Berreh

Berreh is one of the three little devils in the play, alongside Kurrah and Duzzog. His brief appearances place him within the supernatural machinery surrounding Csongor’s journey: he is present when the devils discuss enchanted equipment and again when they converge on Mirígy as she digs at the linden tree. The text gives him no independent backstory or extended personal arc; his significance lies in his membership of the trio and in the scenes where their actions intersect with the play’s central pursuit.

Identity and Introduction

The cast list identifies Berreh as one of the little devils, grouped with Kurrah and Duzzog. That classification establishes his role as a supernatural, collective figure rather than a separately developed human character. The listing offers no further description of his appearance, powers, or history, so his identity in the play rests on the group he belongs to and the actions in which he is briefly involved.

Berreh’s dialogue distinguishes him within that group without giving him a sustained individual voice. He appears in exchanges with Kurrah, and later alongside Duzzog when the trio’s enchanted objects are being discussed. These short interventions let the audience recognize him as a participant in the devils’ shared business, while leaving most characterization to the coordinated action of the group.

Role in the Enchanted Equipment Episode

In the exchange concerning the enchanted footwear and whip, Kurrah says that he will take the footwear, and Berreh answers that he will take the whip. Duzzog follows with his own line, completing a sequence in which the three devils divide the items among themselves. Berreh’s contribution is specific: he claims the whip, while Kurrah claims the footwear. The passage does not establish what Berreh does with the whip afterward, so his action should be understood as part of the exchange rather than as evidence of a later individual exploit.

The scene presents the devils as a coordinated unit whose short turns of speech distribute attention among its members. Berreh is neither silent nor simply named in the stage directions: he speaks and takes a definite place in the handling of the equipment. At the same time, the play supplies no separate motive or consequence for his choice. Its dramatic force belongs to the trio’s collective involvement in the enchanted objects and to the way those objects enter the larger action around Csongor.

Encounters with Kurrah and Mirígy

Berreh’s lines repeatedly sit beside Kurrah’s, making their connection one of stage association and shared participation. In one exchange, Kurrah calls out to him and Berreh answers; elsewhere, the two appear in sequence as they respond to the business at hand. The text supports their cooperation within the group, but it does not define a deeper personal bond or a hierarchy between them.

Berreh is also present during Mirígy’s effort to dig at the base of the tree. As she begins to excavate, the little devils arrive from three directions; Kurrah then speaks, and Berreh’s name appears in the continuing exchange. This entrance places Berreh among the figures converging on Mirígy at a moment when her attempt is interrupted by the devils’ arrival. The stage direction specifies their arrival as a group, not Berreh’s individual movement or a distinct act of capture, so the scene establishes his presence without assigning him sole responsibility for what follows.

Narrative Function and Limits

Across these brief appearances, Berreh serves as one member of a supernatural trio that helps connect the enchanted equipment to the later action around the tree. His allocated whip and his presence among the devils approaching Mirígy are concrete points in that function. Together they make him part of the play’s active magical world, where objects and collective interventions can alter the course of Csongor’s search.

The brevity of Berreh’s appearances is also a defining feature of his role. He has no narrated history, private objective, or individually stated ending in the available passages. Rather than building a solitary character arc, the play uses him as a recognizable participant in the little devils’ ensemble: he speaks, receives a particular object in their exchange, and joins their appearance at a consequential moment. His importance is therefore real but bounded by the collective scenes in which the text places him.