionette alone can provide. There seem to be certain types -of plays more advantageously presented by puppets or shadows than -by human beings. These little creatures of wood or cardboard have -naturally that “sense of being beyond reality” which, according to -John Balance, “permeates all good art.” There is an article in the -_Hyperion, 1909_, by Franz Blei, critic and aesthete. He states: “I -believe there will always be certain dramatic poetry whose beauty -can be more significantly and effectively revealed by shadows than -by living actors. The shadow play will supplement the theatre of -living actors on one side as the marionette stage already does on the -other, in Paul Brann’s very brilliant productions, for example. With -shadows, the forcefulness of the verse and the emotional element is -very much heightened in effect; with marionettes the significance of -the action is intensified to a far greater degree than is attainable -by human beings, a point to which H. V. Kleist has already drawn -attention in praise of marionettes. With shadow plays, as with puppet -performances, the readers should not be professional actors, for their -very way of speaking invariably mimics the mannerisms of the man. The -limited movements of the shadows, however, suffer from this and also -the gestures of the marionettes which have a wider range but which -do not in the least resemble the customary stage gestures. Talented -dilettantes with good taste are more apt to strike the right note. I -fancy that the shadows and marionettes might please some people who had -not visited the theatre for quite a while, because they were unwilling -to waste their time on highly lifelike but utterly lifeless theatrical -productions.” - -Professor Brander Matthews, in his _Book about the Theatre_, also -insists upon the adaptability of the marionettes for certain types of -drama unsatisfactory when performed by living actors. He suggests that -a passion play or any form of drama in which Divinity has perforce to -appear is relieved in the puppet show of any tincture of irreverence, -all personages of the play, whether heavenly or earthly, appearing -equally remote from common humanity upon the miniature stage. The -religious plays of Maurice Bouchor, artistic and reverent productions -in every detail, beautifully illustrate this point. The atmosphere -M. Jules Lemaître describes as “far away in time and space,”--this -of the mystery play, _Noël_. Again Professor Matthews maintains that -when _Salome_ was performed by Holden’s marionettes and created the -sensation of the season, all vulgarity and grossness which might have -been offensive either in the play or in the dance of the seven veils -was purged away by the fact that the performers were puppets. “So -dextrous was the manipulation of the unseen operator who controlled -the wires and strings which gave life to the seductive Salome as she -circled around the stage in a most bewitching fashion; so precise -and accurate was the imitation of a human dancer, that the receptive -spectator could not but feel that here at last a play of doubtful -propriety has found its only fit stage and its only proper performance. -The memory of that exhibition is a perennial delight to all those who -possess it. A thing of beauty it was and it abides in remembrance as a -joy forever. It revealed the art of the puppet show at its summit. And -the art itself was eternally justified by that one performance of the -highest technical skill and the utmost delicacy of taste.” - -There are other spheres also in which the puppets have an advantage -over mere mortal actors. Fairy stories, legends of miraculous -adventure, metamorphoses are tremendously heightened by the quality -of strangeness inherent in the marionettes. “For puppet plays,” says -Professor Pischel, “are fairy-tales and the fairy-tale is nourished by -strangeness.” Transformations, animal fables, fairy flittings in scenes -of mysterious glamour are obviously more easily presented by fleshless -dolls than by heavy, panting and perspiring actors tricked out in -unnatural and unearthly raiment. - -Even horseplay humor of the Punch and Judy variety is unobjectionable -with puppets where the whacking and thwacking is done by and upon -jolly, grotesque little beings who are neither pained nor debased by -the procedure. With some such idea William Hazlitt has written: - -“That popular entertainment, Punch and the Puppet-show, owes part -of its irresistible and universal attraction to nearly the same -principle of inspiring inanimate and mechanical agents with sense and -consciousness. The drollery and wit of a piece of wood is doubly droll -and farcical. Punch is not merry in himself, but ‘he is the cause of -heartfelt mirth in other men.’ The wires and pulleys that govern his -motion are conductors to carry off the spleen, and all ‘that perilous -stuff that weighs upon the heart.’ If we see numbers of people turning -the corner of a street, ready to burst with secret satisfaction, and -with their faces bathed in laughter we know what is the matter--that -they are just come from a puppet-show. - -“I have heard no bad judge of such matters say that ‘he liked a comedy -better than a tragedy, a farce better than a comedy, a pantomime better -than a farce, but a peep-show best of all.’ I look upon it that he who -invented puppet shows was a greater benefactor to his species than he -who invented Operas!” - -The marionette has come to America. Some of the more venturesome of -this wandering race have crossed the high seas and entered hopefully -into our open country. Are we not to welcome these immigrants? Can -we not possibly assimilate them into our national life? Might we not -benefit by their contribution? I make a plea for Polichinelle in the -United States, the pleasant hours, the joyous moments of his bestowing. - -How excellent if schools and playrooms might have their puppet booths -for the happier exposition of folk and fairy tales or even for -patriotic propaganda! I can see innumerable quaint silhouettes of -_Pilgrim Fathers_ bending the knee and giving thanks, or of _Indian -Chiefs_, all feathery, in solemn conclave, with Pocahontas dashing -madly forward to save the life of Captain John Smith. It would be -delicious to witness _George Washington_, in shadows, chopping down his -father’s little cherry tree: and as for _Lincoln and Slavery_ ... it -actually happened that in 1867 Benedict Rivoli produced _Uncle Tom’s -Cabin_, with a company of puppets; it has happened in our vaudeville -houses often, why not once in a while in our schools? Small groups of -grown folks, too, in city or village, might easily build their own -marionette stages and attempt to produce dramas of all times; humorous, -satirical, poetic or mystical, each to his taste and independent of -the whim of a Broadway manager or the peculiarities of a popular star. -It is such a naïve and simple pastime and sometimes so delightful. I -should like to suggest it as an antidote for the overdose of moving -pictures from which an overwhelming number of us are unconsciously -suffering atrophy of the imagination, or a similar insidious malady.[9] - -One must be quite unsophisticated to enjoy the marionettes, or quite -sophisticated. Plain people, children and artists, seem to take -pleasure in them. One must have something childlike, or artistic, in -one’s nature, perhaps merely a little imagination in an unspoiled, -vigorous condition. Of course the stiff little figures, the peculiar -conventions of the puppet stage are strange to us in America. There are -those who do not _like_ puppets and those who _do_ not _can_ not, I -suppose. No one _must_ like them: but none should scorn them. To scorn -them is, somehow, to show too great disregard and lack of knowledge. -And we, over here, who have not as youngsters laughed aloud at the -drolleries of Guignol, who have not learned our folk-tales interspersed -with the antics of some local Kasperle, who are not surprised by Punch -and Judy at a familiar street corner, now and then, who have not been -privileged to witness the spectacular faeries of Italian fantoccini, -the exquisite shadows of the Chat Noir, the elaborate modern plays at -the Munich art-theatre,--how can we really say _what_ we think of the -marionette? If we see more of him first; if we give our puppeteers -(professional and amateur) more time to master their craft, perhaps, -who knows, something nice may come of it all. There are some great -words I should like to quote for little Polichinelle, artificial -or strange as he may seem. “And therefore, as a stranger, give him -welcome.” - - - - -_Behind the Scenes_ - - -FOR THE FUN OF IT - -But why prate of benefit or pleasure to past or present audiences of -the marionette when the best reason for the pupazzi, the true reason -I do believe, for their continuance and longevity is the _fun_ of -puppet-playing? I confess it: nay, I proclaim it the foundation for -my deep affection. And who shall find a firmer basis for any love -than this,--interest, amusement, stimulation? Reverence or even -understanding are far less vital, less compelling motives. Of course -this applies to puppets. Everything applicable to humanity fits the -burattini, for we are all so much the dancing dolls of destiny, satiric -or serious, crude or precious puppets, all of us. One should truly have -a fellow feeling for Punch and Judy. - -As to the fun, however, of making puppets and of tinkering with the -mechanical contrivances, the total absorption with such problems and -the elation in overcoming absurd but seemingly insurmountable technical -difficulties; the delight in carving and cutting, in designing -costumes and then in sewing, glueing, painting, patching them into -proper semblance of the original design: the art required properly to -conceive a setting for dolls, the ingenuity exerted to decorate the -stage, the delicious Lilliputian proportions of things, the charming -effects contrived out of almost anything or nothing at all; and, in -manipulating, the thrill of acquiring after long effort a full control -of the doll at the end of the wires, of telegraphing one’s emotions -down into the responsive little body; and the whimsical delight in -writing for puppets (one dare be so impudent, being so impersonal and -unpretentious!)--who shall say that such an aggregate of wholesome, -creative enjoyment to an entire group of childlike grown-up folk is -not sufficient vindication for Polichinelle and his kind? With so -much bubbling enthusiasm behind the scenes, how can a proper audience -be altogether bored? If they are bored it is a sure sign they are no -proper audience! - - -WRITING FOR THE PUPPETS - - “The life of man to represent - And turn it all to ridicule, - Wit did a puppet-show invent, - Where the chief actor is a fool.” - - JONATHAN SWIFT. - -No one appreciates how funny people are until he has written a play -for puppets. There’s nothing any person has ever said which isn’t -amusing, honestly and truly amusing, when transferred to the mouth of a -marionette. Try it and see. - -Take any conversation you may have overheard. Take as many puppets as -there were people talking. Dress them to indicate the characters, try -to imitate the most pronounced gestures and postures of your people -... and let them speak, verbatim, the words that have been spoken. - -It is simply funny, a sort of unconscious, undeniable criticism of the -manners of men. There will always be a _point_, too, a sort of moral -at the minimum. No one can fail to see it, either in the words or the -gestures or the situations. The puppets will find it and bring it out. -Produce the puppets and try it! - -I frankly confess I shudder to imagine myself _done in puppet_. What a -cure for idiosyncrasies and affectations! - - -A REHEARSAL OF TINTAGILES - -In all the lack-luster of realism we “stood on the bridge at midnight.” -Four of us stood on the bridge and we were very weary. It was the -bridge of our marionette stage over which we had been bending for -hours. From out in front somewhere the director spoke: “Now, once more -the third act ... and remember they must lean _against_ the door when -it opens as if they were trying desperately to hold it. See that the -strings do not catch. Readers, please watch the figures and give them -plenty of time.... Ready?” We were, tensely so. - -The beautiful, sad voice of Ygraine gave us the mood. “I have been to -look at the doors ... there are three of them....” Aglovale (old and -tremulous): “I will go seat myself upon the step, my sword upon my -knee....” - -“Aglovale, lean back farther against the step; don’t perch on the -edge.” (This from the front.) Aggie (as we familiarly called him) -thereupon proceeded to jerk up and sit down deliberately a couple of -times, then followed a twitching, collapsing, stiffening process.... -“Sorry, it’s the little hump in his shoulders and the step is so -narrow!” wailed a tired unseen operator. During the struggle Belangere -flopped inelegantly on the floor, her manipulator resting a weary -wrist. Clearing of throats, scraping of chairs from the readers in the -wings. - -Patient director: “Well, let it go for to-night. You may have to remove -the hump. Are we ready?” We were. - -The play proceeded. On the miniature stage in dim, high-arched rooms, -bare and gloomy, slender, strange little creatures moved with stiff, -imposing gestures. It is an ominous world, the atmosphere vibrating -with hidden terror, tense emotions and lonely overtones. Princess -Ygraine, to the little Tintagiles: “There, you see...? Your big sisters -are here ... they are close to you ... we will defend you and no evil -can come near.” - -Oh, the tenderness, the dauntlessness, the pathos ... high hearts -encircled by creeping, inevitable doom. - -Then the old man, mumbling at his own bewildered futility: “My soul is -heavy to-day.” (A hand is raised, an old hand, tremblingly.) “What is -one to do...? Men needs must live and await the unforeseen.... And -after that they must still act as if they hoped....” (The arm drops, -heavy ... a silence.) “There are sad evenings when our useless lives -taste bitter in our mouths ... etc.” - -The scene proceeds, on and on in ascending tensity, readers sitting at -the wings, puppeteers operating the wires high up, the director off -at his desk in the dark, ... and the marionettes animated into vital -significance, symbols of supreme and simplified fervor ... dread, love, -courage.... - -“They are shaking the door, listen. Do not breathe. They are whispering. - -“They have the key.... - -“Yes, yes, I was sure of it.... Wait....” - -Old Aglovale faces the slowly opening door, his sword outstretched; the -others stand rigid with terror. - -“Come! Come both....” - -They face the door, they hold it. Their watchfulness avails for the -time being. The door closes. - -“Tintagiles!” - -Aglovale, waiting at the door: “I hear nothing now....” - -Ygraine, wild with joy. “Tintagiles, look! Look!... He is saved!... -Look at his eyes.... You can see the blue.... He is going to speak.... -They saw we were watching.... They did not dare.... Kiss us!... Kiss -us, I say!... All, all!... Down to the depths of our soul!...” - -A silence, a long silence. Then ... the boards creak as the operators -stand up to rest their aching backs. - -“Well, Belangere mounted the steps pretty well that time. But don’t -forget to take a stitch in her left leg; she still has a tendency to -pivot.” - -“Yes, I’ll do it and I’ll lengthen her back string; I think that’s it -... and take away some of Aggie’s hump.” - -From the sublime to the absurd, no doubt. But there are the puppets -hung up ... quietly and sternly gazing, each little character. - -No, they are not absurd, patiently, almost scornfully awaiting the -subtler grasp of some master hand to bring out the rare potentialities -sleeping within them. Awkward, silly dolls they may appear in a clumsy -hand, but even we amateurs who serve them faithfully sense more than -this in them. So, while we pull the strings and move these singular, -small creatures in measured gestures we feel that we are handling crude -but expressive symbols of large, fine things. - - -THE MAKING OF A MARIONETTE - -The puppets used in the Cleveland Playhouse are neither realistic, -humorous, nor clever. They are very simple, somewhat impressionistic -and quite adequate and effective for certain types of drama. They -appeal to the imagination of the spectator. Under favorable conditions -one forgets their diminutive size, their crude construction, even their -lack of soul. - -[Illustration: PATTERNS FOR THE MARIONETTE BODY DRAWN BY THE SCULPTOR, -MR. MAX KALISH] - -These patterns for the marionette body were drawn by the sculptor, -Mr. Max Kalish, especially for figures which were shown with little -clothing on. If the dolls are to be dressed it is better to make -separate upper and lower arms and legs, and to join them flexibly or -stiffly, as the action of the particular puppet requires. - -The material we have used is soft white woven stuff (stockings from the -ten-cent store!), which can be painted with tempera any color desired. -The patterns shown allow for a good seam. The front and back are alike, -also right and left limbs. Each marionette will need some adjusting -which one discovers as one works along. We have used a narrow tape to -join the arms and legs. - -The dolls are stuffed with soft rags or cotton. The limbs must be -stiffly filled out and firm, the chest also. The lower part of the -torso should be left softer. In the hands we insert cardboard to -stiffen the wrists. - -We use lead to weight the dolls. Small shot is good for filling up -the hands and feet. Larger pieces of lead are used for the torso, -lower arm and lower leg. No lead is put in the upper arm or upper -leg. The reasons for this will be discovered as soon as one practices -manipulating the figures. Care must be used to have the body properly -balanced and to have the feet heavy. - -The control is a simple piece of wood with five screw eyes to which the -strings are tied. More may be added to operate the feet or for other -purposes. When using these extremely crude little dolls, however, it -is best to depend upon simple means and a few gestures. The strings can -be of heavy black thread or fishing cord, the latter is not so apt to -become twisted. The strings are attached to the hands, the shoulders, -and the center of the back. The hand strings should be loose, the -others carefully measured to balance the doll evenly. - -In dressing the puppets one must allow plenty of room at the elbow, -knee, etc., for free action. We have kept our dolls very simple, the -faces and hands painted over, the hair of wool or cotton. - -Of the manipulating little can be said. There is no way to learn -except by getting up on the bridge and _doing_ it. Too much petty -gesticulation in these dolls is ineffective. It is better to hold the -gesture. Deliberation and patience are the chief requirements for a -successful operator, given a certain natural deftness of hand which is -primarily essential. - - - - -_Construction of a Marionette Stage_ - -BY RAYMOND O’NEIL - - -The marionette stage shown in the diagram has a proscenium opening -six feet long by four feet high and is meant for productions that use -marionettes from twelve to fourteen inches in height. It is a stage -that can be built even by amateurs both readily and cheaply. It is, -of course, necessary that some one who is familiar with the electric -wiring should be consulted in that part of the work. - -The stage is in two sections: the stage floor proper, to which is -attached the footlight box, and the proscenium arch, which is made to -be demounted and is held to the stage floor by right angle braces. The -stage floor itself is made of ⅞″ stock which may run from eight to -twelve inches in width. These boards are fastened to 2×4’s which run -from the front to the back of the stage. Three lengths of these 2×4’s -are all that are necessary. The box which holds the footlights may -be made of ½″ stock which should be just deep enough to hold 60-watt -lamps. Three circuits should be run into this box to provide for red, -blue and green lamps. The diagram shows only one lamp to each color -placed in the box, but to obtain the best results three or four lamps -should be used on each circuit. Small stage connectors which can be -obtained at any electrical dealer’s should be placed in the floor to -take care of the lines that run to No. 1 border, No. 2 border and to -the various other lamps such as small floods and small spotlights, -which will be found necessary for different effects. Both No. 1 and No. -2 borders should have three circuits running into them for red, blue -and green lamps, and there should be from four to six lamps on each -circuit. These borders may be placed in any position from the front -to the back of the stage that the setting may demand. A convenient -place from which to suspend them is from the operating platform which -is built over the complete length of the stage at such a height as to -clear any set that may be used. - -The proscenium arch should be built of ⅞″ stock, preferably of white -wood, because of the fine surface which it presents, if it is to be -decorated. The upright sections of the arch should be at least as -wide as those shown in the diagram, because they must carry the three -circuits for the proscenium lights, the belt that raises and lowers -the curtain, and also special lamps and appliances that will be found -necessary for various types of production. The diagram shows one green, -one blue, and one red outlet on the two sections on the top section of -the arch, but it will be found very convenient to have at least two -outlets for each of these colors on each of the three sections of the -arch. - -[Illustration: DIAGRAMS FOR THE CONSTRUCTION OF A MARIONETTE STAGE] - -The curtain can be the ordinary window shade. After removing the -spring, attach it to the face of the proscenium arch with ordinary -window shade fixtures. It should be wide enough to lap well over -each side of the arch, and the end which extends to the right of the -proscenium opening should be sufficiently long to carry a 2″ belt for -raising and lowering it. This belt can be of webbing and should be held -taut near the bottom of the proscenium arch by a small roller, as shown -in the diagram. It is necessary that this belt should be far enough to -the right of the proscenium arch opening so the hand which raises and -lowers the curtain will not be seen by the audience. - -The outlets for the various circuits on this arch may be either keyed -sockets or porcelain receptacles fastened to the face of the arch. - -Both for the sake of the better framing of the settings to be used on -this stage and for more effectively masking off the sides and the top -of the stage, it is a good plan to build all around the opening of the -proscenium arch at right angles to it an inner proscenium which may -run from 6 to 9 inches in width. This inner proscenium may be made of -half-inch stock. If the inner proscenium is used, it will be necessary -to hang the curtain sufficiently behind the face of the main proscenium -so that it will clear the inner proscenium as it rises and falls. - -All circuits should lead to a switch-board on which small knife -switches may be used. This switch-board should also carry several -rheostats or dimmers. The more dimmers that are used the greater will -be the possibilities in lighting. These dimmers can be made of special -high wattage resistance wire, which can be obtained or ordered from any -electrical dealer. In the making and wiring of the switch-board, it is, -of course, necessary to obtain either a professional electrician or at -least professional advice. - - - - -BIBLIOGRAPHY - - - BADIN, ADOLPHE. Les Marionettes de Maurice Sand. L’Art, 1885. - - CAINE, WILLIAM. Guignols in the Luxembourg. Oxford and - Cambridge Review, 1910. - - CALTHROP, A. An Evening with the Marionette. The Theatre, 1884. - - CALVI, EMILIO. Marionettes of Rome. The Bellman, 1917. - - CHAMBERS, E. K. The Mediaeval Stage. Vol. II. - - COLLIER, JOHN PAYNE. The Tragical Comedy of Punch and Judy. - - CRAIG, GORDON. Articles in “The Mask” and “The Marionette.” - - CURTIS, ELNORA WHITMAN. Dramatic Instinct in Education. - - DELVAU, ALFRED. Le Théâtre Érotique Français sous le Bas-empire. - - DURANTY, LOUIS ÉMILE EDMOND. Théâtre des Marionettes du Jardin - des Tuileries. - - ENGEL, CARL. Johann Faust. - - FEISE, E. The German Puppet Theatre. - - FERRIGNI, P. Storia dei Burattini. The Mask. - - FEWKES, JESSE WALTER. A Theatrical Performance at Walpe. Hopi - Katchinas. - - FLÖGEL, KARL FRIEDERICH. Geschichte des Grotesk-Komischen. - - FRANCE, ANATOLE. On Life and Letters. II Series. - - GAYET, A. Oldest of Puppet Shows. Boston Transcript, Nov. 2, - 1904. - - GLEASON, A. W. Last Stand of the Marionettes. Collier’s Weekly, - 1909. - - HIRSCH, GILBERT. A Master of Marionettes. Harper’s Weekly, 1912. - - IRWIN, E. Where Players are Marionettes. The Craftsman, 1907. - - JACKSON, F. NEVILL. Toys of Other Days. - - JACOB, GEORG. Das Schattentheater in seiner Wanderung vom - Morgenland zum Abendland. - - JEROME, L. B. Marionettes of Little Sicily. New England - Magazine, 1910. - - JOLY, HENRI L. Random Notes on Dances, Masks, and the Early - Forms of Theatre in Japan. - - JONES, HENRY FESTING. Diversions in Sicily, Castellinaria, or - other Sicilian Diversions. - - KLEIST, HEINRICH VON. Über das Marionetten Theater. Berliner - Abendblätter. - - KOLLMAN, ARTHUR. Deutsche Puppenspieler. - - LEE, VERNON. Studies in the Eighteenth Century in Italy. - - LEMAÎTRE, JULES. Impressions du Théâtre. Vols. IV and VI. - - MACDOWALL, H. C. The Faust of the Marionettes. MacMillan’s - Magazine, 1901. - - MAGNIN, CHARLES. Histoire des Marionettes en Europe. - - MAINDRON, ERNEST. Marionettes et Guignols. - - MATTHEWS, BRANDER. A Book about the Theatre. Puppet plays, old - and new. The Bookman. - - MICHEL, WILHELM. Marionetten. Dekorative Kunst, 1910. - - MICK, HETTIE LOUISE. Puppets of the Chicago Little Theatre. - Theatre Arts Magazine, 1917. - - MIYAMORI, OSATARO. Tales from Old Japanese Drama. - - MODERWELL, HIRAM K. The Marionettes of Tony Sarg. Boston - Transcript, 1918. - - MOULTON, R. H. Teaching Dolls to act for Moving Pictures. - Illustrated World, 1917. - - NICHOLS, FRANCIS H. A Marionette Theatre in New York. Century - Magazine, 1892. - - PEIXOTTO, ERNEST C. Marionettes, and Puppet Shows, Past and - Present. Scribner’s Magazine, 1903. - - PETITE, J. M. Guignols et Marionettes. - - PISCHEL, RICHARD. The Home of the Puppet Play. (Translated by - Mildred C. Tawney.) - - POCCI, FRANZ VON. Lustiges Komödienbüchlein. - - POLLOCK, W. H. Punch and Judy. Saturday Review, 1900. - - REHM, HERMANN SIEGFRIED. Das Buch der Marionetten. - - SERRURIER, L. De Wajang Poerwa. - - SERVAES, FRANZ. Neue Theaterpuppen von R. Teschner. - - SPERANZA, GINO CHARLES. Marionette Theatre in New York. - Saturday Evening Post, 1916. - - STARR, LAURA B. The Doll Book. - - STEVENSON, ROBERT LOUIS. Essays. - - STODDARD, ANNE. The Renaissance of the Puppet Play. Century - Magazine, 1918. - - STORM, THEODOR. Pole Poppenspäler. - - STRUTT, JOSEPH. Sports and Pastimes of the People of England. - - SYMONS, H. An Apology for Puppets. Saturday Review, 1897. - - VASARI. Life of Il Cecca. - - VISAN, TANCRÈDE DE. Le Théâtre de Guignol. Nouvelle Revue, - 1909. - - WEED, INIS. Puppet Plays for Children. Century Magazine, 1916. - - WEST, HENRY SUYDAM. Puppet Warfare in France. Literary Digest, - 1915. - - WESTWOOD, J. O. Notice of Medieval Mimic Entertainment. - Archeological Journal, Vol. V. - - WITKOWSKI, GEORG. Introduction to Goethe’s Faust. - - WOLF, GEORG JACOB. Das Marionetten Theater Münchner Künstler. - Dekorative Kunst, 1911. - - YOUNG, S. G. Guignol. Lippincott’s Magazine, 1879. - - ZIEGLER, FRANCIS J. Puppets, Ancient and Modern. Harper’s - Magazine, 1897. - - * * * * * - - _All the Year_, 1894. Greek Puppet Show. From the Works of - Heron of Alexandria. - - _Current Opinion_, 1916. Paradox of the Puppet. - - _Current Opinion_, 1913. Return of the Marionettes. - - _Eclectic Magazine_, 1854. Puppets of All Nations. - - _Encyclopaedia Britannica_, Vol. 17: 723. - - _Illustrated London News_, 1911. A Javanese Topeng Dalang. - - _Kind und Kunst._ Vol. III. Illustrations of Puppet Shows. - - _Scientific American_, 1902. Puppet Shows of the Paris - Exposition. - - _The Marionette._ Vol. I. - - _The Mask._ Vols. I, II, III, IV, V, VI, VII. - - _The Sketch_, 1916. Illustration of the Gair Wilkinsons’ - Puppets. - - - - -FOOTNOTES - - -[1] Oh, ladies and gentlemen, patient sitters for portraits, what if -the puppets do reverse the usual order of things? Must you not envy -them? Think of having your portrait painted first, the portrait of -the _ideal you_ by an artist, and then having a complaisant Creator -fashioning your features into the nearest possible semblance of what -you might wish to be! Think of it. How delightful for you and how -simple for the portrait painter! - -[2] Only the principal male parts were allowed to speak Sanskrit -according to the conventions of Hindu dramaturgy. Lesser male and all -female parts were spoken in Prakrit. - -[3] There are many Italian names for the puppets. From _pupa_, meaning -doll, is derived _pupazzi_. From _fantoccia_, also signifying doll, we -have _fantoccini_, or little dolls. From _figura_, statue or figure, -comes _figurini_, statuettes or little figures. _Burattini_ comes -from _buratto_, cloth, being made mostly of cloth. _Marionette_ is a -modification of _Maria_, the Virgin, meaning little Maries from the -early statuettes in churches. Another explanation is found in the tenth -century Venetian _Festival of the Maries_. Upon one occasion Barbary -pirates carried off twelve Venetian maidens in their bridal procession. -The rape of the affianced Virgins was avenged by Venetian youths and -thereafter celebrated annually by a procession of richly dressed girls. -These later were replaced by elaborately gowned figures carried year by -year in the procession--hence Marionetti, little Maries. - -[4] The research of scholars has discovered in the Ulm versions of the -Faustspiel the suggestion for the _Prologue in Heaven_, although in the -puppet play it was held in the Inferno before Satan, not before Die -Padre. _Faust’s Monologue_ seems patterned after that in the Tübingen -play or that of Frankfurt am Main. The metaphysical debate between -Faust and Mephistopheles has its prototype in the Augsburg Faustus. The -tavern scene may have been drawn from a similar scene in the Cologne -play. Similarly the Phantasmagoria of Blocksberg and other arrangements -may be traced back to the old puppet show Faust. - -[5] Mrs. Browne, in any case, has not been discouraged. In 1918 she -instructed her class in the dramatic department of the University of -Utah in the principles and methods of marionette play, developing -possible puppeteers for the future. The next spring we find her -assisting Mr. Sarg in directing and staging his little puppet drama, -_The Rose and the Ring_. - -[6] At the same time a less successful and quite unfinished dress -rehearsal of another drama was performed; but this play on which the -manipulators had labored for many months was abandoned because of too -great difficulty in manipulating ... and because of other complications -which shall be nameless. - -[7] Mr. Alfred Kreymborg informs me that _Lima Beans_, one of his -amusing little poem-mimes, was played by puppets in Los Angeles, under -the direction of Miss Vivian Aiken. Mr. Kreymborg has written that he -considers “the only possible approach to a Synthetic stage is derived -from the marionette performance.” Of the puppeteers in Los Angeles, one -would like to hear more. - -[8] Mr. B. Pollock, 73 Hoxton St., London, writes: “I still publish -Juvenile Plays and also supply foot lights and tin slides which are -used with the theatre. I have now been carrying on the business for -forty-two years and my father-in-law about thirty-eight years before -me.” - -[9] Mr. G. Bernard Shaw has written of England: “The old professional -marionette showmen have been driven off the road by the picture -theatre. I am told that on the Continent where marionettes flourish -much more than here, they have suffered the same way from the -competition of the irresistible pictures. And I doubt whether they will -recover from the attack. I am afraid there is no use pretending that -they deserve to.” - -How consoling to turn to Mr. Gordon Craig, who has prophesied -optimistically in _The Marionette_: “Burattini are magical, whereas -Cinema is only mechanical. When a framework of a film machine is one -day found by curiosity-hunters in the ruins of a cellar and marvelled -over, the Burattini will still be alive and kicking.” - - - - -_Index_ - - - Ache, d’, Caran, designs silhouettes for _Chat Noir_, 98–99. - - Actors, used with marionettes, in Italian church festivals, 51; - in medieval French churches, 82; - in Germany in seventeenth century, 123–125. - - Aiken, Vivian, 183. - - _Alice in Wonderland_, in Chicago, 178. - - America, marionettes in, 163–191. - - American Indians, use of articulated images in ceremonials, 164–170. - - Ames, Winthrop, interest in marionettes, 184–185. - - Ananda, annual performance in temple, 30. - - Anatole, M., founder of the Vrai Guignol, 107–108. - - Antinoë, excavation of marionette theatre in, 16–17. - - Antiquity of puppets, 15. - - Antwerp, underground theatre in, 141–142. - - _Apotheosis of Bacchus_, representative Greek show, 19. - - _Apuleius_, quoted on Greek puppets, 18. - - Ariosto’s _Orlando Furioso_ in Sicily, 71–76. - - Aristophanes’ _The Birds_ in puppet performance, 105. - - Arlecchino, Italian puppet character, 22, 57. - - - Baden-Baden, puppet show of Ivo Pühony, 134. - - Bali, Wayang plays in, 28. - - Belgium, puppets in, 140–142. - - Bergerac, Cyrano de, duel with ape, 84. - - Berlin, production of _Doctor Sassafras_ and _Two Dancing Chinamen_, - 134–135. - - Bertrand, French showman, 86–87. - - _Birds_ of Aristophanes produced, 105. - - Black, John, 182. - - Blei, Franz, quoted on shadow play in Munich, 132; - on types of plays for puppets, 210–211. - - Bohemia, puppet plays in, 136. - - Boinet, Paul, operator on _La France_, 109. - - Bologna, theatres in, 69. - - _Bonifrates_, definition, 80. - - Boswell, quoted, 154. - - Bouchor, Maurice, presents _Noël ou le Mystère de la Nativité_, - 110–111. - - Brann, Paul, founder of theatre in Munich, 130. - - Briocci. _See_ Brioché. - - Brioché, Giovanni and Francesco, famous 17th century showmen, 84–86. - - Broemel, Carl, 183. - - Browne, Mrs. Maurice, founder of Chicago Little Theatre, 173–178. - - Buelens, Pieter, Belgian showman, 141. - - Buffano, Remo, 171. - - Bulley, Margaret, 157. - - _Burattini_, description, 54; - derivation of name, 55. - - Burma, development of puppet stage, 29–30. - - - Caine, W., quoted on Paris Guignols, 197–198. - - Calthrop, A., on modern Venetian show, 68. - - Cardboard plays, 192–194. - - Cascio, Salvatore, 172. - - Cassandrino, Italian puppet character, 58, 60. - - Catacombs, jointed images in tombs, 22. - - Catania, religious plays in, 77–78. - - Cecca, mediæval Italian mechanician, 51–52. - - Central Asia, two types of puppets, 30. - - Ceylon, early religious puppets, 33. - - Chambers, E. K., quoted on use of puppets in churches, 53. - - Champs Élysées, home of the Vrai Guignol, 107–108; - performances, 197–198. - - Character types. _See_ Types. - - Charles V of Spain, 78. - - _Chat Noir_, home of _Ombres Françaises_, 98–100. - - Chicago Little Theatre, successful performances in, 173–178. - - Children’s productions, 192–194. - - Chopin, life enacted by Cleveland puppets, 182. - - Christmas plays. _See_ Religious plays. - - Church festivals, in Italy, 51–52. _See also_ Passion play; Religious - plays. - - Cibber, Colley, writes for marionettes, 153. - - Cleveland, Italian performance in, 172; - Playhouse, puppet productions, 178–183; - performance of _The Rose and the Ring_, 200–201; - construction of dolls, 221–224. - - Clisby, George, 179. - - Cologne, home of Kölner Hanneschen Theatre, 128. - - Comic element in puppets, 203–205. - - _Commedia dell’Arte_, influence on Italian marionettes, 57–59. - - Constantine, Italian puppet character, 58. - - Construction of marionettes, 221–224. _See also_ Materials; Mechanism. - - Construction of marionette stage (O’Neil), 226–229. - - Craig, Gordon, experiments with puppets, 160–163; - _Game of Marionettes_, 192; - on educational importance of puppets, 202; - on actor and marionette, 208–209; - on future of puppet plays, 214. - - Crawley, London showman, 153. - - Cruikshank, pictures of Punch and Judy, 149. - - Cuccoli, Filippo, 69. - - Curtis, Elnora Whitman, on educational value of puppets, 201–202. - - - Dalang, definition, 27. - - _Dame aux Camellias (La)_, parody on by George Sand, 94. - - _Death of Tintagiles_, production in Cleveland, 179–180; - rehearsal of, 218–221. - - Deaves, Harry, retired American marionettist, 171. - - _Deluded Dragon_, produced at Chicago Little Theatre, 174–175. - - Denmark, puppets in literature, 140. - - Dickens, Charles, quoted on puppet shows in Genoa, 63–66. - - Dickson (pseud.), operator-magician, 101. - - Dieppe, annual _Mystery of the Assumption_, 82–83. - - _Docha_, definition, 113. - - _Doctor Sassafras_, artistic production in Berlin, 134–135. - - Dolls, mechanical, in vaudeville, 170–171. - - _Domèvre, The Seven Chasseurs of_, 111–112. - - Don Quixote and the puppets, 79. - - Dorothea, popular puppet character of Hamburg, 115. - - Drama, poetic, difficulties of production, 190–191. _See also_ Plays. - - Drama, varied repertory of Italian marionettes, 59–62; - classic, given at _Le Petit Théâtre de M. Henri Signoret_, 102–105. - - Duranty, Charles, attempt to uplift Guignol, 108. - - - Edgerton, Mrs. Seymour, 174. - - Educational value of puppets, 195, 201–202, 213–214. - - Egypt, possible birthplace of marionettes, 16. - - Ehlert, Ernest, gives shows in Berlin with Pühony’s puppets, 134–135; - on Pühony’s marionettes, 206. - - Elizabethan period, popularity of puppets, 150–154. - - England, puppets in, 143–163; - toy theatres in, 193–194. - - English literature full of allusions to puppets, 143–144. - - _Epopée_, produced at _Chat Noir_, 99. - - _Erotikon Theatron de la rue de la Santé_, sketch of, 94–96. - - Eudel, Paul, first publishes shadow plays, 98. - - Excavations reveal ancient puppets, 16–17. - - - Fairy plays, in the _Ombres Chinoises_ at Versailles, 97–98; - in the _Vrai Guignol_, 108; - in Munich, 129; - at Chicago Little Theatre, 174–178; - produced by Tony Sarg, 186–187, 189; - specially suited to puppets, 212. - - Fantoccini, description, 54; - derivation of name, 55. - - Fashion puppet, Lady Jane, 152. - - Faust, history of character, 116–122. - - Ferrigni, P., on introduction of figures into Christian churches, 23. - _See also_ Yorick. - - Fewkes, Dr. Jesse Walter, quoted on Indian ceremonial drama, 164–170. - - Fiano Theatre, Rome, 60–61. - - _Figurini_, derivation of name, 55. - - Flögel, quoted on English masques, 145–146; - preference for grotesque comedy, 203. - - France, Anatole, writes on the _Chat Noir_, 98; - quoted on _Le Petit Théâtre de M. Henri Signoret_, 103–105. - - France, puppets in, 81–112. - - Francisque, French showman introducing _opéra comique_, 88–89. - - French writers and musicians, show interest in puppets, 89–96. - - Fun in puppet-playing, 216–218. - - - Gautier, Théophile, on Turkish puppets, 37. - - Gayet, A., on puppet theatre excavated at Antinoë, 16–17. - - Gehring, Albert, 182. - - Geisselbrecht, Viennese showman, 121. - - Genoa, elaborate productions in, 62–66. - - Germany, puppet shows in, 113–136; - toy theatres in, 194–196. - - _Gidayu_, definition, 46. - - Gidayu, Takemoto, 16th century showman, 47–48. - - Glasheimer, Adolf, Berlin showman, 126. - - Gleason, Arthur, describes Italian show in New York, 172–173. - - Goethe, interest in puppets, 122; - maxim on stagecraft, 161; - quoted on his introduction to puppets, 195–196. - - Golden age of marionettes, 89. - - Goldoni, interest in puppets, 197. - - Goldsmith, Oliver, at marionette show, 154. - - Grasso, Maria, 172. - - Greece, articulated idols in, 17; - development of puppetry in, 18–21. - - “Green monster” of George Sand, 93. - - Grotesqueness in puppets, 203. - - Guignol, originated in Lyons, 107; - in Paris, 107–108; - on steamship _La France_, 109; - performances in Paris, 197–198. - - Gyp, presents _Tout à l’égout_, 110. - - - Hamburg, long popularity of puppets in, 115–116. - - Hanswurst, German puppet buffoon, 114. - - _Hauptundstaatsactionen_, description of, 124–125. - - Haydn, Joseph, composes music for marionettes, 127. - - Hazlitt, William, on Punch and Judy shows, 212–213. - - Hembauf, George, Belgian showman, 140. - - Heron of Alexandria, on early Greek puppet mechanism, 19. - - Hewelt, John (pseud.), operator-magician, 101. - - Holden, Thomas, operator-magician, 101; - marionettes, 156. - - Holland, puppets in, 140. - - Hopi Indians, Great Serpent drama, 165–170. - - Humor in puppet plays, 203–205. - - Hungary, gypsy puppeteers, 136. - - - Idols, animated, in Egypt, 16; - in Greece, 18; - in Rome, 21; - of ancient Gauls, 81. - _See also_ Images; Religious puppets; Statues. - - Ilkely Players, amateur English marionettists, 157. - - Images, jointed, found in Catacombs, 22; - religious, in Italy, 51–54; - articulated, used in mediæval French churches, 81–82; - in English churches, 145; - articulated, used by American Indians, 164–170. - _See also_ Idols; Religious puppets; Statues. - - India, antiquity of puppets, 15; - development of puppets in, 32–35. - - Israeli, d’, Isaac, writes of Punch, 146–147. - - Italy, evolution of puppetry, 22; - its development, 50–78; - Goldoni’s interest in puppets, 197; - puppets beloved by children, 199–200. - - - Japan, origin and development of puppet shows, 43–49. - - Java, shadow-plays, 24–28. - - Jinavaravamsa, P. C., on Indian puppets to-day, 34. - - Joly, Henri, on antiquity of Japanese shows, 43–44. - - Jones, Henry Festing, quoted on Sicilian shows, 71–77. - - Jonson, Ben, mentions puppets in many writings, 150–151. - - _Joruri_, Japanese epic play, 47. - - Juvenile drama, 193–194. - - - Karagheuz, Turkish puppet hero, 37. - - Kasperle, German puppet buffoon, 114; - in Faust play, 118–120. - - Ketschel, Persian comic puppet, 32. - - _Kobold_, definition, 113. - - _Kölner Hanneschen Theater_, 128. - - Kopecki, Bohemian showman, 136. - - Kreymborg, Alfred, 183. - - - La France, puppet theatre on, 109. - - La Grille’s _Théâtre des Pygmées_, 87–88. - - Laufer, Dr. Berthold, on marionettes in Egypt, 16. - - Laurent Broeders, Belgian showmen, 140–141. - - Lemaître, Jules, describes several productions, 110–111. - - Lewiss, Clunn, wandering English showman, 155–156. - - Lighting a puppet stage, 227–229. - - _Lima Beans_, given in Los Angeles, 183. - - Literary puppets in Paris, 109–111. - - Little Theatre, Chicago, history of, 173–178. - - London, Italian puppets in, 146; - present-day street puppets, 155. - - Los Angeles, puppets in, 183. - - Louis XIV, puppets a feature of marriage procession, 79; - gives special privileges to La Grille, 88. - - Lupi brothers, Italian showmen, 68–69; - description of performance for children, 199–200. - - Luschan, von, F., on puppet plays in Turkey, 38. - - Luther, Martin, denunciations against actors, 123. - - - Maccus, Roman buffoon, 21. - - Machieltje, Belgian showman, 140. - - MacLean, J. Arthur, on puppet performance at Ananda, 29–30. - - Maeterlinck’s _Death of Tintagiles_ produced in Cleveland, 179–180; - rehearsal of play, 218–221. - - Magnin, Charles, on Greek articulated idols, 18; - on Polichinelle, 205. - - _Mahabharata_, basis of Javanese plays, 26. - - Making a marionette, 221–224. _See also_ Materials; Mechanism. - - _Manik Muja_, basis of Javanese plays, 26. - - Margueritte, Paul, describes M. Signoret’s puppets, 207. - - Marionette, derivation of name, 55. - - Marionette Theatre of Munich Artists, 130–131. - - Masques, English, 145–146. - - Materials, used in ancient Indian puppets, 15; - in Javanese shadows, 25; - in Siamese shadows, 29; - in Cleveland Playhouse puppets, 179–180; - making a marionette to-day, 221–224. - - Matthews, Brander, on types of plays for puppets, 211–212. - - Maupassant, de, Guy, on Karagheuz plays, 39. - - Mechanical dolls in vaudeville, 170–171. - - Mechanism, of early Greek puppets, 18; - of Javanese shadows, 27; - of modern Indian puppets, 34; - of Turkish puppets, 38; - intricacy of in Japanese puppets, 45–46; - of Italian puppets, 54–55; - intricate, in modern Italian puppets, 70; - increasing intricacy in France, 90; - of _Le Petit Théâtre de M. Henri Signoret_, 102–103; - perfection in Tony Sarg’s puppets, 185–186; - simple, in Cleveland Playhouse dolls, 221–224. - - Michel, Wilhelm, on comic function of puppets, 204. - - Mick, Hettie Louise, writes on plays at Chicago Little Theatre, - 175–176. - - _Midsummer Night’s Dream_, production at Chicago Little Theatre, - 175–177. - - Molière’s _Monsieur Pourceaugnac_ in Madrid, 80. - - Monzayemon, Chikamatsu, Japanese playwright, 48. - - Mourguet, Laurent, originator of Guignol, 107. - - Munich, home of best German puppet shows, 128–133. - - Musée Grevin, theatre in, 109. - - - Nang, Siamese shadow play, 28–29. - - Nantes, revocation of Edict made into play, 86–87. - - Napoleon, death of, puppet play described by Dickens, 64–66. - - Nelson, Lord, imaginary dialogue with Punch, 149. - - Neuville, de, Lemercier, guiding spirit of _Erotikon Theatron_, 95–96; - interest in shadow plays, 98. - - New York, Italian show described by Arthur Gleason, 172–173; - puppets of Tony Sarg, 183–191. - - _Noël_, by Bouchor, 110–111. - - - Ogotai, legend of, 31. - - _Ombres Chinoises_, French shadow plays, 97. - - _Ombres Françaises_, at the _Chat Noir_, 98–100. - - _Ombre du cocher poète, L’_, first _opéra comique_, 88–89. - - O’Neil, Raymond, director Cleveland Playhouse, 178; - “Construction of Marionette Stage,” 226–229. - - _Opéra comique_, origin, 88–89. - - Operator-magicians, 101. - - Origin of puppets, theories of scholars, 15–16; - Persian legend, 31–32; - Turkish tales, 36; - Chinese legends, 40–41; - Japanese stories, 44. - - _Orlando Furioso_ in Sicily, 71–76. - - Osaka, puppet plays in, 48. - - Owen, Lillian, 174. - - - Pandji legends, basis of Javanese plays, 26. - - Pantalone, Italian puppet character, 58. - - Paris, first permanent puppet stage erected, 83; - George Sand’s theatre, 92–94; - _Erotikon Theatron de la rue de la Santé_, 94–96; - the _Chat Noir_, 98–100; - the operator-magicians, 101; - _Le Petit Théâtre de M. Henri Signoret_, 102–105; - the _Vrai Guignol_ in the Champs Élysées, 107–108; - literary puppets, 109–111; - marionette theatre at 1900 Exposition, 109; - Guignol performances, 197–198. - - Passion play, at Catania, 77–78. - - Pathological types of Turkish puppets, 37. - - Payne-Collier, arranges _Tragical Comedy of Punch and Judy_, 149. - - Persia, puppetry in, 31–32. - - _Petit Théâtre_ in Belgium, 141. - - Piccini, Italian showman in England, 146. - - Pierrot Guitariste, puppet by De Neuville, 96. - - Pinkethman, London showman, 153. - - Pischel, Prof. Richard, on origin of puppets, 15–16; - on puppet plays of India, 32–33. - - _Pivetta_, definition, 67. - - Playhouse, in Cleveland, gives puppet plays, 178–183; - construction of dolls, 221–224. - - Plays, suited to puppets, 210–214. - - Pocci, Graf, writer of fairy plays for puppets, 129; - _Three Wishes_ produced by Tony Sarg, 186–187. - - Poetic drama, difficulties of production, 190–191. - - Poland, religious plays in, 138–139; - Wyspianski’s interest in puppets, 196–197. - - Polichinelle, French puppet character, 83; - varied career, 106–107; - plea for, 203–215. - _See also_ Pulcinella; Punch; Punchinello. - - Pollock, B., publisher of juvenile plays, 193–194. - - Portugal, puppets in, 80. - - Powell, clever London motion maker, 151–152. - - _Prodigal Son_, popular play in Hamburg, 115. - - Producing a play, in Java, 26; - in India, 34; - in Turkey, 38; - in China, 41–43; - in Japan, 45–47; - French restrictions in 17th century, 87–88; - _Midsummer Night’s Dream_ in Chicago, 176–177; - behind the scenes, 216–224; - construction of stage, 226–229. - - Pühony, Ivo, puppet maker, 134; - his marionettes, Ernst Ehlert quoted, 206. - - Pulcinella, Italian puppet character, 22, 58. _See also_ - Polichinelle; Punch; Punchinello. - - Punch, origin of name, 146–147. _See also_ Polichinelle; Pulcinella. - - Punchinello, his prestige and prowess, 147–150. _See also_ - Polichinelle; Pulcinella; Punch. - - _Pupazzi_, derivation of name, 55. - - - Ramayana, basis of Javanese plays, 26; - basis of Siamese _Nang_, 28; - modern production of in India, 34. - - Rehearsal of play, 218–221. - - Rehm, R. S., on puppet show in Samarkand, 30–31; - on Chinese shadows, 42–43; - on Rivière’s shadow pantomimes, 99–100. - - Religious plays, at Catania, 77–78; - in Spain, 78; - revocation of Edict of Nantes produced, 86–87; - in Russia, 137–139; - in Poland, 138–139; - in England, 145; - specially suited to marionettes, 211. - _See also_ Passion play. - - Religious puppets, at Antinoë, 17; - in Greece, 18; - in Rome, 21; - in Catacombs, 22; - in Burma, 30; - in Ceylon, 33. - _See also_ Idols; Images; Statues. - - Repertory, varied in Italian puppet shows, 56–62; - varied in medieval Germany, 123–125; - in Munich theatres, 131–132. - - Restrictions on production, in 17th century France, 87–88. - - Rivière, Henri, makes pantomimes for _Chat Noir_, 99–100. - - Rome, ancient, articulated statues, 21; - Rome, modern, many puppet theatres in, 60–62. - - _Rose and the Ring_ produced by Tony Sarg, 189–190; - account of Cleveland performance, 200–201. - - Russia, puppet plays in, 137–139. - - - Saint-Genois, de, Alfred and Charles, 101. - - Saint Germain Fair, puppet shows at, 87. - - Saint Laurent Fair, puppet shows at, 87. - - _Salome_, in puppet performance, 211–212. - - Samarkand, performance of _Tschadar Chajal_ in, 30–31. - - Sand, George, establishes _Théâtre des Amis_, 92–94. - - Sanskrit, restriction in use of, 33. - - Sarg, Tony, experiments with marionettes in London and New York, - 184–191; - takes _The Rose and the Ring_ to Cleveland, 200–201. - - Scala, Flaminio, 17th century director, 59. - - Scapino, Italian puppet character, 58. - - Scaramuccia, Italian puppet character, 58. - - Sceaux, puppet stage in chateau, 89–90. - - Schmidt, “Papa,” beloved Munich showman, 129–130; - appreciation of work, 195. - - Schutz and Dreher, showman of Berlin, 121. - - Seneca, death of, shown in Valencia, 80. - - Seraphin, Dominique, producer of shadow plays, 97. - - Shadow plays, in France, 96–100; - in Munich, 132. - - “Shadows,” Javanese, how made, 25; - of Siamese _Nang_, 28–29; - Turkish, origin and excellence of, 36–39; - Chinese development, 39–43. - - _Shadowy Waters_ produced by Cleveland puppets, 182. - - Shakespeare, _Tempest_ produced by M. Signoret, 103–104; - allusions to puppet shows, 143–144; - _Midsummer Night’s Dream_ in Chicago, 175–177. - - Shaw, G. Bernard, on marionettes and acting, 209; - on future of puppet shows, 214. - - Siam, unusual shadows of the _Nang_, 28–29. - - Sicily, great popularity of marionettes in, 70–78. - - _Signoret, Henri, le Petit Théâtre de_, 102–103; - puppets described by Paul Margueritte, 207–208. - - Simmonds, William, artist and amateur puppeteer, 158–160. - - Simplification of puppets by Gordon Craig, 162–163. - - Socrates and the showman, 20. - - Spain, history of puppets in, 78–80. - - _Spectator_, frequent mention of puppets, 151–152. - - Stage, construction of (O’Neil), 226–229. - - Statues, articulated, in Rome, 21. _See also_ Idols; Images; - Religious puppets. - - Stentorella, Italian puppet character, 58. - - Stevenson’s _A Penny Plain and Twopence Colored_, quoted, 193–194. - - _Sthapaka_, definition, 16. - - Stoddard, Anne, describes production of _Three Wishes_, 186–187. - - _Sutradhara_, definition, 16. - - Symons, Arthur, on art of marionette, 206–207. - - - Tattermann, definition, 113. - - Technique of production. _See_ Producing a play. - - _Tempest_, production described by Anatole France, 103–104. - - _Temptation of St. Anthony_, by Rivière, 99–100. - - Teoli, Italian marionettist, 61. - - Teschner, Richard, marionette maker in Vienna, 133. - - Thackeray’s _Rose and the Ring_ produced, 189–190, 200–201. - - Théatines, order of monks, give spectacles, 83. - - _Théâtre des amis_, history of, 92–94. - - _Three Wishes_, produced by Tony Sarg, 186–187. - - _Tintagiles._ _See_ _Death of Tintagiles_. - - _Titeres_, Spanish puppets, 79. - - _Tocha_, definition, 113. - - _Tokkenspiel_, early subject matter, 114. - - Tokyo, puppet plays in, 48. - - Tombs, Egyptian, puppets found in, 16; - jointed images found in Catacombs, 22. - - Toone, Belgian showman, 140. - - Torino, famous theatre in, 68–69; - description of performance at Lupi theatre, 199–200. - - Torriani, Giovanni, inventor, 78. - - Toy theatres, 192–197. - - _Tragedy of Nauplius_, representative Greek show, 19–20. - - Travelling showmen, in Greece, 20; - in Rome, 21; - in China, 41; - in Spain, 79; - in Russia, 137–138; - in London and rural England, 155. - - Treat, Grace, 179. - - _Tschadar Chajal_, puppet play of Turkestan, 30–31. - - Turkestan, two types of puppets, 30. - - Turkey, legends of origin of puppets, 36. - - Types of puppets, on early Roman stage, 21; - in Turkey, 37; - in Italy, 54, 57–58. - - - Van Volkenburg, Ellen, 174. - - Variety bills follow Thirty Years’ War in Germany, 123–125. - - Vasari, quoted, on church spectacles, 51–52. - - Venice, medieval puppets in, 67. - - Vidusaka, Indian puppet buffoon, 34. - - Vienna, the dolls of Richard Teschner, 133. - - Voltaire’s interest in puppets, 90. - - - War zone, French puppets in, 111–112. - - _Wayang_ dramas, Javanese shadow plays, 25–28. - - Wheeler, Katherine, 174. - - Wilkinsons, amateur English marionettists, 156–157. - - Williamson, Mrs. Hamilton, 187–188. - - Winter, Christoph, Cologne showman, 128. - - Woltje, Belgian puppet buffoon, 140. - - Writing for puppets, 217–218. - - Wundt, Prof., on comic function of puppets, 203. - - Wyspianski, Stanislaw, early plays with puppets, 196–197. - - - Yeats’ _Shadowy Waters_ produced in Cleveland, 182. - - Yeddo, 18th century centre for puppet drama, 48. - - Yorick (pseud.), on puppets in Egypt, 16; - on growth of Greek puppetry, 18. - _See also_ Ferrigni. - - - Zelenko, Alexander, quoted on modern Russian puppets, 137–138. - - - - -Transcriber’s Notes - - -Punctuation, hyphenation, and spelling were made consistent when a -predominant preference was found in the original book; otherwise they -were not changed. - -Simple typographical errors were corrected; unbalanced quotation -marks were remedied when the change was obvious, and otherwise left -unbalanced. - -Illustrations in this eBook have been positioned between paragraphs -and outside quotations. 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