We can here only mention the dramas of Sigismund Czakó, who for some time before his voluntary death in 1847, was very popular; of Charles Obernyik (1816-1855); and of Ignatius Nagy; the two latter being very popular before the Revolution of 1848, owing to their excessively “patriotic” dialogues. A far higher place in Hungarian dramatic literature is due to the noble Count Ladislas Teleky, who also died by his own hand. His “The Favourite” (“_A Kegyencz_,” 1841), the subject of which is taken from the time of the Roman Emperor Valentinian III., is credited with great force of irony, dramatic truth and power of imagination. In Charles Hugo (_recte_ Charles Hugo Bernstein), 1817-1877, the Hungarian drama might have gained a dramatic power of rare quality, had the overweening self-infatuation of the author, together with his poor knowledge of Magyar, not rendered him a victim to his first success. He is one of the numerous Titans of the Hungarian capital, who cannot do anything half-way creditable unless they fail to gain reputation. No sooner do they become “famous,” than they cease to be either interesting or productive. Hugo’s “Banker and Baron” (“_Bankár és Báró_”) had not only a great, but an extraordinary success. Not only incense was strewn before the poet, but, to use Lessing’s phrase, the very censer was hurled at his head. The enthusiastic crowd carried the author bodily from the theatre to his favourite _Café_. This unhinged poor Hugo’s mental equilibrium. He considered himself a second Victor Hugo; and so never wrote any other great drama. The merit of “Banker and Baron” is very considerable. It is one of the then few attempts at writing a real _bourgeois_ drama, in which the common human heritage of virtues and vices, affections and passions, is presented with great force and dramatic vivacity.