This opinion is undeniably supported by traditional usage. Humor may vary from the buffoonery of Hanswurst to the satirical subtleties of De Neuville’s pupazzi, but the spirit of comedy has had a representative on the puppet stage in every land. What a long list might be compiled, starting with the hunchback Vidusaka of ancient India, then on through Semar of Javanese comedy, Karagheuz of Turkey, Pahlawan of Persia (squeaking in the same feigned voice as the English Punch), to say nothing of Maccus, the Roman Puppet, and Arlecchino, and Pulcinella with their merry train from all over Italy, even including the later Signor Macaroni. There are the German and Austrian Hanswurst and Kasperle, Jackpudding and Punch in England, Polichinelle, Harlequin, Jean Potage, and even more recently Guignol and Guillaume in France, Paprika, Jancsi of Hungary, Picklehoerring of Holland and ever so many more, rollicking and indispensable humorists of the puppet theatre. M. Charles Magnin, most distinguished historian of the marionette, proclaims his unalterable faith in Polichinelle: “Do you know, then, what Polichinelle is? He is the good sense of the people, the brisk sally, the irrepressible laughter. Yes, Polichinelle will laugh and sing as long as the world contains vices, follies and things to ridicule. You see very well that Polichinelle is not near his death. Polichinelle is immortal!” Professor Pischel agrees that the puppet play is the favorite child of the people and merely the step-child of the cultured because it owes its origin to the common people and is a clearer mirror of their thoughts and feelings than any more finished poetry. Mr. Howard, too, in the _Boston Transcript_, somewhat resents the marionette performances in the new manner, feeling that the old traditional shows were “more childlike, more simple, more human.” Innumerable artists of the last few decades, however, esteem the marionette as an excellent medium of serious dramatic expression, possessing a poetic style and a conventionalized, impersonal symbolism. Ernst Ehlert, himself an actor as well as lover of puppets, writes thus of Pühony’s marionettes: