PREFACE

"Szegény Gazdagok" is, perhaps, the most widely known of all Maurus Jókai's masterpieces. It was first published at Budapest, in 1860, in four volumes, and has been repeatedly translated into German, while good Swedish, Danish, Dutch and Polish versions sufficiently testify to its popularity on the Continent. Essentially a tale of incident and adventure, it is one of the best novels of that inexhaustible type with which I am acquainted. It possesses in an eminent degree the quality of vividness which R. L. Stevenson prized so highly, and the ingenuity of its plot, the dramatic force of its episodes, and the startling unexpectedness of its dénouement are all in the Hungarian master's most characteristic style. I know of no more stirring incident in contemporary fiction than the terrible wrestling match between strong Juon the goatherd and the supple bandit Fatia Negra in the presence of two trembling, defenceless women, who can do nothing but look on, though their fate depends upon the issue of the struggle,—and we must go back to the pages of that unsurpassed master of the weird and thrilling Sheridan Le Fanu to find anything approaching the terror of poor Henrietta's awful midnight vigil in the deserted csárda upon the lonely heath when, at the very advent of her mysterious peril, she discovers, to her horror, that her sole companion and guardian, the brave old squire, cannot be aroused from his drugged slumbers.

There is naturally not so much scope for the display of Jókai's peculiar and delightful humour, in a novel of incident like the present tale as there is in that fine novel of manners: "A Hungarian Nabob." Yet even in "Szegény Gazdagok," many of the minor characters (e.g., the parasite Margari, the old miser Demetrius, the Hungarian Miggs, Clementina, the frivolous Countess Kengyelesy), are not without a mild Dickensian flavour, while in that rugged but good-natured and chivalrous Nimrod, Mr. Gerzson, the Hungarian novelist has drawn to the life one of the finest types we possess of the better sort of sporting Magyar squires.

Finally, this fascinating story possesses in an eminent degree the charm of freshness and novelty, a charm becoming rarer every year in these globe-trotting days, when the ubiquitous tourist boasts that he has been everywhere and seen everything. Yet it may well be doubted whether even he has penetrated to the heart of the wild, romantic, sylvan regions of the Wallachian and Transylvanian Alps, which is the theatre of the exploits of that prince of robber chieftains, the mighty and mysterious Fatia Negra, and the home of those picturesque Roumanian peasants whom Jókai loves to depict and depicts so well.

R. NISBET BAIN.

Contents

BOREDOM

A NEW MODE OF DUELLING

AN AMIABLE MAN

CHILDISH NONSENSE

SHE IS NOT FOR YOU

BRINGING HOME THE BRIDE

THE CAVERN OF LUCSIA

STRONG JUON

THE GEINA MAID-MARKET

THE BLACK JEWELRY

TWO TALES, OF WHICH ONLY ONE IS TRUE

THE SOIRÉES AT ARAD

TIT FOR TAT

THE MIKALAI CSÁRDA

WHO IT WAS THAT RECOGNIZED FATIA NEGRA

LEANDER BABEROSSY

MR. MARGARI

THE UNDISCOVERABLE LADY

THE SHAKING HAND

THE FIGHT FOR THE GOLD

THE HUNTED BEAST

THE SIGHT OF TERROR

THE ACCOMMODATION

CONCLUSION