drawback to Magyar writers, as the reverse of this deficiency is the greatest advantage to the writers of Germany, France, Italy or England, was rendered very much more harmful by Kazinczy, in that he totally neglected the few dialectic features together with the common household language of the people. In his efforts to enrich the language he thus could not but obtain results of an inferior type. His syntactic moves have not been followed on the whole; and of his new words few have gained general recognition. He was much more successful in the second of his life-long efforts; in the introduction of the æsthetic ideals of the Greeks into Hungary. We have seen above, that the neglect of the study of Greek literature in Hungary had, in the preceding periods stunted the growth of Hungarian Literature. Literature, like sculpture, is born of Greek parents; and none but nations trained in the Hellenic world of ideas, can make a literature proper. In Germany, Lessing, Wieland, Herder and Goethe were so profoundly imbued with Hellenic modes of thought and moulds of expression, that many of their best works have, as has been felicitously remarked, enriched ancient Greek literature. So deep were in Germany, through the works of these men, the furrows of Greek thought, that even writers like Schiller, who did not know Greek, were full of the Greek spirit of beauty and moderation, and amongst its most ardent propagators. It was from these German Hellenes that Kazinczy learned the great and invaluable lesson of Greek idealism, that spiritual atmosphere in which the human intellect feels as different from its ordinary sensations, as does the human body in a river. Kazinczy was the first of the Hungarian writers whose soul had undergone the process of Platonization, to use this clumsy but expressive word for a process, the chief stages of which are an increased familiarity with mental tempers, the greatest exponent of which was Plato. In Kazinczy’s wide correspondence with nearly all the literary men of his age; in his greater and smaller works; in his personal interviews with the leading men of his time; he invariably, and with noble persistency, endeavoured to instil Hellenic ideals of form, of beauty, of serenity. He had clearly seen how much German literature had been benefited by the adoption of those ideals; he sincerely and fervently wanted to confer the same boon on the literature of his own country. This endeavour constitutes his greatness, as its success does his historic importance. His own poems are mediocre; yet he has the merit of being the author of the first sonnets in Hungarian; his forte lies in his prose works, and there chiefly in his translations from the classical writers of Rome, Germany, France and England. It was also his indefatigable activity which gave rise to a wholesome literary controversy about the nature and limits of a radical reform of the Hungarian language as a vehicle of literature. This controversy merits