Meanwhile dramatic literature found many champions, of whom
the most energetic was Edward Szigligeti, proprie Joseph Szathmáry,
who enriched the Hungarian stage with more than a hundred pieces.
Of these the most popular are comedies and serio-comic national
dramas. A less prolific but more classical writer appeared in Charles
Obernyik, whose George Brankovics is, next to Katona’s Bánk Bán,
one of the best historical tragedies in the language. Several of the
already mentioned lyric and epic poets were occasional writers also
for the drama. To these we may add the gifted but unfortunate
Sigismund Czakó, Lewis Dobsa, Joseph Szigeti, Ignatius Nagy,
Joseph Szenvey (a translator from Schiller), Joseph Gaal, Charles
Hugo, Lawrence Tóth (the Magyarizer of the School for Scandal),
Emeric Vahot, Alois Degré (equally famous as a novelist), Stephen
Toldy and Lewis Dóczi, author of the popular prize drama Csók
(The Kiss). Az ember tragoediája (The Tragedy of Man), by Emeric
Madách (1861), is a dramatic poem of a philosophical and contemplative
character, and is not intended for the stage. Among successful
dramatic pieces may be mentioned the Falu rossza (Village
Scamp) of Edward Tóth (1875), which represents the life of the
Hungarian peasantry, and shows both poetic sentiment and dramatic
skill; A szerelem harcza (Combat of Love), by Count Géza Zichy;
Iskáriot (1876) and the prize tragedy Tamora (1879), by Anthony
Várady; Jánus (1877), by Gregory Csiky; and the dramatized
romance Szép Mikhal (Handsome Michal), by Maurus Jókai (1877).
The principal merit of this author’s drama Milton (1876) consists in
its brilliance of language. The Szerelem iskolája (School of Love),
by Eugene Rákosy, although in some parts exquisitely worded, did
not meet with the applause accorded to his Ripacsos Pista Dolmánya
(1874). The Gróf Dormándi Kálmán (Count Coloman Dormándi) of
Béla Bercsényi (1877) is a social tragedy of the French school.
Among the most recent writers of comedy we single out Árpád
Berczik for his A házasitók (The Matchmakers); Ignatius Súlyovsky
for his Nöi diplomatia (Female Diplomacy); and the above-mentioned
Gregory Csiky for his Ellenállhatatlan (The Irresistible), produced on
the stage in 1878. As popular plays the Sárga csikó (Bay Foal) and
A piros bugyelláris (The Red Purse), by Francis Csepreghy, have their
own special merit, and were often represented in 1878 and 1879 at
Budapest and elsewhere.
Original romance writing, which may be said to have commenced with Dugonics and Kármán at the close of the 18th, and to have found a representative in Francis Verseghy at the beginning of the 19th century, was afterwards revived by Fáy in his Bélteky ház (1832), and by the contributors to certain literary magazines, especially the Aurora, an almanack conducted by Charles Kisfaludy, 1821–1830, and continued by Joseph Bajza to 1837. Almost simultaneously with the rise of the Kisfaludy society, works of fiction assumed a more vigorous tone, and began to present just claims for literary recognition. Far from adopting the levity of style too often observable in French romances, the Magyar novels, although enlivened by touches of humour, have generally rather a serious historical or political bearing. Especially is this the case with Nicholas Jósika’s Abafi (1835), A csehek Magyarországon (The Bohemians in Hungary), and Az utolsó Bátori (The Last of the Báthoris), published in 1847. In these, as in many other of the romances of Jósika, a high moral standard is aimed at. The same may be said of Baron Joseph Eötvös’s Karthausi (1839) and Falu Jegyzöje (Village Notary), published in 1845, and translated into English (1850) by O. Wenckstern (see Eötvös). The Árvizönyv or “Inundation Book,” edited by Eötvös (1839–1841), is a collection of narratives and poems by the most celebrated authors of the time. Of the novels produced by Baron Sigismund Kemény the Gyulai Pál (1847), in 5 vols., is, from its historical character, the most important. His Férj és nö (Husband and Wife) appeared in 1853 (latest ed., 1878), the Rajongók (Fanatics), in 4 vols., in 1858–1859. The graphic descriptions of Hungarian life in the middle and lower classes by Lewis Kuthy won for him temporary renown; but his style, though flowery, is careless. Another popular writer of great originality was Joseph Radákovics alias Vas-Gereben. The romances of Baron Frederick Podmaniczky are simpler, and rather of a narrative than colloquial character. The fertile writer Paul Kovács excels more particularly in humorous narration. Fay’s singular powers in this direction were well shown by his Jávor orvos és Bakator Ambrus szolgája (Doctor Jávor and his servant Ambrose Bakator), brought out at Pest in 1855. The Beszélyek (Tales) of Ladislaus Beöthy were produced in the same year, his Puszták fia (Son of the Pusztas) in 1857. Pleasing humorous sketches are contained also in Ignatius Nagy’s Beszélyek (1843) and “Caricatures” or Torzképek (1844); in Caspar Bernát’s Fresko képek (1847–1850); in Gustavus Lauka’s Vidék, and his A jó régi világ (The Good Old World), published respectively in 1857 and 1863; and in Alexander Balázs’s Beszélyei (1855) and Tükördarabok (1865). Among authors of other historical or humorous romances and tales which have appeared from time to time are Francis Márton alias Lewis Abonyi, Joseph Gaal, Paul Gyulai, William Györi, Lazarus Horváth, the short-lived Joseph Irinyi, translator of Uncle Tom’s Cabin, Francis Ney, Albert Pálffy, Alexander Vachott and his brother Emeric (Vahot), Charles Szathmáry, Desider Margittay, Victor Vajda, Joseph Bodon, Atala Kisfaludy and John Krátky. But by far the most prolific and talented novelist that Hungary can boast of is Maurus Jókai (q.v.), whose power of imagination and brilliancy of style, no less than his true representations of Hungarian life and character, have earned for him a European reputation. Of the novels produced by other authors between 1870 and 1880, we may mention A hol az ember kezdödik (Where the Man Begins), by Edward Kavassy (1871), in which he severely lashes the idling Magyar nobility; Az én ismeröseim (My Acquaintances), by Lewis Tolnai (1871); and Anatol, by Stephen Toldy (1872); the versified romances Déli bábok höse (Hero of the Fata Morgana), generally ascribed to Ladislaus Arany, but anonymously published, A szerelem höse (Hero of Love), by John Vajda (1873), and Találkozások (Rencounters) by the same (1877), and A Tündéröv (The Fairy Zone), by John Sulla (1876), all four interesting as specimens of narrative poetry; Kálozdy Béla (1875), a tale of Hungarian provincial life, by Zoltán Beöthy, a pleasing writer who possesses a fund of humour, and appears to follow the best English models; Edith története (History of Edith), by Joseph Prém (1876); Nyomorúság iskolája (School of Misery), by the prolific author Arnold Vértesi (1878); Titkolt szerelem (Secret Love), by Cornelius Ábrányi (1879), a social-political romance of some merit; and Uj idök, avult emberek (Modern Times, Men of the Past), by L. Véka (1879). In the Itthon (At Home), by Alois Degré (1877), the tale is made the medium for a satirical attack upon official corruption and Hungarian national vanity; and in the Álmok álmódoja (Dreamer of Dreams), by John Ásbóth (1878), other national defects are aimed at. A rosz szomszéd (The Bad Neighbour), by Charles Vadnay (1878), is a felicitous representation of the power of love. The Az utolsó Bebek (The Last of the Bebeks), by the late Charles Pétery, is a work rich in poetic invention, but meagre in historical matter. The reverse is the case with the Lajos pap (Priest Lewis), by Charles Vajkay (1879), the scene of which is placed at Pest, in the beginning of the 14th century. In this romance the interest of the narrative is weakened by a superabundance of historical and archaeological detail.
As regards works of a scientific character, the Magyars until recently were confessedly behindhand as compared with many other European nations. Indeed, before the foundation of the Hungarian academy in 1830, but few such works claiming general recognition had been published in the native language. Even in 1847 astronomy, physics, logic and other subjects of the kind had to be taught in several of the lyceums through the medium of Latin. The violent political commotions of the next few years allowed but little opportunity for the prosecution of serious studies; the subsequent quieter state of the country, and gradual re-establishment of the language as a means of education, were, however, more favourable to the development of scientific knowledge.
In the department of philosophy, besides several writers of dissertations bearing an imitative, didactic or polemical character, Hungary could boast a few authors of independent and original thought. Of these one of the most notable is Cyril Horváth, whose treatises published in the organs of the academy display a rare freedom and comprehensiveness of imagination. John Hetényi and Gustavus Szontagh must be rather regarded as adopters and developers of the ethical teaching of Samuel Köteles in the previous period. Hyacinth Rónay in his Mutatvány (Representation) and Jellemisme (Characteristics) endeavoured to popularize psychological studies. The philosophical labours of the already mentioned John Erdélyi and of Augustus Greguss won for them well-deserved recognition, the latter especially being famous for his aesthetical productions, in which he appears to follow out the principles of Vischer. The Tanulmányok (Studies) of Greguss were brought out at Pest in 1872. The reputation of John Szilasy, John Varga, Fidelius Beély and Francis Ney arose rather from their works bearing on the subject of education than from their contributions to philosophy.
The labours of Stephen Horváth in the preceding period had prepared the way for future workers in the field of historical literature. Specially meritorious among these are Michael Horváth, Ladislaus Szalay, Paul Jászay and Count Joseph Teleki. The Magyarok története (History of the Magyars), in 4 vols., first published at Pápa (1842–1846), and afterwards in 6 vols. at Pest (1860–1863), and in 8 vols. (1871–1873), is the most famous of Michael Horváth’s numerous historical productions. Ladislaus Szalay’s Magyarország története (History of Hungary), vols. i.-iv. (Leipzig, 1852–1854), vols. v.-vi. (Pest, 1856–1861), 2nd ed., i.-v. (1861–1866), is a most comprehensive work, showing more particularly the progress of Hungarian legislative development in past times. His style is elevated and concise, but somewhat difficult. Magyar history is indebted to Paul Jászay for his careful working out of certain special periods, as, for instance, in his A Magyar nemzet napjai a legrégibb idötöl az arany bulláig (Days of the Hungarian nation from the earliest times to the date of the Golden Bull). Count Joseph Teleki is famed chiefly for his Hunyadiak kora Magyarországon (The Times of the Hunyadys in Hungary), vols. i.-vi. (Pest, 1852–1863), x.-xii. (1853–1857), the result of thirty years’ labour and research. In particular departments of historical literature we find George Bartal, author of Commentariorum . . . libri XV., tom. i.-iii. (Pozsony, 1847), John Czech, Gustavus Wenczel, Frederick Pesty and Paul Szlemenics as writers on legal history; Joseph Bajza, who in 1845 commenced a History of the World; Alexander Szilágyi, some of whose works, like those of Ladislaus Köváry, bear on the past of Transylvania, others on the Hungarian revolution of 1848–1849; Charles Lányi and John Pauer, authors of treatises on Roman Catholic
