The same great qualities of linguistic _verve_ and intense poetic sentiment are to be found in the other epical poems of Arany. In the “Death of Buda” (_Buda halála_, 1864), he sings the legendary story of Attila’s murder of his own brother Buda (Bleda). In this exquisite epic Attila (or Etele, as Arany calls him), is pictured as a hero of the magnificent type, and nothing could be more removed from the poet’s “Etele,” than the conventional or historic Attila. Tragical energy and incomparable language render this poem one of intense charm. It was intended for one of three great epics narrating the cycle of Hun legends; of the other two we have only fragments. The romantic story of Wesselényi and Mary Szécsi (see page 58), was made into a charming epic by Arany, under the title “The capture of Murány” (“_Murány ostroma_,” 1849). In “The Gypsies of Nagy Ida” (“_A nagyidai czigányok_,” 1852), Arany gave vent, in form of a satirical burlesque, to his profound sorrow over his country’s decadence, after the suppression of the liberal movement in 1848-1849. His ballads are generally considered to represent the best specimens of Magyar ballad-writing. It must certainly be conceded that few ballad-writers, whether in or outside Hungary, have so completely hit the true ballad-tone, or internal ring of thought and word adapted to subjects so utterly out of keeping with our modern sentiment. It may be doubted whether Chopin himself in his ballad in F major has so felicitously intuned the lay of olden romance as has Arany in his mostly sombre ballads, such as “Duel at midnight” (“_Éjféli párbaj_”), “Knight Pázmán” (“_Pázmán lovag_”), “Marfeast” (“_Ünneprontók_”). As in the best English or German ballads, events are, as a rule, only indicated, not described, and hurry on to their fatal termination with terrible speed. All is action and fierce movement. In addition to his activity as a creative poet, Arany also did much for the introduction of foreign and classical literature into Hungary by way of translations. His most successful work in that line were the translations of several dramas of Shakespeare (_Hamlet_, _Midsummer Night’s Dream_, _King John_), and more especially still his most exquisite (—_pace_ all the German philologists!—) translation of the comedies of Aristophanes. We ought now to devote a considerable space to a poet who, in his time, was generally associated with Petőfi and Arany. We mean Michael Tompa (1817-1868). While it is now impossible to rank Tompa with either Petőfi or Arany, he yet occupies a very conspicuous place in Magyar literature. His intense love of nature, his profound religious sentiment, and his fine humour entitle him to be considered as foremost amongst the lesser lyrical glories of Hungary. We can only regret that we cannot give here more than this bare indication of the peculiar individuality of the author of the “Flower-fables” (_Virágregék_). CHAPTER XXIX.