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EARAGOZ
K. If I can't take anything in, how can anything come out? H. How I detest such nonsensical sophistical speciousness.
K. I can't bear such reprehensible, prolifical facetiousness either. H. Don't talk such twaddle.
K. See the stork waddle!
H. Ne parle pas a tort et a travers.
K. The parlour bar's for taking the air.
This sort of talk usually ends with the two friends confiding to each other that neither has any money and resolving to set up some kind of business. It is always Karagoz who does the work, while Hacivad brings him customers or patrons. He becomes a scribe, a ferryman, a schoolmaster, a poet, a clairvoyant, a doctor, an interpreter; he even professes to cure the insane. And always Karagoz lays about him with his cudgel and sets everyone by the ears with his foolish antics. He will suddenly send the contents of his chamber-pot flying across the screen, then set it on his head instead of the hat, shaped like a Victorian jelly mould, which is his customary wear; he will boastfully climb a haunted tree, cut off the branch upon which he is sitting, and come hurtling to the ground, or he will try to separate two quarrelsome cronies by banging them on the head with an outsize watering-can, swinging it with such impetuous rhythm that his own head is included in the banging.
Certain characters tend to recur in the plays, especially those representing racial types: a Persian in a tall lambskin hat; an Anatolian woodcutter with an axe on his shoulder, a fierce eye, a pronounced nose, and a thick black beard; a dandified Frenchman in waisted jacket, tapering trousers, and a peaked or top hat; an Arab in flowing robes; an Armenian in a long skirt; a Jew with unmistakable profile and supplicating gesture. Street-hawkers and watercarriers are also among the stock characters, together with a rich young lover, Celebi, dressed in the latest mode, and a sailor from Trebizond with a scarf round his head and an ingratiating smile.
In addition to the figures, the Turkish shadow show is enlivened by the most charming set-pieces, always included in the cast listed at the beginning of published scripts. There is a fortified gateway, a bath-house, a palace,
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