Infidels_ A History of the Conflict Between Christendom and Islam - Andrew Wheatcroft [153]
But the tone of the cartoons soon changed. By October Judy, a rival to Punch, had the sturdy figure of John Bull (a more earthy symbol of England than Britannia) separating Turk and Eastern Christian. Both Orientals are armed to the teeth, and heavily caricatured. But they are plainly equally at fault, and it needed British intervention to keep them in check. The caption declared, “What it must come to.” The bloody-handed Turk had become a portly invalid fed distasteful nostrums by the European rulers.31 By the following year Russia and Turkey were both portrayed as barbarians.32
ANTHROPOLOGISTS USED TO DEFINE A SOCIETY AS A GROUP OF PEOPLE living together at the same time, in the same place, and speaking a common language.33 In the Balkans, making a state from a cluster of microcommunities proved extraordinarily difficult. Drawing up the frontiers for each new nation, on the basis of language or otherwise, was repeatedly frustrated by where people actually lived after centuries of Ottoman occupation. For example, more than 40 percent of Albanian speakers lived outside the boundaries of the Albanian state established in 1913. (Many of them had moved to the safer lowlands, away from the rigors and the blood feuds of mountain life.) There were at least five areas whose national character was constantly being defined or redefined. Macedonia was Greek or Bulgarian or even Albanian, depending on your perspective. Even after 1878, Bulgaria contained many Turks. Thrace remained a battleground between Turks, Bulgarians, Serbs, and Greeks. Bosnia and Kosovo proved the most problematical of all. For nation builders there were two main options: either they could incorporate divergent elements and hope to subdue them, or they could homogenize the disparate groups.
Implicit in the concept of the Balkans’ new nations created in the nineteenth and early twentieth centuries was some kind of transformation. At one level it could be merely freedom from the “Ottoman yoke” and allowing the ancient nation a chance to “breathe free.” This was the naïve enthusiasm that underpinned the notion of a reborn Greece. In Serbia and Croatia, it was rooted in a pick-and-mix attitude to the past.34 The folkloric compilation of ancient songs, patriotic poems, and a carefully edited version of history created what Ivo Banac aptly described as “racial messianism in culture.” It took many forms. Before the First World War, the Croat artist Ivan Meštrović planned a Kosovo Temple, in the form of a Latin cross, with a dome “bigger than St. Peter’s.” A five-tiered “tower of ages” would symbolize “five centuries of slavery”; each tier was to be flanked by figures of the “martyr spirits” and at the very top an eternal torch, a “people’s prayer.”35 His great architectural vision was never built but he later explained the motives behind his design: “What I had in mind was an attempt to create a synthesis of popular national ideals and their development, to express in stone and building how deeply buried in each one of us are the memories of the great and decisive moments of our history.”36