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The present paper studies the image of the Turk in the Romanian dramaturgy
of the twentieth century, through the play Take, Ianke and Cadîr by Victor
Ioan Popa. The masterpiece of Victor Ioan Popa, Take, Ianke and Cadîr is,
without any doubt, the pearl of the Romanian dramaturgy. A Jew, a Romanian
and a Turk - central figures of the play are merchandisers who share their
clients. The Romanian’s girl and the Jew’s boy end up loving each other,
though their love story, in their fathers’ conception is impossible. The old
Cadîr, always in love and cherishing life, makes their love come true and
sets up the scene for a happy ending. The two shops merge breaking down
the wall between the shops. The play offers us a totally different image of
the Turk, that is no longer related to the expansionist Turk stereotype from
Romanian historical writings – friendly, caring and tender Cadîr, who turns
out to be smarter and wiser than his neighbors. The success of this play on
stage proves us that one could dissociate the Turk from early religious and
historical stereotypes, traced back to the Crusades, through the medieval
Romanian literature