Part 7

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.

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.