The establishment of the Hungarian Academy of Sc1ences2 (17th lovember 183O) marks the commencement of a new period, in the first eighteen years of which gigantic exertions were Acidfjmy made as regards the literary and intellectual life of the f§ ;0° ' nation The language, nursed by the academy, developed Bao' rapidly, and showed its capacity for giving expression to almost every form of scientific knowledge! By offering rewards for the best original dramatic productions, the academy provided that the national theatre should not suffer from a lack of classical dramas. During the earlier part of its existence the Hungarian academy devoted itself mainly to the scientific development of the language and pmlological research. Since its reorganization in 1869 the academ has, however, paid equal attention to the various departments of hlistory, archaeology, national economy and the ph; sical sciences. The encouragement of polite literature was more especially the object of the Kisfaludy Soclety, founded in 1836 4

Polite literature had received a great impulse in the preceding lpfriod (1807-1830), but after the formation of the academy and the isfaludy society it advanced with accelerated speed towards the p01nt attained b other nations. Foremost among epic poets, though not equallly successful as a dramatist, was Mihaly Vorosmarty (qv), who, belon ing also to the close of the last period, combines great power og imagination with elegance of language Generally less varied and romantic, though easier in style, are the heroic poems Angsbur 1 utkozet (Battle of Augsburg) and Aradt yulés (Diet of Arad) of Gregory Czuczor, who was, moreover, very felicitous as an epigrammatist Martin Debreczeni was chiefly famed for his Kzom csata (Battle of Kieff), published at Pest in 1854 after his death by Count Emeric Miko. The laborious John Garay in his Szent Laszlo shows considerable ability as an epic poet, but his greatest merit was rather as a romancist and ballad wr1ter, as shown by the, ' Pen Sketches” or Tollrajzok (1845), and his legendary series Arpddok (1847). Joseph Bajza was a lyricist of a somewhat melancholy cast, but his Borének (Wine Song), Soha]tas(S1gh), Ebreszt0 (Awakening) and Apotheoszs are much admired He is known further as the translator of F C Dahlmann's Geschtchte der englzschen Revolutwn As generally able writers of lyrical poetry during the earlier part of this period may be mentioned among others Francis Csaszar, Joseph Székacs and Andrew Kunoss-also Lewis Szakal and Alexander Vachott, whose songs and romances are of an artless and simple character, and the sacred lyricist Bela Tarkanyi As an original but rather heavy lyric and d1dact1c poet we may mention Peter Vajda, who was, moreover, the translator of Bulwer's “ Night and Morning." Of a more distinctly national tendency are the lyrics of John Krizaf' and John Erdélyi, but the reputation of the latter was more especially due to his collections of folk lore made on behalf of the Kisfaludy society More popular than any of the preceding, and well known in England through Sir John Bowr1ng's translation, are the charming lyrics of Alexander Peton (qv), the “ Burns " of Hungary. His poems, which embody the national genius, have passed into the very life of the people, particularly IS he happy in the pieces descriptive of rural life Among lyricists were: Coloman Toth, who is also the author of several epic and dramatic pieces; John Vajda, whose Krsebb Koltemények (Minor Poems), published by the Kisfaludy society in 1872, are partly written in the mode of Heine, and are of a pleasing but melancholy character; Joseph Lévay, known also as the translator of Shakespeare's Titus Androntcus, Tarmng of the Shrew and Henry IV; and Paul Gyulai, who, not only as a faultless lvric and epic poet, but as an impartial critical writer, is highly esteemed, and whose Romhzinyl is justly prized as one of the best Magyar poems that has appeared in modern times To these may be added the names of Charles Berecz, Joseph Zalar, Samuel Nyilas, Joseph Vida, Lewis Tolnai, the sentimental Ladislaus Szelestey, and the talented painter Zoltan Balogh, whose romantic poem Alfzirr was published in 1871 by the Kisfaludy societ The lyrics o Anthony Varady (1875, 1877) are somewhat dulbl and unequal in tone; both he and Baron Ivor Kaas, author of Az rtélet napja (Day of judgment, 1876), have shown skill rathei in the art of dramatic verse. The poems of Count Géza Zichy and Victor Dalmady, those of the latter ubhshed at Budapest in 1876, are mostly written on subjects ofpa domestic nature, but are conceived in a atr1ot1c spirit Enul Abranyi adopts a rather romantic style, but fiis Nagypéntek (Good Frida) is an excellent descriptive sketch. Alexander Endrody, author of] T ucsok dalok (Cricket Songs, 1876), is a glowing writer, with great power of conception, but his metaphors, following rapidly one upon the other, become often confused. Joseph Kiss in 1876 brought out a few lyric and epic poems of considerable merit. The Mesék of Augustus Greguss (1878), a collection of verse “ Fables, ” belonging to the school of Gay, partake more of a d1dact1c than lyrical nature This feature is noticeable also in the Kolternények (1873) of Ladislaus Torkos and the Modern Mesék (1874) of Ladislaus Névy. The Salomon (1878) of Charles Szasz (b 182?) was rewarded with the prize of the academy. The subject, taken rom the age of Hungarian chivalry, is artistically worked out from medieval legends, and gives an excellent description of the times of St Ladislaus of Hungary. Charles Szasz is generally better known as a metrical translator than as an original poet. He is the Magyarizer of Shakespeare's Anthony and Cleopatra, Othello, Macbeth, Henry VIII, W1nter's Tale, Romeo and Julzet and Tempest, as also of some of the best pieces of Burns, Moore, Byron, Shelley, Milton, Béranger, Lamartine, Victor Hugo, Goethe and others A translator from Byron and Pope appeared also in Maurice Lukacs 6