terest in <strong>Hungarian</strong> literature, has been far more limited. We candiscern a vivid influence <strong>of</strong> <strong>Hungarian</strong> themes and point to significantGerman. Italian and French poets who have come under the spell <strong>of</strong><strong>Hungarian</strong> literature, or at least <strong>of</strong> a major <strong>Hungarian</strong> poet, but there isrelatively little <strong>Hungarian</strong> literary influence on England. This might beblamed on the distorted image <strong>of</strong> <strong>Hungarian</strong> literature among Englishmen,and also on sheer ignorance. Yet there have been at least threeperiods when active interest was shown in <strong>Hungarian</strong> literature.<strong>The</strong> first important reference to <strong>Hungarian</strong> poetry may be found inSir Philip Sidney's <strong>The</strong> Defense <strong>of</strong> Poesy (1595). As a diplomat, he hadtravelled to Vienna and thence to the outposts <strong>of</strong> the Imperial forces onthe Turkish frontier. This journey naturally took him into Hungary,specifically Pozsony (Bratislava), where he was the guest <strong>of</strong> a Dr.Purkircher; the French diplomat I.anguet had introduced them. AlthoughSidney's tutor assumed that the young man's visit would lastonly about three days, it lasted almost a month. 1 He met LazarusSchuendi, commander <strong>of</strong> the imperial forces in Hungary, and in visits tothe vegvdrak ( outpost fortresses) gathered a lasting impression aboutmilitary tactics and the life <strong>of</strong> soldiers in Hungary. Of a romantic andchivalric turn <strong>of</strong> mind, Sidney seems to have responded eagerly to thestimulus <strong>of</strong> this lifestyle.Even more than the military information he gathered, Sidney seemsto have valued his literary contacts. "In Hungary I have seen it themanner <strong>of</strong> all feasts, and suchlike meetings," he wrote in his Defense <strong>of</strong>Poesy, "to have songs <strong>of</strong> their ancestors' valor, which that right soldierlikenation think one <strong>of</strong> the chief kindlers <strong>of</strong> brave courage." 2 <strong>The</strong>context, it should be noted, was the discussion <strong>of</strong> lyrical poetry. Sidneydefended this genre against those moralists who saw only the work <strong>of</strong>the devil in the appeal to the emotions. He introduced his discussionwith these rhetorical questions:Is it the lyric that most displeaseth, who with his tuned and wellaccordedvoice giveth praise, the reward <strong>of</strong> virtue, to virtuous acts? whogiveth moral precepts and natural problems? who sometimes raiseth uphis voice to the height <strong>of</strong> heavens, in singing the lauds <strong>of</strong> the immortalGod? 3Thus, to Sidney, the appeal <strong>of</strong> these <strong>Hungarian</strong> songs was in their moraland patriotic tone and in their natural or "rude" style which, he felt,could be compared with the "Lacedaemonians." He conjured Pindar tosubstantiate his claim that victory in battle was to be celebrated overvictory at the tourney. In short, in his contemporary world, Sidneycould find heroic poetry that compared with the classical in dignity andnobility only in Hungary.
<strong>The</strong> mention <strong>of</strong> the songs <strong>of</strong> the "vegvarak" was not an isolatedinstance <strong>of</strong> Sidney's interest. In his long romance Arcadia, he mentionedthe oriental method <strong>of</strong> fighting that was practiced by the <strong>Hungarian</strong>knights or cavalry during the Turkish wars. In fact, his descriptionparallels Balint Balassa's in "Katonaenek":But this straunge land more straunge conceits did yeeld:Who victor seem'd was to his ruine brought;Who seem'd o'erthrown was mistress <strong>of</strong> the field:She fled and tooke; he folow'd and was caught.So have 1 heard to pierce pursuing shieldBy parents trained the Tartars wilde are taught.With shafts shott out from their back-turned bow. 4Sok verben fertezvenArcul rea tervenUzot sokszor megvernek. 5With the generalization typical <strong>of</strong> many Renaissance authors, Sidneyequated Tartars with Turks: the former fit the content o {Arcadia better,and in any case, little distinction was made between the oriental nationsin Renaissance England.Evidence <strong>of</strong> Sidney's loyalty to the dying code <strong>of</strong> chivalry aboundedin his works, but so did references to world affairs, notably the Turkishwars. He seems to have been regarded as an authority on EasternEuropean affairs in England and Queen Elizabeth's interest in theEmperor's situation demanded an awareness <strong>of</strong> Turkish movement inthis region <strong>of</strong> Europe. Thus, we find numerous references in Sidney'slater correspondence attesting to his continued connection with friendsin Hungary.In spite <strong>of</strong> this auspicious beginning, it was not until the 19th centurythat <strong>Hungarian</strong> poetry again aroused interest in England and led totranslations <strong>of</strong> <strong>Hungarian</strong> works. Language, <strong>of</strong> course, continued topose an unsurmounted barrier, but now several popularizers abroadbegan to interpret <strong>Hungarian</strong> literature. Admittedly, these mediaries<strong>of</strong>ten did more harm than good; but their efforts must nevertheless beacknowledged, for they did bring <strong>Hungarian</strong> poetry into the consciousness<strong>of</strong> some <strong>of</strong> the English and <strong>American</strong> public. Sir John Bowring,diplomat and businessman, poet and translator, was among the firstimportant intermediaries.<strong>The</strong> <strong>Hungarian</strong> literary historian, Janos Hankiss, has pointed out the
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Hungarians in Rumania in terms of t
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down by serious shortcomings in bot
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alanced presentation of the Vienna
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talent enables Wass to depict the s
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Carpathian Federation, and printed
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Now and then, however, this rule de
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temper such an indictment by recogn
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OUR CONTRIBUTORS (continued from pa
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TO THOSE WISHING TO SUBMIT MANUSCRI