Closely connected with the preceding period is that of the “Revival of the Language” (1807-1830), with which the name of Francis Kazinczy (q.v.) is especially associated. To him it was left to perfect that work of restoration begun by Baróti Revival of the language (1807-1830). 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 passed into popular song. As the earliest Magyarizer of Servian folk-song, Michael Vitkovics did valuable service. Not without interest to Englishmen is the name of Gabriel Döbrentei (q.v.), the translator of Shakespeare’s Macbeth, represented at Pozsony in 1825. An historical poem of a somewhat philosophical nature was produced in 1814 by Andreas Horváth under the title of Zircz emlékezete (Reminiscence of Zircz); but his Árpád, in 12 books, finished in 1830, and published at Pest in the following year, is a great national epic. Among other poets of this period were Alois Szentmiklóssy, George Gaal, Emil Buczy, Joseph Szász, Ladislaus Tóth and Joseph Katona, author of the much-extolled historical drama Bánk Bán.[76] Izidore Guzmics, the translator of Theocritus into Magyar hexameters, is chiefly noted for his prose writings on ecclesiastical and philosophical subjects. As authors of special works on philosophy, we find Samuel Köteles, John Imre, Joseph Ruszék, Daniel Ercsei and Paul Sárvári; as a theologian and Hebraist John Somossy; as an historian and philologist Stephen Horváth, who endeavoured to trace the Magyar descent from the earliest historic times; as writers on jurisprudence Alexander Kövy and Paul Szlemenics. For an account of the historian George Fejér, the laborious compiler of the Codex Diplomaticus, see [Fejér].
The establishment of the Hungarian Academy of Sciences[77] (17th November 1830) marks the commencement of a new period, in the first eighteen years of which gigantic exertions were made as regards the literary and intellectual life of the Academy period, 1830-1880. nation. The language, nursed by the academy, developed rapidly, and showed its capacity for giving expression to almost every form of scientific knowledge.[78] 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 philological research. Since its reorganization in 1869 the academy has, however, paid equal attention to the various departments of history, archaeology, national economy and the physical sciences. The encouragement of polite literature was more especially the object of the Kisfaludy Society, founded in 1836.[79]
Polite literature had received a great impulse in the preceding period (1807-1830), but after the formation of the academy and the Kisfaludy society it advanced with accelerated speed towards the point attained by other nations. Foremost among epic poets, though not equally successful as a dramatist, was Mihaly Vörösmarty (q.v.), who, belonging also to the close of the last period, combines great power of imagination with elegance of language. Generally less varied and romantic, though easier in style, are the heroic poems Augsburgi ütközet (Battle of Augsburg) and Aradi gyülés (Diet of Arad) of Gregory Czuczor, who was, moreover, very felicitous as an epigrammatist. Martin Debreczeni was chiefly famed for his Kióvi csata (Battle of Kieff), published at Pest in 1854 after his death by Count Emeríc Mikó. The laborious John Garay in his Szent László shows considerable ability as an epic poet, but his greatest merit was rather as a romancist and ballad writer, as shown by the “Pen Sketches” or Tollrajzok (1845), and his legendary series Árpádok (1847). Joseph Bajza was a lyricist of a somewhat melancholy cast, but his Borének (Wine Song), Sohajtás (Sigh), Ébresztö (Awakening) and Apotheosis are much admired. He is known further as the translator of F. C. Dahlmann’s Geschichte der englischen Revolution. As generally able writers of lyrical poetry during the earlier part of this period may be mentioned among others Francis Császár, Joseph Székács and Andrew Kunoss—also Lewis Szakál and Alexander Vachott, whose songs and romances are of an artless and simple character, and the sacred lyricist Béla Tárkányi. As an original but rather heavy lyric and didactic 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 Kriza[80] 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 Bowring’s translation, are the charming lyrics of Alexander Petöfi (q.v.), 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 Tóth, who is also the author of several epic and dramatic pieces; John Vajda, whose Kisebb Költemények (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 Andronicus, Taming of the Shrew and Henry IV.; and Paul Gyulai, who, not only as a faultless lyric and epic poet, but as an impartial critical writer, is highly esteemed, and whose Romhányi 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 Zalár, Samuel Nyilas, Joseph Vida, Lewis Tolnai, the sentimental Ladislaus Szelestey, and the talented painter Zoltán Balogh, whose romantic poem Alpári was published in 1871 by the Kisfaludy society. The lyrics of Anthony Várady (1875, 1877) are somewhat dull and unequal in tone; both he and Baron Ivor Kaas, author of Az itélet napja (Day of Judgment, 1876), have shown skill rather in the art of dramatic verse. The poems of Count Géza Zichy and Victor Dalmady, those of the latter published at Budapest in 1876, are mostly written on subjects of a domestic nature, but are conceived in a patriotic spirit. Emil Ábrányi adopts a rather romantic style, but his Nagypéntek (Good Friday) is an excellent descriptive sketch. Alexander Endrödy, author of Tücsök 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 didactic than lyrical nature. This feature is noticeable also in the Költemények (1873) of Ladislaus Torkos and the Modern Mesék (1874) of Ladislaus Névy. The Salamon (1878) of Charles Szász (b. 1829) was rewarded with the prize of the academy. The subject, taken from 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 Szász 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., Winter’s Tale, Romeo and Juliet 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 Lukács.[81]
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 ecclesiastical history; John Szombathi, Emeric Révész and Balogh, writers on Protestant church history; William Fraknói, biographer of Cardinal Pázmán, and historian of the Hungarian diets; and Anthony Gévay, Aaron Sziládi, Joseph Podhradczky, Charles Szabó, John Jerney and Francis Salamon, who have investigated and elucidated many special historical subjects. For the medieval history of Hungary the Mátyáskori diplomatikai emlékek (Diplomatic Memorials of the Time of Matthias Corvinus), issued by the academy under the joint editorship of Ivan Nagy and Baron Albert Nyáry, affords interesting material. As a masterly production based on extensive investigation, we note the Wesselényi Ferencz ... összeesküvése (The Secret Plot of Francis Wesselényi, 1664-1671), by Julius Pauler (1876). Among the many historians of Magyar literature Francis Toldy alias Schedel holds the foremost place. As compilers of useful manuals may be mentioned also Joseph Szvorényi, Zoltán Beöthy, Alexander Imre, Paul Jámbor, Ladislaus Névy, John Környei and Joseph Szinnyei, junior. For philological and ethnographical research into the origin and growth of the language none excels Paul Hunfalvy. He is, moreover, the warm advocate of the theory of its Ugrio-Finnic origin, as established by the Uralian traveller Anthony Reguly, the result of whose labours Hunfalvy published in 1864, under the title A Vogul föld és nép (The Vogul Land and People). Between 1862 and 1866 valuable philological studies bearing on the same subject were published by Joseph Budenz in the Nyelvtudományi közlemények (Philological Transactions). This periodical, issued by the academy, has during the last decade (1870-1880) contained also comparative studies, by Arminius Vámbéry and Gabriel Bálint, of the Magyar, Turkish-Tatar and Mongolian dialects.
As compilers and authors of works in various scientific branches allied to history, may be particularly mentioned—in statistics and geography, Alexius Fényes, Emeric Palugyay, Alexander Konek, John Hunfalvy, Charles Galgóczy, Charles Keleti, Leo Beöthy, Joseph Körösi, Charles Ballagi and Paul Király, and, as regards Transylvania, Ladislaus Köváry; in travel, Arminius Vámbéry, Ignatius Goldziher, Ladislaus Magyar, John Xantus, John Jerney, Count Andrássy, Ladislaus Podmaniczky, Paul Hunfalvy; in astronomy, Nicholas Konkoly; in archaeology, Bishop Arnold Ipolyi, Florian Rómer, Emeric Henszlmann, John Érdy, Baron Albert Nyáry, Francis Pulszky and Francis Kiss; in Hungarian mythology, Bishop Ipolyi, Anthony Csengery,[82] and Árpád Kerékgyártó; in numismatics, John Érdy and Jacob Rupp; and in jurisprudence, Augustus Karvassy, Theodore Pauler, Gustavus Wenczel, Emeric Csacskó, John Fogarasi and Ignatius Frank. After 1867 great activity was displayed in history and its allied branches, owing to the direct encouragement given by the Hungarian Historical Society, and by the historical, archaeological, and statistical committees of the academy.