works have been translated into German, French and English; and the enthusiasm for his art will no doubt spread from Hungary to all other countries where the graces of true simplicity can still be enjoyed. Amongst the numerous writers of _genre_-sketches and _feuilletons_, “Porzó” or Dr. Ágai is _facile princeps_; not only in Hungary, but also, we venture to add, in all Europe. He is quite unique. CHAPTER XXXII. The number of _lyrical poets_ is very great in modern Hungary. It may be stated that, as a rule, a Magyar poet has more chances of attracting public attention by a good lyrical poem than by a good novel. Perhaps the female portion of Hungary are not as anxious for novel-reading, as are their sisters in more western countries; and thus the balance of attention to poetic works is spent on the drama and on lyrics. This fact is on a line with the predilection of the Hungarian public for songs and airs, as against native musical works of a more extensive description. The great Hungarian lyrical poets of modern times may properly be divided into several groups, of which the first is the school of poets with whom the beauty and purity of Form is the principal concern of their art. Considering the innate Magyar tendency to rhapsodic and shapeless exuberance, the relative value of the works of that group is very great. The Hungarian language, just on account of its large share of musical elements, has somewhat of that indistinctness and vague emotionality which, like that of music, must be strictly kept within the bounds of Form. Even in the more advanced poetry of the Teutonic nations, whether German or English, the significance of poets cultivating pre-eminently the chaste beauty of Form, is still very considerable. Fortunately for Hungary, both Paul Gyulai (born in 1826) and Charles Szász (born in 1829) have, especially the latter, untiringly worked at providing their countrymen with works of poetry, original or otherwise, in which the law and beauty of Form predominate over emotionalism. Szász has thus deserved very highly of Hungarian Literature. His delicate sense of metre, rhythm and architectonics, in his original epics and lyrics, as well as in his exceedingly numerous translations from the works of great western poets, is on a par with the wealth of his linguistic resources; and while English poetry may perhaps afford to be less encouraging to the adepts of Form, Magyar literature is to be congratulated upon having at once recognized and thereby not missed the numerous works of her Richard Garnett. To this group belongs also Joseph Lévay (born in 1825), whose popular works move in the sphere of elevated serenity.