For centuries the figure of ‘the Turk’ spread fascination and fear - in the theatre of war and on the theatrical stage. On the one hand, ‘the Turk’ represented a spectacular dimension, an imaginary world of pirates, sultans and odalisques; on the other hand, he stood for the actual Ottoman Empire, engaged in long-lasting confrontations and exchanges with Occidental powers. When confronted with historical circumstances - military, commercial and religious - the cliché image of ‘the Turk’ dissolves in complex combinations of potential references. The Taming of the Turk: Ottomans on the Danish Stage 1596-1896 elucidates, for the first time, three centuries of cultural history as articulated in dealings between the Kingdom of Denmark and the Ottoman Empire seen in a general European context. From the staging of ‘the Turk’ as a diabolical player in royal ceremonies of early modern times, to the appearance of harmless ‘Turkish’ entertainment figures in the late nineteenth century. Artistic, theatrical and theological conceptions co-act in paradoxical ways against a backdrop of pragmatic connections with the Ottomans. The story of this long-forgotten connection between a small northern-European nation and a mighty Oriental empire is based on a source material - plays, paintings, treaties, travelogues etc. - that has hitherto chiefly been neglected, although it played a significant role in earlier times. The images of ‘exotic’ figures sometimes even turn out to be self-images. The documents hold the keys to a number of mental and fundamental (pre)conditions, and thus even to imagery constructions of our day.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1877 edition. Excerpt: ... consent of his mother to his marriage. The ceremony was to take place at punctual attendance, and everything, even to the most trifling matters, was ready for the marriage, which was to take place on Thursday. ' On Wednesday evening Olmas-sai went to his mother with an invitation from Eleanor and Mrs. H the wedding; but she was determined, in to be present at stead of assisting, to prevent it, and declared that she would not consent to it----never! And besides, she said, it was not a marriage at all, --such a ridiculous ceremony! No feast for the married women, no display of the trousseau in the streets; and, besides, it was indeli cate. No lady should ever show her von. 111. K face to her spouse until after the ceremony was performed, and the husband and wife alone together; and then he should be obliged to pray to her on his knees (after having made the most beautifiil presents to' propitiate her) to raise the veil that had always concealed her face from every one. Whereas this bold American not only went uninvited, but even talked with other men before her marriage, and also wrote letters to other men. " But mother," said Olmas-sai, " you do not know that those things do not have the slightest bearing upon a lady's virtue. Those are the customs of her country, just as your habits are those of yours." "That may be so; but I say that no virtuous woman would have such cus toms, even if her country had. And, 'besides, why do you wish to have anything-to do with those barbarians. Everybody says that they kill and eat people in her.country. You shall not marry her. I will not have it. I will never give my consent. If you want a wife, I know a. beautiful young girl, so modest that she has never...