EDE See also:

• EDE SZIGLIGETI (1814—1878)

SZIGLIGETI (1814—1878)  , Hungarian dramatist, whose See also:

• ORIGINAL

original name was Jozsef Szathmary, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Nagyvarad-Olaszi, on the 8th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1814 . His parents would have made him a See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest; he wanted to be a See also:

• GREAT

great See also:

• DOCTOR (Lat. for " teacher ")

doctor; finally he entered the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of an engineer . But his See also:

• HEART
• HEART, LUNG

heart was already devoted to the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama and, on the 15th of See also:

• AUGUST (originally Sextilis)

August 1834, despite the See also:

• PROHIBITION (Lat. prohibere, to prevent)

prohibition of his tyrannical See also:

• FATHER

father, he actually appeared upon the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage at See also:

• BUDAPEST

Budapest . His father thereupon forbadehim to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear his name in future, and the younger Szathmiry henceforth adopted instead the name of Ede See also:

• SZIGLIGETI, EDE (1814—1878)

Szigligeti, the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero of one of See also:

• SANDOR [ALEXANDER] KISFALUDY (1772-1844)

Sandor See also:

• KISFALUDY, KAROLY

Kisfaludy's romances . He supported himself for the next few years precariously enough, earning as he did little more than twelve florins a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, but at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he sedulously devoted himself to the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre and sketched several plays, which differed so completely from the "original" plays then in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue (The Played-out See also:

• TRICK

Trick actually appeared upon the boards) that they attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of such connoisseurs as See also:

• VOROSMARTY, MIHALY (1800-1855)

Vorosmarty and See also:

• BAJZA, JOSEPH (1804-1858)

Bajza, who warmly encouraged the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young writer . In 184o the newly founded Hungarian See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy crowned his five-See also:

• ACT (Lat. actus, actum)

act drama See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa, the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title-role of which was brilliantly acted by Rosa Laborfalvy, the great actress, who subsequently married Maurus JSkai . Szigligeti was now a celebrity . In 184o he was elected a member of the Academy and in 1845 a member of the Kisfaludy Society . He was now the leading Hungarian dramatist . Three of his plays were crowned by the See also:

• NATIONAL

National Theatre and sixteen by the Academy . His See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict on all dramatic subjects was for years regarded as final, and he was the See also:

• MENTOR

mentor of all the rising young dramatists of the 'sixties . During the See also:

• HALF

half-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century of his dramatic career Szigligeti wrote no fewer than a See also:

• HUNDRED

hundred original pieces, all of them remarkable for the inexhaustible ingenuity of their plots, their up-to-date technique and the consummate skill with which the author used striking and unexpected effects to produce his denouement .

He wrote, perhaps, no See also:

• WORK

work of See also:

• GENIUS (from Lat. genere, gignere)

genius, but he amused and enthralled the Magyar playgoing public for a See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation and a half . Szigligeti's most successful tragedies were Gritti (1844), See also:

• PAUL
• PAUL (PAULUS)

Paul Beldi (1856), See also:

• LIGHT

Light's Shadows (1865), See also:

• STRUENSEE, JOHAN FREDERICK (1731-1772)

Struensee (1871), See also:

• VALERIA, VIA

Valeria and The Pretender (1868) . His tragedies, as a See also:

• RULE

rule, lack pathos and sublimity . Much more remarkable are his comedies . He is a perfect See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the See also:

• ART

art of See also:

• WEAVING

weaving complications, and he prefers to select his subjects from the daily See also:

• LIFE

life of the upper and upper-See also:

• MIDDLE

middle classes . The best of these comedies are The Three Commands of See also:

• MATRIMONY (Lat. matrimonium, marriage, which is the ordinary English sense)

Matrimony (185o), Tuneful Stevey (1855), Mamma (1857), The Reign of Woman (1862), and especially the See also:

• FARCE

farce Young See also:

• LILLY, WILLIAM (16oz-1681)

Lilly (1849) . He also translated See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe's See also:

• EGMONT (EGMOND), LAMORAL, COUNT OF
• EGMONT, EARLS OF

Egmont and See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard III., and wrote a dramaturgical work entitled The Drama and its Varieties . A few of his plays have appeared in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German . See P . Rakodczay, See also:

• EDWARD

Edward Szigligeti's Life and See also:

• WORKS

Works (Hung.; See also:

• PRESSBURG (Hung. Pozsony, Lat. Posonium)

Pressburg, 1901) ; PM Gyulai, Memorial Speeches (Hung.; Buda-pest, 1879 and 189o) . (R . N .