A Book of Marionettes

by Helen Haiman Joseph

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.

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.”

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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.