A puppet-show, and its consequences.
Posted: Wed May 03, 2006 7:02 am
There are children in the town square.
A gang of children, to be exact, a noisy, impromptu gathering of eight and nine-year-old boys and girls and their shrieking younger siblings. Some have brought their parents, and some have not; they're all here to see the free puppet show someone's set up in the corner, and why not see a free puppet show, on a spring day as lovely as this one?
They gather tight together -- all save skinny Cary, the chandler's boy, who grew up far too fast after that fateful night the neighbors still talk about in hushed voices, and who stands with sunken eyes as old as his father's on a bench in order to be taller than everyone else -- taller, even, then the baker's apprentices, who have arrived in droves to distribute sweets and sticky-buns to young hands and collect half-shillings from their parents.
It is almost as if things are normal again.
The show is a little different than your standard Punch-and-Judy fare. It's primarily slapstick with a political twist, featuring one dark-skinned, white-haired puppet belaboring the other with a stick, and the other puppet -- in a uniform tabard curiously fashioned from colors that belong to both Straka and Janeiro, becoming one or the other depending on which way the puppeteer turned his hand -- screeches and screams and generally retreats behind the curtain. There is a hilarious chase scene. The soldier throws a miniature cream pie at the drow; the drow dances around in agony and chases the soldier.
It's quite funny, really, until the lute-player stops the chase-music and the cream-pies turn to words.
"None can stand against me! I am Audmathus!" the drow-puppet screams. "I put my pants on backwards and ride a pink horse!"
"Don't hurt me, Mr. Audmathus!" says the soldier-puppet in a high, girlish voice. "I'll do anything! I'll even dance the tarantella in a dunce-cap! I'll lick the underdark from your boots! I'll do cartwheels for your priestess! I'll bare my breast for your evil god's knife! Because that's what I do best!"
The children are still finding it moderately funny. The parents -- well. Not so much. Not anymore.
They whisper and talk amongst themselves. Some spirit their children away, offended, their offspring kicking and screaming at the offense of being taken away from a wildly enjoyable pastime; others smirk, leaning back, recognizing an iota of truth in this subversive display.
"I'll spare you," says the Audmathus-puppet, "if you sell your soul to me, so that I may flay your hide and hang your liver to dry on your mother's laundry-line and so that I can make wine of your hot blood!"
Predictably, there's much less giggling at that. Pies are forgotten; little ears, who hear tales of soulless Aiger-na at St. Iona's on sabbath mornings, who are cautioned by their mothers to 'be good, or Aiger-na will come in the night,' are trained; little eyes are wide.
"I shall, I shall! You may have my soul!" sobs the soldier, and he drops to his knees.
The show is over a few minutes later, and, recounting it for friends and family later, many people just don't remember what happened afterward. Many don't stay. Many parents have already hauled their children away, disgusted.
Nobody claps at the end, at any rate.
----
Later on that evening, a Janeiro patrol on the outskirts of town will encounter an interesting gaggle of troublemakers: Cary, and his noisy little gang of rattish street boys. They'll burst from the bushes, throwing rocks they've stashed in their pockets at the patrol, hooting and hollering, screaming 'Soulless!' 'Soulless!' and just generally having the time of their lives.
What the patrol does next, really, is up to them.
A gang of children, to be exact, a noisy, impromptu gathering of eight and nine-year-old boys and girls and their shrieking younger siblings. Some have brought their parents, and some have not; they're all here to see the free puppet show someone's set up in the corner, and why not see a free puppet show, on a spring day as lovely as this one?
They gather tight together -- all save skinny Cary, the chandler's boy, who grew up far too fast after that fateful night the neighbors still talk about in hushed voices, and who stands with sunken eyes as old as his father's on a bench in order to be taller than everyone else -- taller, even, then the baker's apprentices, who have arrived in droves to distribute sweets and sticky-buns to young hands and collect half-shillings from their parents.
It is almost as if things are normal again.
The show is a little different than your standard Punch-and-Judy fare. It's primarily slapstick with a political twist, featuring one dark-skinned, white-haired puppet belaboring the other with a stick, and the other puppet -- in a uniform tabard curiously fashioned from colors that belong to both Straka and Janeiro, becoming one or the other depending on which way the puppeteer turned his hand -- screeches and screams and generally retreats behind the curtain. There is a hilarious chase scene. The soldier throws a miniature cream pie at the drow; the drow dances around in agony and chases the soldier.
It's quite funny, really, until the lute-player stops the chase-music and the cream-pies turn to words.
"None can stand against me! I am Audmathus!" the drow-puppet screams. "I put my pants on backwards and ride a pink horse!"
"Don't hurt me, Mr. Audmathus!" says the soldier-puppet in a high, girlish voice. "I'll do anything! I'll even dance the tarantella in a dunce-cap! I'll lick the underdark from your boots! I'll do cartwheels for your priestess! I'll bare my breast for your evil god's knife! Because that's what I do best!"
The children are still finding it moderately funny. The parents -- well. Not so much. Not anymore.
They whisper and talk amongst themselves. Some spirit their children away, offended, their offspring kicking and screaming at the offense of being taken away from a wildly enjoyable pastime; others smirk, leaning back, recognizing an iota of truth in this subversive display.
"I'll spare you," says the Audmathus-puppet, "if you sell your soul to me, so that I may flay your hide and hang your liver to dry on your mother's laundry-line and so that I can make wine of your hot blood!"
Predictably, there's much less giggling at that. Pies are forgotten; little ears, who hear tales of soulless Aiger-na at St. Iona's on sabbath mornings, who are cautioned by their mothers to 'be good, or Aiger-na will come in the night,' are trained; little eyes are wide.
"I shall, I shall! You may have my soul!" sobs the soldier, and he drops to his knees.
The show is over a few minutes later, and, recounting it for friends and family later, many people just don't remember what happened afterward. Many don't stay. Many parents have already hauled their children away, disgusted.
Nobody claps at the end, at any rate.
----
Later on that evening, a Janeiro patrol on the outskirts of town will encounter an interesting gaggle of troublemakers: Cary, and his noisy little gang of rattish street boys. They'll burst from the bushes, throwing rocks they've stashed in their pockets at the patrol, hooting and hollering, screaming 'Soulless!' 'Soulless!' and just generally having the time of their lives.
What the patrol does next, really, is up to them.