In his 1860 play, "The Tragedy of Man," Imre Madách uses iconic realism to illustrate cultural awareness of the value in humanity's ability to determine its destiny. He questions societal expectations by moving his audience through a journey of social outcry against parochialism in his depictions of Adam, Eve and Lucifer, entangled in episodic adventures that transcend historical boundaries.
They travel to ancient Greece, Rome, Egypt, the middle ages and London, Madách’s radical, textual dissent against the provincial establishment reveals his personal truth by eliminating story line constrictions of time and space. He deliberately places Adam and Eve in these unusual settings for this couple to illustrate that the journey of self worth and independence includes the worthiness of nation and begins with the attainment of self-knowledge.
He presents Eve as the mother of humanity, with theconviction that her children will move humanity forward in their quest for true knowledge. Similarly, Madách holds onto the hope that his Hungary would develop autonomy and maintain its unique culture and language. In his 1918 book, The Resurrection of Hungary, Arthur Griffith writes, “Ireland’s heroic and long-enduring resistances to the destruction of her independent nationality were themes the writers of Young Hungary dwelt upon to enkindle and make resolute the Magyar people” (xxiv). Griffith’s association of Ireland and Hungary illustrates that artists living within the parochial constraints of both of these countries use the power of a dissonant pen to motivate.