ways, will not disavow our idea, but gladly acknowledge that, great as he may be, there ought to be room for novelistic greatness of another kind in Hungarian Literature, and appreciation of other modes of novelistic art in the Hungarian public. Jókai was born on the nineteenth of February, 1825, at Komárom (Komorn). At Pápa, when still a student, he made the acquaintance of Petőfi, whose intimate friend he became. He took an active, if moderate part, in the revolution, and came near falling into the hands of the victorious Austrians, from which fatal predicament, however, he was saved by his lovely wife Rose Laborfalvy, one of the greatest of Hungarian actresses. From that time onward he has devoted his life partly to parliamentary activity, but chiefly to literature and the political press. In the latter field he has acted as editor of, and frequent contributor to, several of the leading journals of Hungary; and, moreover, as founder and editor of the “_Üstökös_,” the Hungarian “_Punch_.” In Hungary, where political and parliamentary life has long been in existence, a paper _à la_ “_Punch_” was a natural and much needed literary product. Nor do we hesitate to assert that several of such papers—for instance, Jókai’s “_Üstökös_” (“The Comet”), and the incomparable Porzó’s (Dr. Adolf Ágai) “_Borszem Jankó_” (a name) not only equal, but, as a rule, decidedly surpass German or French “_Punches_,” and not infrequently the London paper too. Wit in Hungary is of a peculiar kind, and Jókai is one of its most gifted devotees. It is wit, not only of situations, or humorous contrasts, but also of linguistic contortionism, if we may so express it; so that none but a master of the language can handle it with real success. On the other hand, it is fertile in humorous types, and does not indulge—unwillingly at least—in caricature.