It may well be asked why puppetry as such an artificial and often complicated form of dramatic art should possess a universal appeal. The claim has, indeed, been made that puppet theatre is the most ancient form of theatre, the origin of the drama itself. Claims of this nature cannot be substantiated, nor can they be refuted; it is improbable that all human dramatic forms were directly inspired by puppets, but it seems certain that from a very early period in man's development puppet theatre and human theatre grew side by side, each perhaps influencing the other. Both find their origins in sympathetic magic, in fertility rituals, in the human instinct to act out that which one wishes to take place in reality. As it has developed, these magical origins of the puppet theatre have been forgotten, to be replaced by a mere childlike sense of wonder or by more sophisticated theories of art and drama, but the appeal of the puppet even for modern audiences lies nearer a primitive sense of magic than most spectators realize.