In Turkestan and in Central Asia puppet shows are a very popular diversion along with the feats of jugglers and dancers. There are two types of puppets existing, one the very diminutive dolls carried about by ambulant players whose extremely naïve dialogue is composed chiefly for the amusement of children. The other, on a larger scale, is to be seen on small stages erected in coffee houses or at weddings and other private celebrations. [Illustration: BURMESE PUPPETS _Upper_: Made of rag, cotton and plaster _Lower_: Made of painted wood [American Museum of Natural History, New York]] R. S. Rehm gives a description of a crude little marionette theatre in Samarkand. Out in the crowded narrow streets sounds as terrifying as the trumpet on the walls of Jericho announced the beginning of the performance. The interior was a dark hall with a roof of straw matting through the holes of which mischievous youngsters were continually peeking until they were chased away. It was called _Tschadar Chajal_, Tent of Fantasy. The puppets revealed Indian origin, but their huge heads, with the clothing merely hung upon them, indicated Russian influences. There was one scene of modern warfare with toy cannons hauled upon the stage. Then came a play within a play. Yassaul, the native buffoon, was a sort of master of ceremonies. Various comical and grotesque marionettes appeared whom he greeted and led to their places. The King himself entered upon a miniature horse, dismounted and seated himself on a throne in the tiny audience. The performance for His Majesty consisted of puppet dancers, puppet jugglers and last of all, a marionette representing a drunken European dragged away by a native policeman. At this point the small and also the large audience expressed great delight. * * * * * Of the puppets of Persia a very ancient legend tells us how a Chinese shadow play was performed before Ogotai, successor of Tamerlane. The artist presented upon his screen the figure of a turbaned old man being dragged along tied to the tail of a horse. When Ogotai inquired what this might signify the showman is said to have replied: “It is one of the rebellious Mohammedans whom the soldiers are bringing in from the cities in this manner.” Whereupon Ogotai, instead of being angry at the taunt, had his Persian art treasures, jewels and rich brocades brought forth, also rare Chinese fabrics and carven stones. Displaying them all to the showman, he pointed out the beauties in the products of both lands as well as the natural difference between them. The showman having learned this lesson of tolerance went away greatly abashed. [Illustration: CINGALESE PUPPETS _Upper_: Devil and Merchant _Lower_: King and Queen Part of a collection received from the Ceylon Commission of the World’s Columbian Exposition, 1895, by the Smithsonian Institution. U.S. National Museum]