on length of syllable instead of accent, the result was surprisingly good. The Hungarian language has proved to be much better adapted to the rules of Latin prosody than any other European tongue. It is well known that Hungarian hexameters are just as melodious, and as perfect from the point of view of prosody, as the Latin verses. Just because the result of this first essay was so satisfactory, Latin metres and stanzas had been largely used before the poets of the classical school commenced their activity, but it was they who first elaborated the rules for this kind of poetry.
We have seen that Bessenyei and his followers imitated the French Encyclopedists, while Virág and the other classical poets chose Horace for their model.
But there was another group of writers who turned neither to Rome nor to Paris for their models, who wished to wear neither the Roman toga nor the Freneh culotte courte, but desired to remain national in their taste and garments. Those writers formed what was called the "National School." The wars of Rákóczy, and later on the tyrannical germanising efforts of Joseph II., stirred the national feeling and awakened men to the need of that sentiment, and strengthened the love of liberty and independence. "Down with foreign fashions! Down with foreign models! Let us be national in all things. If we must imitate, then let us find our models among the old Hungarian poets, such as Gyöngyössi."
The most prominent member of the school was a valiant Hussar General, Count Joseph Gvadányi (1725–1801). His family was originally Italian (Guadagni) but he became thoroughly Hungarian both as patriot and as writer. As an officer in a Hussar regiment, he took part
