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Rh work at Cracow in 1531 to the end of the period just treated, more than 1800 publications in the native language are known.

The period comprised between the peace of Szatmár (1711) and the year 1772 is far more barren in literary results than even that which preceded it. The exhaustion of the nation from its protracted civil and foreign wars, the extinction of the court of the Transylvanian princes where the native

language had been cherished, and the prevalent use of Latin in the schools, public transactions and county courts, all combined to bring about a complete neglect of the Magyar language and literature. Among the few prose writers of distinction were Andrew Spangár, whose “Hungarian Bookstore,” Magyar Könyvtár (Kassa, 1738), is said to be the earliest work of the kind in the Magyar dialect; George Bárányi, who translated the New Testament (Lauba, 1754); the historians Michael Cserei and Matthew Bél, which last, however, wrote chiefly in Latin; and Peter Bod, who besides his theological treatises compiled a history of Hungarian literature under the title Magyar Athénás (Szeben, 1766). But the most celebrated writer of this period was the Jesuit Francis Faludi, the translator, through the Italian, of William Darrell’s works. On account of the classic purity of his style in prose, Faludi was known as the “Magyar Cicero.” Not only as a philosophic and didactic writer, but also as a lyric and dramatic poet he surpassed all his contemporaries. Another pleasing lyric poet of this period was Ladislaus Amade, the naturalness and genuine sentiment of whose lightly running verses are suggestive of the love songs of Italian authors. Of considerable merit are also the sacred lyrical melodies of Paul Rádai in his Lelki hódolás (Spiritual Homage), published at Debreczen in 1715. Among the didactic poets may be mentioned Lewis Nagy, George Kálmár, John Illey and Paul Bertalanfi, especially noted for his rhymed “Life of St Stephen, first Hungarian king,” Dicsöséges Sz. István elsö magyar királynak élete (Vienna, 1751).

The next three literary periods stand in special relationship to one another, and are sometimes regarded as the same. The first two, marking respectively the progress of the “Regeneration of the Native Literature” (1772–1807) and the “Revival of the Language” (1807–1830), were introductory to and preparatory for the third or “Academy,” period, which began about 1830.

In consequence of the general neglect of the Magyar language during the reigns of Maria Theresa and her successor Joseph II., the more important prose productions of the latter part of the 18th century, as for instance the historical works of George Pray, Stephen Katona, John Engel and Ignatius

Fessier, were written either in Latin or in German. The reaction in favour of the native literature manifested itself at first chiefly in the creation of various schools of poetry. Foremost among these stood the so-called “French” school, founded by George Bessenyei, the author of several dramatic pieces, and of an imitation of Pope’s “Essay on Man,” under the title of Az embernek próbája (Vienna, 1772). Bessenyei introduced the use of rhymed alexandrines in place of the monotonous Zrinian measure. Other writers of the same school were Laurence Orczy and Abraham Barcsay, whose works have a striking resemblance to each other, and were published together by Révai (1789). The songs and elegies of the short-lived Paul Ányos, edited by Bacsányi in 1798, show great depth of feeling. Versifiers and adapters from the French appeared also in Counts Adam and Joseph Teleki, Alexander Báróczi and Joseph Péczeli, known also as the translator of Young’s “Night Thoughts.” The chief representatives of the strictly “classical” school, which adopted the ancient Greek and Latin authors as its models, were David Baróti Szabó, Nicholas Révai, Joseph Rájnis and Benedict Virág. Among the most noteworthy works of Baróti are the Uj mértékre vett külömb versek (Kassa, 1777), comprising hexameter verses, Horatian odes, distichs, epistles and epigrams; the Paraszti Majorság (Kassa, 1779–1780), an hexameter version of Vanière’s Praedium rusticum; and an abridged version of “Paradise Lost,” contained in the Költeményes munkaji (Komárom, 1802). Baróti, moreover, published (1810–1813) a translation of Virgil’s Aeneid and Eclogues. Of Baróti’s purely linguistic works the best known are his Ortographia és Prosodia (Komárom, 1800); and the Kisded Szótár (Kassa, 1784 and 1792) or “Small Lexicon” of rare Hungarian words. As a philologist Baróti was far surpassed by Nicholas Révai, but as a poet he may be considered superior to Rájnis, translator of Virgil’s Bucolics and Georgics, and author of the Magyar Helikonra vezetö kalauz (Guide to the Magyar Helicon, 1781). The “classical” school reached its highest state of culture under Virág, whose poetical works, consisting chiefly of Horatian odes and epistles, on account of the perfection of their style, obtained for him the name of the “Magyar Horace.” The Poetai Munkai (Poetical Works) of Virág were published at Pest in 1799, and again in 1822. Of his prose works the most important is the Magyar Századok or “Pragmatic History of Hungary” (Buda, 1808 and 1816). Vályi-Nagy, the first Magyar translator of Homer, belongs rather to the “popular” than the “classical” school. His translation of the Iliad appeared at Sárospatak in 1821. The establishment of the “national” or “popular” school is attributable chiefly to Andrew Dugonics, though his earliest works, Troja veszedelme (1774) and Ulysses (1780), indicate a classical bias. His national romances, however, and especially Etelka (Pozsony, 1787) and Az arany pereczek (Pest and Pozsony, 1790), attracted public attention, and were soon adapted for the stage. The most valuable of his productions is his collection of “Hungarian Proverbs and Famous Sayings,” which appeared in 1820 at Szeged, under the title of Magyar példabeszédek és jeles mondások. The most noteworthy follower of Dugonics was Adam Horváth, author of the epic poems Hunniász (Györ, 1787) and Rudolphiász (Vienna, 1817), Joseph Gvadányi’s tripartite work Falusi notárius (Village Notary), published between 1790 and 1796, as also his ''Rontó Pál és gr. Benyowsky történeteik'' (Adventures of Paul Rontó and Count Benyowski), are humorous and readable, but careless in style. As writers of didactic poetry may be mentioned John Endrödy, Caspar Göböl, Joseph Takács and Barbara Molnár, the earliest distinguished Magyar poetess.

Of a more general character, and combining the merits of the above schools, are the works of the authors who constituted the so-called “Debreczen Class,” which boasts the names of the naturalist and philologist John Földi, compiler of a considerable part of the Debreczeni magyar grammatica; Michael Fazekas, author of Ludas Matyi (Vienna, 1817), an epic poem, in 4 cantos; and Joseph Kovács. Other precursors of the modern school were the poet and philologist Francis Verseghy, whose works extend to nearly forty volumes; the gifted didactic prose writer, Joseph Kármán; the metrical rhymster, Gideon Ráday; the lyric poets, Ssentjóbi Szabó, (q.v.), and the short-lived Gabriel Dayka, whose posthumous “Verses” were published in 1813 by Kazinczy. Still more celebrated were (q.v.) and  (q.v.). The first volume of Alexander Kisfaludy’s Himfy, a series of short lyrics of a descriptive and reflective nature, appeared at Buda in 1801, under the title of Kesergö szerelem (Unhappy Love), and was received with great enthusiasm; nor was the success of the second volume Boldog szerelem (Happy Love), which appeared in 1807, inferior. The Regék, or “Tales of the Past,” were published at Buda from 1807 to 1808, and still further increased Kisfaludy’s fame; but in his dramatic works he was not equally successful. Journalistic literature in the native language begins with the Magyar Hírmondó (Harbinger) started by Matthias Ráth at Pozsony in 1780. Among the magazines the most important was the Magyar Muzeum, established at Kassa (Kaschau) in 1788 by Baróti, Kazinczy and Bacsányi. The Orpheus (1790) was the special work of Kazinczy, and the Urania (1794) of Kármán and of Pajor.

Closely connected with the preceding period is that of the “Revival of the Language” (1807–1830), with which the name of (q.v.) is especially associated. To him it was left to perfect that work of restoration begun by Baróti and amplified by Révai. Poetry and belles lettres still

continued to occupy the chief place in the native literature, but under Kazinczy and his immediate followers Berzsenyi, Kölcsey, Fáy and others, a correctness of style and excellence of taste hitherto unknown soon became apparent. Kazinczy, in his efforts to accommodate the national language to the demands of an improved civilization, availed himself of the treasures of European literature, but thereby incurred the opposition of those who were prejudiced by a too biased feeling of nationality. The opinions of his enemies were ventilated in a lampoon styled Mondolat. Daniel Berzsenyi, whose odes are among the finest in the Hungarian language, was the correspondent of Kazinczy, and like him a victim of the attacks of the Mondolat. But the fervent patriotism, elevated style, and glowing diction of Berzsenyi soon caused him to be recognized as a truly national bard. A too frequent allusion to Greek mythological names is a defect sometimes observable in his writings. His collective works were published at Buda by Döbrentei in 1842. Those of John Kis, the friend of Berzsenyi, cover a wide range of subjects, and comprise, besides original poetry, many translations from the Greek, Latin, French, German and English, among which last may be mentioned renderings from Blair, Pope and Thomson, and notably his translation, published at Vienna in 1791, of Lowth’s “Choice of Hercules.” The style of Kis is unaffected and easy. As a sonnet writer none stands higher than Paul Szemere, known also for his rendering of Körner’s drama Zrinyi (1818), and his contributions to the Elet és Literatura (Life and Literature). The articles of Francis Kölcsey in the same periodical are among the finest specimens of Hungarian aesthetical criticism. The lyric poems of Kölcsey can hardly be surpassed, whilst his orations, and markedly the Emlék beszéd Kazinczy felett (Commemorative Speech on Kazinczy), exhibit not only his own powers, but the singular excellence of the Magyar language as an oratorical medium. Andrew Fáy, sometimes styled the “Hungarian Aesop,” is chiefly remembered for his Eredeti Mesék (Original Fables). The dramatic works of Charles Kisfaludy, brother of Alexander, won him enthusiastic recognition as a regenerator of the drama. His plays bear a distinctive national character, the subjects of most of them referring to the golden era of the country. His genuine simplicity as a lyrical writer is shown by the fact that several of his shorter pieces have