The way was thus clear for the Jesuits, who, with their Latin tragi-comedies or dramatized allegories written to commemorate saints or for scholastic festivals, succeeded for a time in supplanting both the popular pieces of the old school and the plays modelled on the masterpieces of Greece and Rome.
In Messenia (according to a legend dramatized by Euripides in the 5th century, and renovated for political ends in the 4th century) the descendants of Cresphontes quarrelled among themselves and were exterminated by the natives.
Undaunted by many failures, she dramatized several of her novels with moderate success - Francois le champi, played at the Odeon in 1849, and Les Beaux Messieurs de Bois-Dore (1862) were the best; Claudie, produced in 1851, is a charming pastoral play, and Le Marquis de Villemer (1864) (in which she was helped by Dumas fits) was a genuine triumph.
His story has been dramatized by Max Ring, Die Genfer (1850), by Jose Echegaray, La Muerte en los Labios (1880), by Albert Hamann, Servet (1881), and by Prof. Shields, The Reformer of Geneva (1897).
Among successful dramatic pieces may be mentioned the Falu rossza (Village Scamp) of Edward Toth (1875), which represents the life of the Hungarian peasantry, and shows both poetic sentiment and dramatic skill; A szerelem harcza (Combat of Love), by Count Geza Zichy; Iskdriot (1876) and the prize tragedy Tamora (1879), by Anthony Varady; Janus (1877), by Gregory Csiky; and the dramatized romance Szep Mikhal (Handsome Michal), by Maurus Jokai (1877).
The book was dramatized by the younger Colman as The Iron Chest.