
Now, what I am going to say is almost unintelligible, but I shall say it all the same, because it responds to a true sensation. These marionettes are like the Egyptian hieroglyphics, that is, they have a certain pure and mysterious quality, and when they perform a drama of Shakespeare or Aristophanes I see to watch the poet’s thought unfolded in sacred characters along the temple’s wall.
In short, I venerate their divine innocence, and I am very sure that if old Æschyulus, who was highly mystical, had returned to Earth and visited France on the occasion of our Universal Exhibition, he would have had his tragedies played by M. Signoret’s company.
I wanted to say these things, because, without flattering myself, I do not believe that anyone else would say them, and I strongly suspect my folly to be unique. The marionettes respond exactly to my idea of the theatre, and I confess that this idea is singular. I should like a dramatic representation to recall, in some degree, so that it may truly remain a game, a box of Nuremberg toys, a Noah’s ark, or a set of clockwork figures. But I should further desire these artless images to be symbols; I should like these simple forms to be animated by magic; I want them to be enchanted toys. This may seem a curious taste; still, it must be remembered that Shakespeare and Sophocles satisfy it well enough.
Excerpted from On Life & Letters by Anatole France. Translation by D.B. Stewart. Published by the John Lane Company, New York, 1922.












