A story without words

Author: Masereel
Publisher:
Publish Date: 2003-08-01
Features: Lu Xun's Preface: The term "" () has now become somewhat familiar and does not need to be changed; however, it should actually be called "" (continuous illustration), as it is not "like rings without end" but rather a sequential narrative. Ancient Chinese works such as the "" (Endless River Scroll) and the "" (Reunion in the Peach Blossom Spring Scroll) [2] are of this same genre, merely joined into a single piece. The origins of this style of illustration are truly ancient. The carved depictions of the achievements of famous kings on Egyptian walls and the illustrations of the afterlife in the "" [3] are already examples of sequential illustrations. Other ethnic groups throughout history have also practiced this, and there is no need to elaborate further. This is very beneficial to the viewer, as one can quickly grasp a general understanding of certain aspects of the time at a glance, unlike written text, which requires familiarity to comprehend. By the late 19th century, many Western European painters enjoyed creating such illustrations, establishing themes and compiling them into albums, though they were not necessarily sequential. Narrative illustration emerged later, and Masereel was the most prolific creator of such works. I believe this is deeply connected to cinema, as it uses illustrations to tell written stories while simultaneously employing continuity to replace moving images. Masereel (Franz Masereel) [4] was an opponent of World War I. According to his own account, he was born on July 31, 1899, in Blankenburghe in Flanders. His childhood was happy, as he had many playtime opportunities but little schooling. His education took place in Ghent (Gent), where he studied at the art academy for about half a year before traveling through Germany, England, Switzerland, and France. He particularly loved Paris, calling it "the school of life." During his time in Switzerland, he often contributed illustrations to daily newspapers, exposing social ills, and was compared by Romain Rolland to Daumier and Goya [5]. However, he primarily created woodcut illustrations for books and narrative stories entirely depicted through images. He was deeply in love with Paris, and his works were often romantic, bizarre, and unconventional, evoking surprise and humor. The only exception is his "Die Passionen der Menschen" (The Passion of Man), which is a realistic work unlike other illustrated stories. In this story of twenty-five panels, there is no single word of explanation. Yet, we can immediately understand: in a room with nothing but a table and chairs, a woman is pregnant (1). After giving birth, she is driven out by others—whether her employer or her father (2). Left to wander the streets (3), she eventually follows someone else, and her previous child joins a group of street urchins, causing trouble (4). As the child grows, he learns carpentry, but such heavy work is beyond a child’s capacity (5), and he is eventually kicked out like a stray dog (6). Driven by hunger, he steals bread (7) and is immediately captured by the police (8), imprisoned (9). After serving his sentence (10), he is left to wander the bustling streets (11), butly finds work as a road repairer (12). However, working all day with a pickaxe makes him exhausted (13), and this is when a bad friend takes advantage (14). Tempted, he visits prostitutes (15) and enjoys dancing (16). On his way home, he regrets his actions (17) and decides to work in a factory and study early in the morning (18). It is in this environment that he meets a true love (19). However, a labor dispute erupts, and he climbs to the top to shout, rallying workers to fight the capitalists (20). Thus, a spy watches from ahead (21), while police suppress from behind (22), and the spy betrays him, leading to his arrest (23). Before the crucified Jesus, this "son of man" faces judgment (24)—a death sentence. He stands, awaiting the soldiers’ gunfire (25)! Jesus once said that it is harder for a rich man to enter the kingdom of heaven than for a camel to pass through the eye of a needle [6]. Yet, the person who spoke these words himself suffered (Pasion) at the time. Today, almost all wealthy people in the West are followers of Jesus, and now it is the poor who suffer. This is the story told in "Die Passionen der Menschen."
When the book is opened, a man and a woman fall in love at first sight. The man humbly expresses his affection to the woman, who is slightly shy. He tells her, "You are the one I love," and she doubts whether he is lying. He then offers his heart to her, and she hesitates. The man tries to tempt her with beauty and wealth, kneeling on the ground and pleading. Feeling frustrated, the woman turns away, and he follows her into the light, inviting her to a banquet, but she declines. He continues to pursue and flirt with her, using money to woo her. After all his failures, he tries to buy her sympathy with tears, but she remains unmoved. He takes her to see his luxurious mansion, dressed in a fine suit, but she remains indifferent. When he has no other recourse, he disguises himself as a beggar to plead with her, but she shows no trace of emotion. Finally, he exposes his body to her, hoping to move her virtuous heart directly with his male flesh, but she covers her face (though she peeks through her fingers). The man is truly amazed—what kind of woman is she? Undeterred, he shows her his various strengths: his strong arms, acrobatic skills, dancing, and singing. She not only fails to appreciate them but is instead annoyed. He then takes a job in a factory, working hard to attract her, but she still ignores him. He resorts to crude flirting, making her fear him, and then pours out his passion. He teases, threatens, and coerces her, then throws down his knife and kneels again, but she refuses. He kneels before a church, bowing in desperation, but she walks away without turning back. He crawls on the ground after her, and as he tries to pull her, she screams. The police rush over from a distance, and he is dragged away.