“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.
German Puppet Show for Children
Designed for use in the home
[Reproduced from Kind und Kunst]