A Book About the Theater Part 11

IV

The fundamental principles which Robert-Houdin accepted and which he seems to have taken over from Torrini, Messrs. Maskelyne and Devant have elucidated in their philosophic disquisition, and yet in one particular their practise is not yet level with their preaching. Before Robert-Houdin and Frikell, or at least before Torrini, and even after these three artists had set a better example, the majority of conjurers filled the stage with gaudy apparatus and insisted on its blazing with an unnecessary prodigality of lights. One magician in the middle of the nineteenth century came forward on a stage absolutely dark, and suddenly fired a pistol, thereby lighting two hundred candles arranged in pyramids behind him. Another hung his stage with black velvet and adorned it with skulls. Torrini and Robert-Houdin made an approach to the unadorned simplicity of an actual drawing-room, altho Robert-Houdin seems to have permitted himself a long shelf at the back of his stage on which his various automatic figures were a.s.sembled awaiting their summons to take part in the program. Even Messrs. Maskelyne and Devant are satisfied with a stage-setting which is frankly only a stage-setting--as stagy, in fact, as the ordinary scenery to be seen in a variety-show.

Now, it may be admitted that a nondescript set of this sort, vaguely Oriental, with arches and curtains, and somewhat suggestive of comic opera, may not be inappropriate when any one of the bolder illusions is to be presented--the Box Trick or the Aerial Suspension, the Mystic Cabinet or the Talking Sphinx. Indeed, a special set of scenery is often actually necessary for the presentation of marvels depending mainly on optics or mechanics. But for the first part of the program, when the performer appears in ordinary evening-dress, and when he is presenting himself as a gentleman in a drawing-room, amusing other gentlemen, by means of experiments in magic, every one of which may be likened to a little play, why should not the stage-set be that of a drawing-room, or of a bachelor's study, as accurately reproduced as similar rooms are reproduced in the modern comedies of Mr. Henry Arthur Jones and Mr.

Augustus Thomas? The set accepted by Messrs. Maskelyne and Devant is devoid of the actuality of a real room; it is fantastically stagy, and therefore it lacks both veracity and dignity.

Sooner or later some modern magician, in advance over his rivals, will take this final step, and the curtain will rise on a stage with a box-set realistically reproducing a handsome room, with all its decorations and hangings and furniture in harmony, Jacobean in style, or Chippendale, as the performer's preference may be. There will be chairs and tables in their proper places; there will be book-cases, and window-boxes of flowers; and perhaps there will be a cellaret, where the performer may procure any goblet or decanter he needs. There will be a broad desk in the center, with its writing-pad and its book-rack, and possibly its heap of magazines and weekly papers. This set thus furnished will look like a room that has really been lived in; it will have a door in each of the side walls, and when the curtain rises the stage will be empty. Then the doorbell will ring, and the servant will enter at one door, and, going across the stage to the other, he will admit his master--the master at last of the truly modern art of magic.

The magician will give his hat and coat to the servant, who will take them out, and who will never appear on the stage again except in response to the master's pressure on the electric b.u.t.ton, ordinarily used to summon a servant. And the magician will present his succession of experiments in magic, utilizing only the objects which he may borrow from the spectators, or which would naturally be found in a gentleman's room. The apparent absence of all apparatus, the naturalness of the environment, the easy simplicity and the convincing reality of the back-ground--all these elements will coalesce to heighten the effect of the marvels to be wrought by a comedian playing the part of a magician.

(1912.)

XVI

THE LAMENTABLE TRAGEDY OF PUNCH AND JUDY

THE LAMENTABLE TRAGEDY OF PUNCH AND JUDY

I

When we consider how cosmopolitan is the population of these United States, and how freely we have drawn upon all the races of Europe, it is very curious that the puppet-show does not flourish in our American cities as it flourishes in many of the towns on the other side of the Western Ocean. The shrill squeak of Punch is not infrequent in the streets of London--altho it may not now be heard as often as it was a score of years ago. In Paris in the gardens of the Tuileries and of the Luxembourg, and again in the Champs-Elysees where the children congregate in the afternoon, there are nearly half a dozen enclosures roped off and provided with cane chairs so that spectators, old and young, may be gladdened by the vision of Polichinelle, and by the pranks of Guignol. Yet even in Paris there are not now as many puppet-shows as there were fifty years ago; and in Italy and in Germany the traveler fails to find as frequent exhibitions of this sort as he used to meet with in the years that are gone. Apparently there is everywhere a waning interest in the plays performed by the little troop of personages animated by the thumb and fingers of the invisible performer. And perhaps the declining vogue of this diminutive drama in old Europe is one reason why it has never achieved a wide popularity in young America.

In France the puppet-show is stationary; it has its fixed habitation and abode; and its lovers can easily discover where to find it when they seek the specific pleasure it alone can provide. In England the spectacle of Punch and Judy is ambulatory; the bloodthirsty hero and the bereaved heroine roam the streets at large, and their arrival in any one avenue of traffic can never be predicted with certainty. In the United States poor Punch has never ventured to show his face in the open street, seeking the suffrages of the casual throng; he is not peripatetic but intermittent, and he makes his appearances only in private houses, and only when he is sent for specially to entertain the children's party. Here in America Punch is still a stranger to the broad public; he has an exotic flavor; he suggests d.i.c.kens, somehow; and he must be wholly unknown to countless thousands who would rejoice to make his acquaintance and to laugh at his terrible deeds.

His terrible deeds!--perhaps there is in these words a possible explanation for the failure of Punch to win favor among the descendants of the Puritans, who are always inclined to apply severe moral standards of conduct. Now, if we apply any moral standard at all to the conduct of Mr. Punch, the result is simply appalling, for the customary drama of which he is the sole hero sets before us a story of triumphant villainy, adequately to be compared only with the dastardly history of Richard III in Shakspere's melodramatic tragedy. Mr. Punch is an accessory before the fact in the death of his infant child, and when his devoted wife very naturally remonstrates with him, he turns upon her with invective and violence--a violence which culminates in a.s.sa.s.sination. Having once seen red and tasted blood, he finds himself swiftly started upon a career of crime. His total depravity tempts him to a startling succession of hideous murders. He slays an inoffensive negro, a harmless clown, and a worthy policeman. Then he succeeds, by a simple trick, in hanging the hangman himself. By his fatal a.s.saults upon these two officers of justice, the necessary policeman and the useful hangman, Mr. Punch exhibits his contempt for the majesty of the law. He stands forth, without a shred of conscience, as a practical anarchist, rejecting all authority. His hand is against every man and every man's hand is against him. And having violated the laws of this world, he finally discloses his callous contempt for the punishment which ought to await him in the next world; he has a hand-to-hand fight with the devil himself--a deadly struggle from which he emerges victorious. And this is the end, which crowns the work.

[Ill.u.s.tration: Behind the scenes]

[Ill.u.s.tration: Punch throws away the child]

[Ill.u.s.tration: Punch, Judy, and their child]

[Ill.u.s.tration: Punch quiets Judy]

When we consider the several episodes of Mr. Punch's abhorrent history, we are reluctantly forced to the conclusion that his story is even less informed with morality than that of Richard III. The crookbacked king comes to a bad end at last; he meets with the just retribution for his many misdeeds; and he falls before the sword of Richmond. But Mr. Punch comes to a good end, and so far as we may know, he lives happy ever after, like the princes and princesses of the fairytales. He may even marry again and have another child, to be made away with in its turn.

The more we consider his misdeeds and his misadventures the more shocking they are to our moral sense. Mr. Punch appears as a monster of such hideous mien that to be hated he needs but to be seen. This is how he must appear to every one of us who applies a moral standard to the drama, and who is willing to hold every character in a play to a strict accountability for his words and deeds. If we apply this moral standard to the play of Punch and Judy, then that play must be dismissed as profoundly and hopelessly immoral, carrying ethical infection to all who are so unfortunate as to be spectators at its performance. And more particularly, it is an absolutely unfit piece for the young, whose immature minds need to be guarded against everything which might tend to confuse the delicate distinctions between right and wrong.

But, of course, we do not apply a moral standard to the sayings and doings of Mr. Punch, for the plain and sufficient reason that he is not a human being. He is not a man and a brother, upon whom we may be tempted to pattern ourselves. He is but a six-inch puppet, a thing of shreds and patches, a wooden-headed doll, vitalized for a moment only by the hand concealed inside his flimsy body with its flaunting colors. He is too fantastic, too impossible, too unreal, too unrelated to any possible world, for us to feel called upon to frown upon his misdeeds or to take them seriously. He is a joke, and we know that he is a joke, and all the children know that he is only a joke. Even the youngest child is never tempted to believe in his existence and to be moved to follow his example or to imitate his dark deeds. The proof of the pudding is in the eating; and the proof of a play is in the effect it produces upon the spectators. We may question whether any one of the millions of performances of the lamentable tragedy of Mr. Punch has suggested to a single father the fatal neglect of his offspring or to a single husband the possibility of wife-murder. And we may doubt whether any child, after witnessing Mr. Punch's murderous combats with the policeman and the devil, has ever felt any lessening of his respect for those two time-honored guardians of law and order.

[Ill.u.s.tration: Punch on his steed]

[Ill.u.s.tration: Punch teaches Jack Ketch how to hang a man]

[Ill.u.s.tration: Punch in prison]

[Ill.u.s.tration: Punch kills the Devil]

The plea of confession and avoidance which is here set up for Punch and Judy is much the same as that set up by Charles Lamb for the frolicsome Restoration comedies. Lamb admitted that they were degradingly immoral--if you took them seriously and accepted them as pictures of life. But he insisted that they were not really amenable to this moral standard, since they were plainly impossible in any world known to man.

Macaulay had no difficulty in showing that Lamb was judging others by his clever and sophisticated self. To Lamb the creatures of Wycherley and Congreve might reveal manners and customs which removed them from the sphere of recognizable humanity; but the majority of his fellow-spectators were not so nimble-witted; they saw characters on the stage personated by living performers, and they beheld these characters shamelessly doing shameful things. Because the persons in the play were represented by actual human beings they seemed indisputably human; and their deeds could not be considered as outside morality. Yet the plea made by Lamb for the Restoration comedies has a certain validity when it is put forward in behalf of Mr. Punch. He is not personated by an actual human being; and even the least sophisticated of juvenile spectators does not accept him as a fellow-creature strictly amenable to the human code.

II

Historians of the Greek drama have often commented on the fact that the Athenian actors wore towering masks, and that thereby they were deprived of all facial expression. In our snug modern theaters, with their well-lighted stages, we follow with our eyes the s.h.i.+fting emotions as these chase each other across the faces of the actors; and this is one of our keenest pleasures in the playhouse. In the huge theater of Dionysius at Athens, with its ten or twenty thousand spectators, seated tier on tier, along the curving hillside of the Acropolis, the actor was too far removed from most of the playgoers for any play of feature to be visible; and critics have commiserated the Attic dramatists on their deprivation of this element of potent appeal. Yet the question arises whether the Greek playwrights were really the losers by this immobility of the actors' faces; and we may be allowed to doubt that they were when we recall the fact that the faces of Mr. Punch and of Mrs. Judy, of the policeman and of the hangman, are also fixed once for all. The expression that Mr. Punch wears when he is fondling the baby is, perforce, the same which illuminates his face when he is engaged in joyful combat with the devil, a foeman worthy of his stick. Here the imagination of the spectator comes to the rescue. The wooden head of Mr.

Punch is unchanging, no doubt; but those who gaze entranced upon his marvelous doings never miss the play of feature which they would expect if they were part of the audience in a playhouse for grown-ups. Quite possibly the Athenian spectators did not mind the immobility of the masks their actors wore; indeed, that very immobility may have been an incentive to their imaginations. When the Greeks went to their open-air theater, as when we gather around the tent-like theater of Mr. Punch, they knew in advance, as we also know, that the faces of the performers would be unchanging; therefore they did not expect any variety of expression; and probably they got along as well without it as we do at a puppet-show.

There is another likeness between Attic tragedy and Punch and Judy; there is a limitation in the number of characters we are allowed to see at the same time. As the hidden performer who operates all the figures has only two hands, he can bring before us at any one moment only Mr.

Punch and one other of the several characters. The fingers of the right hand animate Mr. Punch, and the fingers of the left hand animate in turn Mrs. Judy and the negro and the clown. At Athens (for reasons which need not here be discussed) the dramatist had the use of only three actors, even tho these might each of them "double" and appear as two or more of the successive characters of the play. So it was that there were never more than three persons taking part in any given episode of an Attic tragedy as there are never more than two persons taking part in any given episode of Punch and Judy. In the thumb-and-finger plays devised in Paris by M. Lemercier de Neuville, he felt so severely the inconvenience of his limitation to two characters that he devised a kind of spiral-spring arrangement inside the costumes of his little figures to hold up their heads; and he prepared invisible supports jutting out just below the flat ledge which forms the base of the proscenium. Thus he was enabled to leave the figure in sight, while he withdrew his hand to animate another character. His _Pupazzi_, as he called them, were clever caricatures of contemporary celebrities; and he was ingenious enough sometimes to maneuver half a dozen of them at once with his single pair of hands, four adjusted into the projecting rests, and two on his fingers.

In the sumptuous puppet-show in the gardens of the Tuileries the same result is achieved by the employment of two or three manipulators, so that four or even six figures may appear at once. This has greatly enlarged the scope of the performance; and the manager of this theater has very ambitious aims. He likes to rearrange for his juvenile audience the most appropriate of the pieces which have won favor in the real theaters, and to present these with all sorts of spectacular adornments.

He has even ventured to give plays as elaborate as 'Around the World in Eighty Days.' But it may be doubted whether this vaulting ambition has not overleaped itself, and whether a puppet-show does not gain rather than lose by restricting its efforts within narrower limits. After all, nothing so delights us at a puppet-show as the feats which are most characteristic and least difficult of accomplishment. We joy to behold one tiny figure belaboring another with his solid club or to follow the vicissitudes of a bout at single-stick, when both combatants thwack l.u.s.tily at each other's wooden heads.

III

Yet this mention of M. Lemercier de Neuville's _Pupazzi_, with their varied repertory of Aristophanic commentaries on current events, and this memory of the spectacular efforts exhibited in the gardens of the Tuileries, suggest a possible explanation for the fact that Punch and Judy have failed to find wide-spread favor here in America and that they seem to be losing their pristine popularity in England. There is a pitiable monotony of program in all English-speaking puppet-shows. They confine their repertory to the single play which sets forth the deeds and misdeeds of Mr. Punch. Now, in the Continent of Europe there is no such monotony. Not only in the gardens of the Tuileries but in the Champs-Elysees a young spectator can sit thru performance after performance without fear of having to witness the same piece. Punch appears in only one drama, whereas his French rival, Guignol, in his time plays many parts, with a host of other characters to be his a.s.sociates, some in one piece and some in another. And the several plays are adorned with a variety of scenery. Of course, there cannot be a very wide range of subject; and always is the stick a prominent feature in the miniature drama. There are a certain number of traditional Guignol pieces, handed down from generation to generation. Some of these have been printed for the use of devoted students of the drama, and some are to be had in little pamphlets for the benefit of the happy French children who may have had a puppet theater with its dozen or more figures presented to them as a New Year's gift. There is in the Dramatic Museum of Columbia University the ma.n.u.script of half a dozen of these little plays, written out (in all the license of his own simplified spelling) by the incomparable performer who was in charge of the leading Guignol in the Champs-Elysees in 1867.

It is rather curious that the English puppet-show should have confined itself for now nearly a hundred years to the unique Punch and Judy, when the puppet-shows of other countries have a changing repertory. It was a puppet performance of a German perversion of Marlowe's 'Doctor Faustus' which first introduced Goethe to the Faust legend. George Sand, unlike the great German poet in most ways, was yet like him in her delight in the puppet-show. In her country place at Nohant, she had a tiny theater of her own for which she dressed all the puppets, while her son Maurice carved the heads, painted the scenery, devised the plays, and improvised the dialog. Maurice Sand it was, sometimes alone, but occasionally with the aid of a friend, who manipulated the little figures and bestowed upon them a momentary vitality. His mother persuaded him to write out a dozen of the more successful of his little plays for puppets and to publish them; and this volume, the 'Theatre des Marionnettes a Nohant,' appeared in 1876. George Sand herself wrote a delightful account of the humble beginnings of this famous puppet-show, and described how there came in time to be all sorts of ingenious improvements for achieving spectacular effects.

She declared that the puppet-show is not what it is vainly thought, because it demands an art of a special kind, not only in the construction of the little figures themselves, but more especially in the story which these little figures are to interpret. She held that the particular field of the puppet playwright-performer was to be found in the dramatization of protracted fantastic romances, abounding in comic characters and in comic episodes and gratifying the fundamental human liking for long-drawn tales of adventure and for fantastic fairy-stories. She found in her son's acted narratives a rest from reality, a release from the oppression of every-day life, an excursion into a realm of fancy and of legend--even if the legend was itself a fanciful invention of the improvising performer. And she declared that she liked the puppet playhouse in her own home, because it was a domestic and fireside pleasure, which could be enjoyed without the exertion imposed by a visit to a real theater. Obviously she found as much delight in being a spectator--after having been a costumer--as her son did in being the author and operator of the spectacle.

IV

There is one note to be made upon George Sand's account of the slow development of the puppet-show at Nohant, beginning as early as 1847. If you will look at any set of Punch and Judy figures hung up to-day in the toy store to tempt the eye of Young America, you will discover alongside Mr. Punch and Mrs. Judy, Jack Ketch and the Devil, a strange green figure with huge jaws and double rows of white teeth. This verdant beast has a body like all other Punch and Judy figures, a loose cloth funnel to slip over the sleeve of the operator; but its head suggests the head of an alligator, or of a crocodile, or of a dragon. Now, if you will turn to the cla.s.sic text of the English play of Punch and Judy, edited with a learned introduction and an abundance of scholarly annotation by John Payne Collier--at least, so it is believed, altho the rare little book is anonymous--you will find no mention of any strange beast of this sort. Collier's text of the play is adorned by two dozen ill.u.s.trations, etched by George Cruikshank, and in no one of these plates will you discover any crocodile, or alligator, or dragon. You will find Toby, the dog, who still survives in most of the few shows to be seen to-day in the streets of London; and you will find Hector, the gallant steed that Mr. Punch mounts with difficulty--and it is sad to have to record that Hector is no longer in the service of Mr. Punch. In fact, one devoted admirer of puppet-shows, whose memory goes back nearly fifty years, is ready to declare that he has never laid eyes on Hector--except in Cruikshank's ill.u.s.trations. But Mr. Punch, deprived of the privilege of bestriding Hector, now enjoys the fiercer delight of overcoming the green-eyed alligator.

Here we have a question of profound historic interest. Whence came the strange beast with the wide jaws? And here is where George Sand's pleasant paper is a very present help in time of need. She tells us that her son besought her to make a green monster for one of the earliest pieces he devised for her puppet-figures. She did as she was bid, and she sacrificed a pair of blue velvet slippers to provide the marvelous creature with his gently smiling jaws. She draws attention to the fact that the slippers were blue, and to the further fact that nevertheless the strange beast was always called the Green Monster. And here may be the explanation of the historic mystery. The fame of the puppets of Nohant was borne abroad; they were talked about all thru France; and they were discussed again and again in the Parisian newspapers. What more likely than that one of the professional puppet players should have seen the infinite possibilities of the Green Monster, and should have perceived its novel fascination for children? Thereupon he borrowed it for his own performances. Certainly it is that the Green Monster is a character in at least one of the ma.n.u.script plays preserved in the Dramatic Museum of Columbia University, and written out half a century ago. Probably the Green Monster strayed from the puppet-show of the Champs-Elysees sooner or later to one of the toy stores of Paris at the request of some boy who desired it for his own. When the Green Monster had elected domicile in the stores of Paris, he was soon appropriated by the toy-makers of Germany for export to Great Britain and the United States.

(1912.)

XVII

THE PUPPET-PLAY, PAST AND PRESENT

THE PUPPET-PLAY, PAST AND PRESENT

I

In her charming and instructive account of the ingenious puppet-shows with which her son Maurice used to amuse himself and her guests at Nohant half a century ago, George Sand records the fact that the erudite scholar, Magnan, who wrote a learned history of the puppet-show from the remotest antiquity, did not discriminate sharply between the two entirely different kinds of little figures, both of which are carelessly called puppets in English, and marionettes in French. One cla.s.s comprises these empty and flexible figures which are animated by the thumb and two fingers of the performer who exhibits them by holding his hands above his head, as in the 'Punch and Judy' show. The other contains the larger dolls, suspended on wires (which are supposed to be invisible) and manipulated by one or more performers overhead, who give life to these figures by jerking the various strings as the action of the play may require. These last are the true marionettes; and for the first we have, unfortunately, no distinctive name. It is greatly to be regretted that the two very different types of puppets are not set apart from each other satisfactorily by the contributor of the article on marionettes in the latest edition of the 'Encyclopedia Britannica.'

Each of these two sorts of puppets has an interest of its own; and each of them has its special and peculiar relation to the drama. Both of them have a long and honorable history, and can be traced back in the scanty records of a remote antiquity; altho it seems more likely that the true marionette--the little figure moved by wires from overhead--is the older of the two, antedating by many centuries the Punch and Judy figure, which owes its abrupt and awkward movements to the human thumb and fingers. Both cla.s.ses are to be found to-day all over the world, not only in the cities of civilization, but in unsuspected nooks and corners on all the sh.o.r.es of all the seven seas. In Turkey, for example, under the name of Karaguez, there is a Punch and Judy of enormous popularity and of doubtful decency, while in Siam there are marionettes which perform religious plays of traditional appeal. Apparently the puppet-show of one type or the other satisfies in its fas.h.i.+on that dramatic instinct which every people possesses in greater or less intensity.

Both kinds of puppet-show flourish in France, and have there been lifted to a more elevated plane of art; and both kinds retain their popularity in Italy, altho in an humbler form. The French are inveterate artists; and they are like the Greeks in desiring to do all things decently and in order. The Italians have, perhaps, a stronger native gift for the drama and they are ready to enjoy a simpler and more primitive puppet-play. It is from Italy that we who speak English have derived our Punch and Judy. Mr. Punch is a direct descendant of that favorite figure of robust Neapolitan farce, Pulcinella; and so is the French Polichinelle. And in Italy to-day the true marionettes have an even broader popularity than the Punch and Judy figures. The Italians who have lately flocked to America in their thousands, until New York now contains more of them than Venice, have imported in the original package the legendary puppet-show setting forth the romantic stories of the Middle Ages and of the early Renascence. We look upon Mr. Punch as comic; but the Italians take their pleasure seriously and the marionettes in their puppet-shows to be seen in New York are truly heroic, and not infrequently highly tragic.

[Ill.u.s.tration: Roman puppets Greek and Roman puppets Puppet of Java]

In the interesting discussion of 'Medieval Story,' in which Professor W.

W. Lawrence of Columbia University has traced the influence of various ideals of the Middle Ages upon our modern social organization, he has a striking description of the marionette performances which the exiles of Italy have brought with them to America. "Any one who walks thru the Italian quarter of New York City in the evening may notice over a doorway an illuminated sign, 'Theater of Marionettes.' If his curiosity tempts him inside, into the low room crowded with enthusiastic spectators, he will see, on a rude stage, a group of puppets almost as large as life, representing knights and ladies, acting out a little drama in response to the jerking of strings fastened to their arms, and of iron rods firmly fixed in their heads. The warriors are gorgeously attired in s.h.i.+ning armor and plumed helmets; and the ladies have wonderful costumes of bright colors, with a great deal of embroidery and decoration. An Italian in s.h.i.+rt-sleeves in the wings at the side of the stage speaks their lines for them, with all the elocutionary flourishes which he can command. Fiercely immobile as to expression, but most active as to arms and legs, these manikins march about, soliloquize, make love, and debate in council. But it is their battles which arouse the greatest enthusiasm among the audience; and, indeed, these are fought in a way that is a joy to see. Then it is that heroic deeds are done--tin swords resound upon tin armor, helmets are battered about and knocked off, dust rises from the field, the valiant dead fall in staring heaps. At such moments the spectators can hardly restrain themselves from emotion, yet the story is well known to them--perhaps some one sitting near by will volunteer to explain it, a.s.serting that he has known it ever since he was a boy and that he has read it all in a book which he has at home, called 'Reali di Franci.' It is a version of the old tale of Charlemagne and his knights, which, after traveling far from its native home in France, was taken up by the Italian people many centuries ago, and made so much their own that few heroes have been closer to their hearts than Roland, or as they call him, Orlando. Even in their homes in the New World they still celebrate him, so that the very newsboys in the streets of modern America are keeping alive the heroic traditions of the age of Charlemagne."

[Ill.u.s.tration: A Sicilian marionette show From "By Italian Seas," by Ernest C. Peixotto]

II