Another group of lyrical poets is formed by the nationalists, who vied with one another in sounding exclusively the note of Magyar sentiments and ideas proper. Local colour seemed to be everything, and in language and subject nothing was used outside the purely Magyar elements. The most gifted of that class was Coloman Tóth (1831-1881); next to him ranks perhaps Andrew Tóth (1824-1885); nor must Coloman Lisznyay (1823-1863), Joseph Zalár (born in 1827), and Joseph Székely (born in 1825) be omitted. Quite by himself stands John Vajda (born in 1827). He is to Hungarian poetry proper, what Kemény (see pp. 153, etc.) is to Hungarian novelistic literature. His is the gloom and power of pessimism; and in his fight with Destiny he conjures up all the furies of scorn, despair, rage and hatred: see especially his “_Szerelem átka_” and “_Gina emléke_.” The lyrical poets of the sixties and seventies of this century tried to avoid excessive nationalism, true to the spirit of the time when Hungary through the final regulation of her constitution as an autonomous state, assumed a European attitude herself. The more prominent names are Béla Szász; Victor Dalmady; Joseph Komócsy; Lewis Tolnai; Ladislas Arany, Alexander Endrődi, Julius Reviczky, etc. In Joseph Kiss there is much of that power of discovering poetic riches in subjects hitherto ignored by poets, which goes to make the really great poet. The emotional conflicts between orthodox Jews and Christian peasants living in the same village, conflicts of love and hatred alike, have been worked into powerful ballads by Kiss. CHAPTER XXXIII.