agitated soul are accumulated all the tempest-laden clouds of his age, seeks in vain to find peace and consolation in Love, Pleasure and Ambition. Julia, his first love, deserts him for an unworthy “other one;” Betti, his second love, he rejects himself. And so, tossed from one rock of discord to the other, he finally enters the order of the Carthusians, and there, amidst steady work and in firm faith, finds the only solution that can await characters like his: Death. Goethe, with the terrible serenity of judgment so peculiar to him, once remarked, that there are, as he called them, “problematic characters, who can do justice to no situation in which they may be placed.” Such a character is Gustavus. But such was also the general and typical character of his time; and hence the immense effect of the novel. Even the chief and serious deficiency of the novel, being as it was, the deficiency of numerous Hungarian minds of that time, only helped to increase its popularity. Eötvös could never quite overcome the inner contrast between his Franco-German education and the Magyar character of his works. Of all the great Hungarian writers, his language is the least Magyar in form and savour. The European and the Magyar were constantly battling in him and frequently to the detriment of the latter. His was not that power of blending European and national culture into a new and harmonious composition. That power is distinctively the characteristics of the classical writers of nations. It belongs only to the highest form of genius. But the reading public of the “_Karthauzi_” was largely recruited from amongst people in whom that conflict between western and Magyar culture had likewise not been brought to a harmonious issue. They thus found in the great novel that very failing of their own class, without which, according to Grillparzer’s profound remark, success is hardly obtainable in any profession.