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From Allies to Enemies: The Two Balkan Wars (1912—1913) in Caricatures 1913). In a Berlin satirical paper, the same metaphor appears: the Turk is lying in a coffin, he is injured but would like to say something to the Bulgarian figure before his death (Lustige Blätter [Funny Pages], 9 March 1913). As the picture of the enemy changed, so did the role of the Turk, who is alive again during the Second Balkan War, although gravely injured. He cuts up the treaty of London, mocks Europe, and is waiting for the Bulgarians in Adrianople “in order to pay them the rent”: Bulgarians occupied Adrianople in the First Balkan War and in the second war the Turks reconquered it (Vrac Pogadaë, 14 August 1913). The loss of territories was not connected only to symbols of death but also to the allegorical motif of cutting off the body parts of animals or humans. In Waé Pogadaë, the tail of a cat bearing the caption “Old Serbia” was cut off by Austrian Michael, with the tail being “Albania” (Vraë Pogadaë, 29 November 1912). Similar to this depiction, in another caricature, the Albanian cuts off one leg of the Turk, “Albania,” and as the Serb figure puts it, from this action “the whole world loses its appetite”—criticizing Europe’s decision according to the Serbian point of view (Vraë Pogadaë, 29 April 1913). The loss of territories was depicted not only with regard to Turkey through the motif of cutting off body parts but also with regard to Bulgaria, in Wraë Pogadaë. After the Second Balkan War, the tsar of Bulgaria, Ferdinand I, lost his long nose (ill. 124), and in another caricature the scissors, named “conditions,” cut off a fingernail of the hand of “Bulgaria” after the peace treaty of Bucharest (ill. 126). It was not only the losses of Bulgaria that were represented allegorically in the Serbian and Hungarian satirical magazines but also the growth. During the First Balkan War, Ferdinand was depicted climbing up the minaret of Adrianople and gripping it strongly when Bulgaria recaptured the city after a four-month-long siege (Borsszem Jankó, 30 March 1913). In the caricature —showing one element of symbolic penetration—Ferdinand places a cross on the tower of the minaret in place of the crescent. Adrianople comes up also in a German nationalist satirical paper during the siege of the city: Ferdinand I stole the key to Adrianople from Berlin but he could not fit it into the keyhole (Kladderadatsch [from an onomatopoeic word imitating the sound of crashing (the Editors)], 9 March 1913). The depiction suggests the German-Turkish financial connections and the interests of Germany: Turkey should not weaken too much since it has to pay German credits back (Demeter 2007: 260-261). The Bulgarian territorial growth—believed to be excessive—was symbolized in pictures in which the tsar was pictured blown up and about to burst or a Bulgarian girl was blowing up a balloon with the caption “Great Bulgaria” 7 The Austro-Hungarian monarchy supported the creation of an independent Albania in order to prevent Serbia’s gain of an opening to the Adriatic Sea (Vocelka 1993: 271-272). By “Old Serbia,” the contemporaries understood the territories in which the Serbs lived before the Ottoman occupation, and some of these territories became part of a new state, Albania, according to the agreement of the great powers (Pavlowitch 2002: 83). 283
