The period comprised between the peace of Szatmar (1711) and 1772 is far more barren in literary results than even that which preceded xt. The exhaustion of the nation from its ?§ $:;°' protracted civil and foreign wars, the extinction of the (,7" court of the Transylvanxan princes where the native 772) language had been chgrxshed, and the prevalent use of Latin in the schools, pu lic transaction sand count courts all combined to bring about a complete neglect of the Magyar liinguage and literature. Among the few prose writers of distinction were Andrew S a ' “p ngar, whose Hungarian Bookstore, ' Magyar Konyvtzir (Kassa, 1738), is said to be the earliest work of the kind in the Magyar dialect; George Baranyi, who translated the New Testament (Lauba, 1754); the historians Michael Cserei and Matthew Bel, 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 Athénas (Szeben, 1766). But the most celebrated writer of this period was the ]esu1t Francis Faludi, the translator, through the Italian, of William Darrell's works. On account of the classic purity of his style in prose, Faiudi 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 Lad1slaus 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 Radar in his Lelln hédolzis (Spiritual Homa e), published at Debreczen in 1715 Among the didactic poets may be mentioned Lewis Nagy, George Kalmar, John Illey and Paul Bertalanfi, especially noted for his rhymed “ Life of St Stephen, first Hungarian king, " Dzcsoséges Sz. Istvzin elso magyar kmilynak 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 lan uage during the reigns of Maria Theresa and her successor josepi II, the more important prose productions of the latter part of ggiegfzz; the 18th century, as for instance the historical works of literature George Pray, Stephen Katona, John Engel and Ignatius (,772 F essler, were written either in Latxn or in German: The gon 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 “'Essay on dramatic pieces, and of an imitation of Pope's Man ” under the title of Az embernek prébaja (Vienna, IY72). Bespace of the senyei introduced the use of rhymed alexandrines in monotonous Zrmian measure. Other writers of the same school were Laurence Orczy and Abraham Barcsay, whose works have a strikin resemblance to each other, and were published together by Réx ai (1789) The songs and elegies of the short-lived Paul Anyos, edited by Baesfmyr in 11798, show great de th of feeling. Versiflers and adapters from the rench appeared allsio in Counts Adam and ]oseph Teleki, Alexander Baroczi andTJoseph Péczeli, known also as the translator of Young's “Night hou hts.” The chief representatives of the strictly “classical " scl§ ool, which adopted the ancient Greek and Latin authors as its models, were David Baroti Szabo, Nicholas Révai, Joseph Rajnis and Benedict Virag. Amon the most noteworthy works of Baroti are the U] mértékre vett kulomi versek (Kassa, 1777), comprising hexameter verses, Horatian odes, distichs, epistles and epigrams; the Paraszn Majorsdg (Kassa, 1779-1780), an hexameter version of Vaniére's Praedzum ruslzcum; and an abridged version of “Paradise Lost, " contained in the Kolfemenyes munkajz (Komarom, 1802). Baroti, moreover, published (1810-1813) a translation of Virg1l's Aeneid and Eclogues. Of Barot1's purely linguistic works the best known are his Ortographza cs Provodza (Komarom, 1800); and the Kzsded Szétdr (Kassa, 1784 and 1792) or “ Small Lexicon ” of rare Hungarian words As a philologist Baroti was far surpassed by Nicholas Révai, but as a poet he may be considered superior to Rajnis, translator of Virg1l's Bucolzcs and Georgzcs, and author of the Ma yar Helzkonra vezeto kalauz (Guide to the Magyar Helicon, 1785. The “classical” school reached its highest state of culture under Virag, 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 Poet/1.1, Munkaz (Poetical Works) of Virag were published at Pest in 1799, and again in 1822. Of his prose works the most important is the Ma yar Szzizadok or “ Pragmatic History of Hungary " (Buda, 1808 andgI8I6) Valyi-N21gY» the first Magyar

Of a more general character, and combining the merits of the above schools, are the works of the authors who constituted the socalled “ Debreczen Class, " which boasts the names of the naturalist and philologist John F oldi, compiler of a considerable part of the Debreczem magyar grammatzca; Michael Fazekas, author of Ludas Matyz (Vienna, 1817), an epic poem, in 4 cantos; and Joseph Kovacs. Other precursors of the modern school were the poet and philologist Francis Verseghy, whose works extend to nearly forty volumes; the gifted didactic rose writer, Joseph Karman; the metrical rhymster, Gideon Radgy; the lyric poets, Ssentjobi Szabo, ]anos Bacsanyi (q v.), and the short-lived Gabriel Dayka, whose posthumous “ Verses” were published in 1813 by Kazinczy. Still more celebrated were Mihaly Csokonai (qv) and Alexander Kisfaludy (gnu). The first volume of Alexander K1sfaludy's Hzmfy, a series of short lyrics of a descriptive and reflective nature, appeared at Buda in 1801, under the title of Kesergo szerelem (Unhappy Love), and was received with great enthusiasm; nor was the success of the second volume Boldog szerelem (Happy Love), which appeared in 180(y, inferior. The Regék, or “ Tales of the Past, ” were published at Bu a from 1807 to 1808, and still further increased K1sfaludy's fame; but in his dramatic works he was not equally successful. ]journalistic literature in the native language begins with the Magyar Hzrmondé (Harbinger) started by Matthias Rath at Pozsony in 1780. Among the magazines the most important was the Magyar Muzeum, established at Kassa (Kaschau) in 1788 by Baroti, Kazinczy and Bacsanyi. The Orpheus (1790) was the special work of Kazinczy, and the Urama (1794) of Karman and of Pajor.

Closely connected with the preceding period is that of the “ Revival of the Language ” (1807-1830), with which the name of Francis Kazinczy (51.11) is especially associated. To him it was left to perfect that work of restoration begun by Baroti gfgzial and amplified by Révai. Poetry and belles lettres still lan 8 continued to occupy the chief place in the native literature, (lsgige but under Kazinczy and his immediate followers Berzsenyi, 1830) Kolcsey, Fay 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 M ondolat. 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 Dobrentei 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, ubhshed at Vienna in 1791, of Lowth's “ Choice of Hercules.” 'IPhe style of Kis is unaffected and easy. As a sonnet writer none stands higher than Paul Szemere, known also for his rendering of Korner's drama Zrmyz (1818), and his contributions to the Elet és Lsteratura (Life and Literature). The articles'of Francis Kolcsey in the same periodical are among the finest specimens of Hungarian aesthetical criticism The lyric poems of Kolcsey can hardl be surpassed, whilst his orations, and markedly the Emlék bcszéd, Kazmczy felett (Commemorative Speech on Kazinczy), exhibit not only his own powers, but the slngular excellence of the Magyar language as an oratorical medium. Andrew Fay, sometimes styled the “ Hungarian Aesop, ” is chiefly remembered for his Eredetz Mesék (Original Fables). The dramatic works of Charles Kisfaludy, brother of Alexander, won him enthusiastic recognition as a re generator 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