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.
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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.
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.
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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.