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MOVEMENT IN TWO DIMENSIONS
became the subject of a popular ballad and eventually produced the shadow puppet Karagoz, who has nothing in common with his illustrious progenitor but his name.
The texts of a large number of Turkish shadow plays have been published and translated, mostly into German, and the wide variations in different transcriptions of the same subjects indicate that much of the effect of these rapidly moving entertainments must always have depended, even more than in the case of the Javanese shows, on the nimble wit and spontaneity of the showman, or hajaldschy, as he is called in Turkey, who grafts fresh banter and new jokes on to the traditional material as he goes along and brings his hero's exploits right up to date. The modern Karagoz travels by air and has already begun to explore outer space.
All the plays follow a certain pattern. Each character enters singing a short song, and in a prologue spoken by Karagoz's companion and foil, Hacivad, we are told that the show is more than an entertainment: the figures shadow forth the design of the 'master showman of the universe' and those who seek the truth which lies behind reality will find it on the screen. Then Karagoz emerges from his house to meet Hacivad and a lively dialogue ensues. Karagoz wilfully misunderstands all that his correct, pedantic friend says, he makes coarse puns on the foreign expressions with which Hacivad loves to pepper his sentences, and rhymes solemn pronouncements with nonsense.
'What a misfortune, Karagoz,' says Hacivad, 'that you were born such an ass and have never been anything else but an ass.'
K. What's that, you rascal? Because you were born an ass do you expect to turn into a mule? (gives him a crack with Ins cudgel)
H. Ah, my dear Karagoz, you aren't to blame, it's all due to your upbringing.
K. You really think that accounts for everything? H. There can be no doubt.
K. Then I'm absolutely prohibited from spending a penny from now
on. H. Why, how's that, Karagoz?
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