[A RARE TREATISE OF THE GREEK & TURKISH SHADOW THEATRE] Ο Καραγκιόζης: Τα αινίγματα της Πασσοπούλας. Κωμωδία εις πράξεις τρεις / O Karagiózis: [i.e., Karagöz: The riddles of Passopoula. Comedy in three acts]. Ills. by Sotiris Christidis (1858-1940)

KOSTAS GANIOS FROM PATRAS.

A. Gelantalis & Co., [Athens?], [1924-25].

COMPLETE TITLE: [A RARE TREATISE OF THE GREEK & TURKISH SHADOW THEATRE: KARAGÖZ] Ο Καραγκιόζης: Τα αινίγματα της Πασσοπούλας. Κωμωδία εις πράξεις τρεις / O Karagiózis: Ta ainígmata tis Passopoúlas. Komodía eis práxeis treis [i.e., Karagöz: The riddles of Passopoula. Comedy in three acts]. Illustrated by Sotiris Christidis (1858-1940).

Original lithographed text. Cr. 8vo. (20 x 14 cm). In Greek. 40 p., b/w reproduced illustrations by cliché. Front cover is missing, loose pages. Uncut. Overall, a fair-good copy. Types of Karagiozis Stratiotis (A Muslim soldier) and an elephant have been attractively illustrated on double-pages in the treatise.

Extremely rare first edition of this treatise of early shadow theatre text “Karagöz” in Greek, written by Karagiozis master Kostas Ganios from Patras, inspired from his master & teacher Leonidas Goranitis (see Mazarakis).

This work, which later became one of the most popular pieces of Shadow Theatre, is originally a version of the Turandot tale. It is part of a collection known as "Halime's Tales," also referred to as "The Story of King Kalaf and the Queen of China" or "The Story of Prince Kalaf and the Princess of China." In the tale titled "Three Riddles," the daughter of the pasha (or vizier) challenges prospective suitors to solve three riddles in order to choose a husband for herself. Many attempt to answer, but only one succeeds: Alexander the Great of Macedonia. As a figure embodying legendary feats, Alexander solved riddles posed by Indian Gymnosophist philosophers, according to ancient traditions, and escaped death by answering the riddles presented by the Syrian Queen Semiramis, a prerequisite for marrying her.

The old Karagöz masters performed this story under various titles. This particular version is attributed to Dimitrios (Mimis) Sardounis of Patras, known by his stage name, Mimaro. He reworked Karagöz around the 1890s, adapting it to Greek culture. The second archetype in Karagöz’s Three Riddles is the folk narrative The Book of Megale Aleksandros (Φυλλάδα του Μεγαλέξανδρου). This book remained popular from the late 17th century into the early 20th century, with its last known edition published by Saliveros in Athens, shortly after 1926.

This text, which went through 61 different editions during the Ottoman period, is regarded as one of the most successful works of Greek folk literature. Over time, the historical figure of Alexander the Great evolved in these narratives, transforming into a legendary hero and ultimately becoming a mythological figure in both Eastern and Western cultures. The texts were rearranged in the 18th and 19th centuries under the influence of the Greek Enlightenment, aiming to provide both educational and entertaining content. As a result, the "Three Riddles" that became part of Karagöz's repertoire was likely shaped by the influence of "Megale Aleksandros's Booklet." In the play, Alexander the Great's ability to solve riddles takes centre stage, and this motif became one of the core narratives of shadow theatre.

Shadow theatre, particularly in plays like "Three Riddles" (Passopoulas' riddles in this version), adopted the traditional structure of riddle tales and merged the oral narratives of folk culture with the comedic dynamics of Karagöz and Hacivat.

ON KARAGÖZ & SHADOW THEATRE

Some believe that Karagöz originated from the island of Java, where shadow puppet shows (wayang kulit) were performed as early as the 11th century and made their way to the Ottoman Empire through traders. The first Karagöz - Hacivat play was performed for Sultan Selim I (reigned 1512-1520) in Egypt after his conquest of the country in 1517. However, 17th-century writer Evliya Çelebi claimed that it had been performed in the Ottoman palace as early as the reign of Bayezid I (reigned 1389–1402). In the 16th century, Ottoman Grand Mufti Muhammad Ebussuud el-Imadi issued a well-known fatwa permitting the performance of Karagöz plays.

The name Karagiozis (or Karaghiozis) comes from the Greek Καραγκιόζης, borrowed from Turkish Karagöz, meaning 'dark eye'.

There are various theories about the origins of shadow theater in Asia Minor. Many suggest a Mediterranean origin, particularly from the Egyptian shadow puppet tradition. Regardless of its true roots, it is important to note that shadow theatre became more widespread among the Muslim Turks around the 16th century, despite religious restrictions. Originally, Karagiozis' appeal was due to his scatological language and exaggerated physical features, including his protruding phallus. The tradition continues in Turkey, especially during Ramadan celebrations, under the same name.

Karagiozis is believed to have arrived in mainland Greece, likely from Asia Minor, during the 19th century under Ottoman rule. It was in Patras, Greece, that Karagiozis was Hellenized by Dimitrios Sardounis (known by his stage name Mimaros) at the end of the 19th century. Sardounis is regarded as the founder of modern Greek shadow theatre. (Sources: Τάκης (Παναγιώτης) Μαζαράκης: Τα τρία αινίγματα της πασσοπούλας» του Κώστα Γανιού, Wikipedia, Cevdet Kudret: Karagöz).

As of February 2025, we couldn’t trace any copies in the OCLC & KVK.