The Melody Only Belongs to Heaven, It Is Hardly Heard on Earth

——The puppet art in Chinese poetry

Chen Yingxian

The Chinese puppet art has a long history. It was called Kuilei Show in the ancient times of China. People thought that the Chinese puppet art originated in the Han Dynasty (206BC-220AD) and became popular in the Tang Dynasty (618-907). It was a magnificent flower growing up in the Chinese civilization of thousands years. Due to the long history it was hard to see the original shape of Chinese puppet show but occasionally we could read some poems of ancient times, which described puppet show and inspired our artistc imaginary, making our life interesting and significant, just like a swan leaving its footprint on the snow land.

Lie Zi, also named Chongxu Scripture, was a classic work written by Lie Zi ( Yu Kou), a well known Taoist in the Period of Spring and Autumn. In the chapter Tang Wen of Lie Zi there was a description about wooden figure made by Yanshi, a puppet maker, which was thought as the earliest description of puppet art in Chinese classic works. Qian Zhongshu, Dong Meikan and Ji Xianlin, three great scholars of contemporary China pointed out that the description in Tang Wen came from Sheng Jing (Life Scripture), one of the earliest Chinese translations of Buddhism Scripture. According to the description of the third chapter of Sheng Jing, Buddha told all monks that the second son of the King of Dachuan (Big Boat) Kingdom was Gongqiao who mastered excellent skills of making puppet.The following poem was written about Gongqiao:

Gongqiao has skill to crate many things.

He makes wooden figure which can move like human being.

Looking at its action, all viewers are exciting.

Reading this poem we could see the technique of puppet making and performing had reached to a remarkable level in the old times. So some Chinese experts thought that the puppet show was introduced from India to China. I have not made a profound research on puppet history, so I can't agree with that viewpoint. However I really believe that the Chinese puppet art was influenced by foreign culture especially the Buddhism culture when puppet art was developing in China.

In the Buddhism Scripture there were many descriptions about puppet art.

In accordance of Buddhism the puppet had no life so its walking and singing were controlled by human being. The human being’s talk and action were regulated by outside force therefore they were not free at all, which was similar to puppet. Thus in the quotation of Zen one could find verses which used puppet show as a metaphor.

One meets doctrine and follow it, if no meeting, how to follow?

Doctrine teaches one hollow, if hollow, where to follow?

Look at followers, put out fire to seek body.

Look again the puppet show, it stops when string is broken off.

Volume Two, Wudeng Huiyuan

There are carved wood puppets in the theatre, half fairies and half ghosts.

Singing and drumming are ceased when dawn yet comes, a cold moon hanging over woods.

Volume Five, Xutang Monk Quotation,

written by Xingsheng Temple master of Jiaxing County,

Zhejiang Province at late Southern Song Dynasty (1127-1279)

Where the master returns to, in the cold puppet theatre

Mingzhou Tiantongjue Monk Quotation

A Sichuan drama is playing in the puppet theatre, so many fairies and devils on the stage.

When lights out at late night, no one smiles by the balcony.

Enjoy Moon at Southern Spring,

by Dajue Zen Master of the late Southern Song Dynasty

One word shocks dragon court, rocks Xumi Mountain and surprises the emperor.

While Buddha of three times sitting side by side, the rod puppet winks its eyes.

Ode, a poem on the conversation between

Master Zhichong of Bingzhou and Yang Danian

and Li Fuma in the Zen meditation which was edited

by Ze Zang of Song Dynasty in his Ancient Zunsu Quotation

These verses described not only the Zen doctrine but also the vivid puppet show in the old times.

The Tang Dynasty (618 -907) was an important period in Chinese history and recognized as one of the most flourishing dynasties. Due to its high level of culture, politics, economy and diplomacy, China became one of the great countries in the world at that time. In the middle period of Tang Dynasty the Chinese culture and art were especially outstanding, and all kinds of art were greatly developed. During that incredible period the puppet art played an important role in the cultural field.

Ode to a Wooden Old Man was a poem in the Chapter 202 of All Tang Dynasty Poetry. There was a note to this poem which said that the poem was also entitled Ode to Puppet. The poem vividly described the realistic image of puppet and the appreciation of audience.

The old man is carved from wood and manipulated by strings, its skin and white hair look like real, after acting it keeps silent, as if a dream in its life.

Who was the author of the poem? Mr. Zheng Chuhui of Tang Dynasty wrote in his works Mixed Record of Ming Emperors that it was Li Bai. Another editor Hong Mai of Song Dynasty (960-1279) thought it was Ming Emperor. Who knows? However in a sense the poem depicted Ming Emperor’s involuntary situation at his late years and his sad and lonely feeling.

In Song Dynasty the folk entertainment and culture upraised and flourished ever since. In the Song Dynasty theatres and performing clubs appeared in cities. They were called “Washe”、“Goulan” and “Yuepeng” in which the artists played daily the song and dance，talk show and folk art, as well as acrobatics. Most audiences were folklores. After the real person's performing populated, the puppet show became common in the countryside, which was acting to prey Gods and was called Kuilei. In the Record on Dream in East Capital, the poem described: 

No matter it was winding or raining, chilly or hot, the theatre was always full of audiences.

In this period puppet show was so popular and interesting that many writher and scholars wrote poems about its fun and reflection.

In the Northern Song Dynasty (960-1127) Yang Yi (Yang Danian), a poet from Pucheng County, Fujian Province wrote a well known poem about puppet:

Bao Lao laughed Guo Lang (clown) in a banquet, laughing at his large clothing.

If Bao Lao performed in the same place, his long sleeves could cause even more laughing.

Huang Tingjian, a well known poet of Northern Song Dynasty (1127-1279) wrote a poem in The Second Poem Presented to Li Boyou, Chapter 6 of Outside Mountain Collection:

Ghosts and fairies acted in all scenes in the puppet theatre.

Worries were gone, the sound of flute reverberated in one’s rest of life.

Wu Qian, a famous poet and prime minister of Southern Song Dynasty wrote a poem in his Autumn Night Rain-Poetry for Puppet:

Puppet was manipulated by string, a curtain concealing it.

In a wonderful scene, just like a fantasy, the dragon head appeared.

Bao Lao (old man in comedy) laughed by the side,

Guo Lang (crown) weaved his hands.

Cross roads made one confused.

When rice was ripe, village was in the mood of comfort.

Reading this poem one can see the excellent performance of puppet and feel poet’s worry about country and his sadness.

Probably Liu Kezhuang, a poet from Putian County wrote over 10 poems on puppet, the most at Southern Song Dynasty.

One of the poems was entitled Meng Liang Record, Hearing Puppet Show in Xiangying Temple:

All people rushed to the theatre for entertainment, their candle lights

like a stream, an old man from the mountain fell asleep, did not care

about a cheering crowd in the theatre.

A girl came back to look for her earring, a man sighed with the string.

What a pity for the purity, puppet makers in poor taste, where to find Yanshi, the master today.

Another was one of the Two Untitled Poems:

Guolang (clown)’s string was broken down so the play was stopped, and he was undressed just like a monkey.

Puppet makers left the theatre, the audiences were anxious.

Only children tittered, and the puppet ridiculed.

The First Day of Jiwei Year

Undressed in the theatre, no puppet head on shoulder,

Became Maitreya Buddha’s precious body, and asked a man of 73 years old.

Two or three aged men stayed lonely in the back of palace,

A master monk passed with young

Did not share with springy the drunk picked peaches into his straw hat and dustpan.

Fan Chengda, a poet at Southern Song Dynasty, who was praised by Qian Zhongshu as the great pastoral poet of ancient China, wrote in his Book Issue in Qingxi Library:

Carved wooden puppet manipulated by string, the show was finished after prey ceremony was over and rain stopped, both of them were forgotten.

Birds rest at Ting Wei’s gate, no fish to eat in Mengchang’s house.

A thief was just like a flea, playing the jackal to the tiger.

Who expressed love in the east or north of the house, who’s feeling lasted as words of chicken and seagull.

Huang Gongwang, a well-known painter of Yuan Dynasty wrote in his poem Heaven in Drunk collected in All Poetries of Yuan Dynasty, which was humorous:

No skin and flesh at all, but lots of bitterness and worry.

The puppet was manipulated by string, making a shape to please lover.

His shame was exposed, sitting alone in the soil stack.

This poem really made people feel so definite.

Tan Chuduan，a well-known Taoist of Jin Dynasty wrote a poem Song of Skeleton:

Skeleton has ugly face, it is a drunk indulged in affairs and lost blood in his body.

He is weak and rotten but still greedy, finally no coin in his pocket.

Desire is infinite but body is not, so he became a skeleton.

Listen to me, it is hard to become immortal.

One’s life is like a silk string, please not drift through it.

Today I paint his face to her and see if she can wake up or not.

This poem exhorted sharply by means of terror.

Ye Jixi，a scholar of Fuzhou at Jiajing Period of Ming Dynasty (1540)wrote a poem Melody to Puppet:

Drum beating at the long night, enjoyable play is on.

So many concerns for lady’s baby, so many briefs for the country tragedy.

One’s face does not mean one's character, in spite of silk robe and new makeup.

Dwarf does not care about the lecture, fools around like a clown.

The puppet show was popular in the counties of Shanghang and Wupin, Fujian Province at the period between Ming and Qing Dynasties. Those shows were staged for preying god and good fortune, yearning and hoping peaceful life, so it was called temple incense show. Lin Baoshu (1673-1734), a man from Wupin County edited a book Characters Used in One Year, in which a poem as follow:

Incense burning when puppet is manipulated, better than the temple incense show for good wish.

Bodhisattva and Goddess of Mercy sitting in divine lights, three ladies join the prayers.

In Ming Dynasty the puppet was developed extensively. But it was a folk art, looked simple and crude. Ten bamboo poles and three bed covers formed a show place. However there were many show scripts. The performance was incredible. Many shows were based on opera and drama, but they had their unique feature, especially many stories were written about fairy, fable and realistic life, children fairy tale was particular good.

In the Wanli Period of Ming Dynasty (1573-1620), Li Jiuwo, a scholar and minister of rites wrote a couplet for my hometown's puppet art festival: In a moment it runs a thousand li, in one night one sees the cause of past and today. This couplet is still at the stage of Quanzhou Puppet Art Theatre. It reflected the puppet show of that time not only had rich contents but also the artistic strength and aesthetic features.

The puppet art of Fujian province has been populor and characteristic. One can see similar couplets and ballads at the stages of Hakkas Community of western Fujian Province such as①:

One time telling long historic story

Three inch place depicting vast land

Miniature of carved wood just like human, all type of roles, please do not laugh at them being reed or faked

Several strings manipulated them actively for a comedy or tragedy, make every act fantastic.

The ballad in Yongding County of western Fujian Province was like this②:

Crowds of people are entranced, due to puppets looked like real men.

Flute and drum kept sounding, unconsciously sunrise came at the east.

These poems vividly described the puppet show’s glamour and the ordinary's warm response.

In Qing Dynasty (1636-1911), the nation was weak but the puppet show was alive in the mountain area of western Fujian Province. In 1900 Tu Qinglan, a scholar from Putian County wrote a poem in Guochao Puyang Poetry Collection:

Dress and hat used for figures on the stage, like a mechanic man sitting and talking, one could recall peculiar plot, and made it into an opera.

In the fifth volume of Snow Peak Mountain Records edited by Pan Souzheng, the contemporary cultural celebrity of Fujian province, a poem described the puppet show performance in the Snow Peak Temple of Fuzhou City:

Straw cushion and earthen bowl hold nothing, how fragrant tree become pearl,

Sun and moon do not light each other long, wooden figure dancing in front of fire place.

There is another poem in the same collection:

All alive in all dead, all die in all live. One dejected man, one Fujian boy.

Thus we can image how active and interesting the puppet show was at that time which made audience joking and laughing.

In fact both puppet show and shadow play reflected human life, their joy, anger and grief. Puppet show was closely linked with reality of social life, that's why the scholars made so many comments on its story and its artistic skills. They very often employed puppet for both metaphor and analogy for example: To be an official, just like a puppet in the show. Scholar Yu Yue wrote a poem like this③:

Relatives made them famous, puppet came with affection.

Since the show was over, the theatre became clear and quiet.

Zheng Banqiao, one of the Eight Genius of Yangzhou City wrote a poem Chant Puppet to  express his anger and criticism to the reality. The poem was so good:

It is funny that the puppet has nothing in its body, in fact it is made of rotten wood. Although the puppet has elegant dress and handsome face, superior to ordinary people.

The elated puppet never knows the show is a satire, audience don't take it seriously.

The puppet can move its arms and legs easily only because they are manipulated by strings.

The new China was founded in 1949 and the Chinese puppet art developed into a new era. The Longxi Prefecture Puppet Theatre of Fujian Province mainly performed sock puppet, which reserves many repertoire plays from history, such as Eight Immortals Crossing the Sea, Sale House to Make Havoc in Mansion, Lei Wanchun Conquers Tiger, Daming Mansion, etc. The theatre's performances were filmed for the documentaries such as Puppet Art in China, Play in Hands, New Flowers to Welcome Spring, etc. The theatre also went abroad for performance and won the world honor. Guo Moruo, a well-known poet watched their puppet show and wrote a comment to praise their art performance④:

Create a puppet world with their deft fingers. Flying birds and walking animals are in vivid appearance, as well as all human figures in the play.

After liberation they went abroad, won reputation in Europe and America, received gold medals and made art delicacy.

Zhao Puchu, outstanding Buddhist leader, famous calligrapher and social activist was very happy when he watched Fujian puppet show so he wrote a poems⑤:

In the past I heard the legend of Yanshi, the puppet maker who could make the king believe the puppet was real man.

Today I see the show, I feels hard to distinguish the true from the false.

The show makes people all over the world gasp in admiration.

In 1962 Tian Han, the lyric writer of Chinese anthem and art bureau director of Cultural Ministry of Central Government watched the show of Puppet Theatre of Lingao County, Hannan Prefecture. He was excited and wrote a poem⑥:

Several songs come under the coconut trees, new flows so with Wenlan River.

Here is Liu Sanmei, the sister of singing goddess, she inspires Lingao productive.

In the new century Chinese puppet art has a new opportunity to develop. bringing on more entertainment to people's life. Guo Hancheng, 97-year-old theorist on Chinese drama wrote a poem on puppet⑦:

Manjianghong Monkey with String (a toy for children in Beijing)

In a park on holiday

One bought a monkey.

Dressed in style

Red clothes and a peaked hat,

It had lean cheeks and frivolous eyes.

Wearing shorts

Two hands linked with strings

Clinbing up when it was pulled by strings

As if its two hands clasped together.

By the side of village

In the spacious ground

Drums and gongs beating

People crowded

Someone put on robe and hold jade plank

Sounding was aloud.

The drama stage was under the heaven and above the earth

The puppets were made since old times

Please standing in front of a mirror

Who you looked like?

Inspired by feeling, the poem was the sweet memory of author's childhood. He wrote about reality and profound insights of life. It portrayed puppet show vividly and refined the aesthetic characteristics of puppet art, making it memorable and provoking.

The puppet show is full of wisdom and imagination bringing on the poetic writing thus the poetry becomes a mirror to puppet art . Both puppet and poetry, the two ancient arts flow into one river, forming the wonderful cultural heritages of Chinese nationality, thus make us reciting and tasting their essences forever.

Note:

①Shanghang Puppet Show and Baisha Tian Association’s Collection of Research Papers, edited by Ye Mingsheng and Liang Lunyong, Fujian, China, Haichao Photography Art Press, 2010, p 175.

②Ditto.

③Remained Poem of Qu Garden, Vol 1, by Yu yue, printed from the stone inscription, in the 32nd year of Guangxu of Qing Dynasty.

④History of Chinese Puppetry, Ding Yanzhao, Xuelin Press, 1991.

⑤Ditto.

⑥Ditto.

⑦Three Styles of Dan Zi Court. by Guo Hancheng, Bei Jing Times Chinese Press, 2015.

● Chen Yingxian

Vice counsel of Culture &Technology Department of Ministry of Culture, associate director of the Office of National Art Scientific Planning Leading Group, L.D. of the Central College of Drama, a member of Chinese Dramatists Association, judge for "Wenhua Award" of Ministry of Culture, Evaluation Performance of National Excellent Child Play, "Gold Lion Award" of Puppet Show in China; published biographies of Deep Love to Soil--Ba Jin, Thunder on the Sea--Cao Yu and an art criticism of Three Stars in Midday, articles about various felds, including drama comment, research essay, etc, more than one million words in total; once won the 1^st and 2^nd Award for Thesis of  "Tian Han Drama Award”.

The article reproduced from “The 21^st UNIMA Congress & World Puppetry Festival Thesis Compilation”