In addition to “The Flight of Zalán,” Vörösmarty enriched Hungarian Literature with several other smaller epics, such as “_Széplak_,” “_Cserhalom_,” and the exquisite “The Two Neighbouring Castles” (“_Két szomszéd vár_”). After 1831 he ceased writing epics. He had a real passion for dramatic poetry, and although in “_Csongor és Tünde_” alone he contrived to write a drama of superior finish, yet he continually tried his hand at that form of poetry (“_Vérnász_”) (“The Sanguinary Wedding”); “Marótbán” (Banus Marót); “_Áldozat_” (The Sacrifice), etc. His lyrical poetry, on the other hand, contains priceless gems. Adorning, as he did, even the smallest of his lyrical poems with the unrivalled splendour of his diction; he reaches in some of them, and first of all in the majestic “National Hymn” (“_Szózat_”, 1837), the highest level of poetic _élan_. In these select poems, while still singing nothing but the hopes and glories of his nation, he becomes so European in tone and chaste beauty of form, that his work will lose little of its perfection by fair translations into other European languages. In them there is felt the breath of that civilization of Greater Hellas, or Europe, which was originally that of Hellas proper. Nor does his lyric muse move in grave and solemn moods alone. In his famous “Song of Fót” (“_Fóti dal_”), he has left the wine-drinking community of the world a model song in praise of the noble child of Bacchus. He likewise succeeded in writing poetic apotheoses of some of the great Hungarians of his time, such as Liszt, the great musician, and in the composition of small narrative poems, which prove him to have been endowed with a keen sense of humour (“_Mák Bandi_”; “_Laboda_;” “_Petike_;” “_Gábor deák_”). His great activity as a creative poet did not prevent him from writing a considerable number of articles for literary periodicals, such as the “_Tudományos Gyűjtemény_,” “_Kritikai Lapok_” (edited by Bajza), and for the new “_Aurora_,” and the “_Athenæum_.” He was also one of the translators of the “Thousand and One Nights,” and of some of Shakespeare’s plays. CHAPTER XXII. The national and literary current of which Vörösmarty was the chief exponent brought several other great epic works to the surface. Andreas Horvát de Pázmánd (1778-1839) was working for many years at a national epic in twelve long cantos, singing the history of Árpád the conqueror. In 1831, at last, he published the huge poem which, however, was distanced and soon silenced by the masterwork of Vörösmarty. It certainly helped both to set off “The Flight of Zalán” still more strongly, and also to widen the circle of old Magyar mythology.