1520-1711.
Amidst the din and excitement of the endless wars in Hungary, both civil and foreign, during the seventeenth century, the agitated mind of the common people vented itself in numerous ditties, skits and lampoons, which, after the name of one of the national parties, have been called Kurucz-poetry. It consists almost exclusively of largely unprinted little poems, mostly political, and depicts the agonies and torments of the patriots. Some of them are good and true in tone, and even powerful in the expression of hatred and satire. The one ever-memorable folk-poem of that time, however, was not written in words. The profound passions aroused by the last great revolution under the romantic Francis Rákóczy II., towards the end of the seventeenth and the beginning of the eighteenth century, were incarnated in inimitable fashion in the “Rákóczy march,” the most fanaticising of all war-marches. Whoever actually composed it (tradition ascribes it to a Hungarian gipsy-woman by the name of Panna Czinka), that march spells a whole period of Hungarian history, just as Milton’s Paradise Lost spells a whole period of English life. The Magyar nation was at the end of the seventeenth century far too unpractised in literary architecture to rear its pangs and longings into a dome of words. It was, however, then as now sufficiently imbued with the power of musical creation, to embody its woes in the fiery rhythms of the most heroic of martial songs.