Duzzog

Duzzog is one of the three little devils who cross Csongor’s path, a sharply drawn figure in a comic, collective group rather than a character with an independently developed history. His brief appearances connect the devils’ opening entrance, their struggle over magical equipment, and their later peace with one another.## Identity and Introduction Duzzog is identified in the cast list as one of the little devils, alongside Kurrah and Berreh. The text supplies no separate biography or account of his life beyond that role: he enters the action as part of a trio whose members are distinguished through their names, entrances, and claims over enchanted objects.

His first staged appearance is at the crossroads. The stage direction places the three devils arriving from three different directions, then singles out Duzzog as he drives a young fox across the stage. This small action gives his entrance a physical, mischievous energy, while keeping him embedded in the coordinated arrival of the group.## The Crossroads and the Magical Objects The crossroads scene introduces Duzzog among the supernatural figures who intersect with Csongor’s journey. The stage picture is deliberately expansive—the devils come from three directions—and Duzzog’s fox-driving action makes the encounter theatrical before the group’s separate claims become the focus. The evidence does not establish that the fox has any further role or that Duzzog has a particular intention toward it.

Later, amid the dispute over the magical equipment, Duzzog refuses to give up the cloak. Berreh speaks of the whip, while Duzzog insists that the cloak will not be surrendered. The exchange assigns the objects distinct claims within the group’s quarrel: Duzzog’s contribution is not a general boast but a specific refusal concerning the cloak. The available text does not clarify how he acquired it or how this particular dispute is settled.## Speech and Group Dynamics Duzzog’s few lines make him legible through direct, practical assertions. At the crossroads, his action marks him as an energetic participant; in the equipment exchange, his refusal establishes a firm position over one object. These glimpses support a portrait of a comic ensemble figure who takes part in the devils’ competition, but they do not disclose a private motive or a psychological development.

His next recorded line comes in a different register. When Mirígy asks whether he sees the white dwelling, Duzzog replies, in effect, that it may or may not be so, and asks what else is needed. The response is equivocal about the dwelling and immediately turns toward the practical question of what is required. The text offers no basis for treating the uncertainty as deception, and the exchange does not establish what Duzzog knows beyond what he says.## Reconciliation and Narrative Role Duzzog appears again when the devils’ relations have changed. Berreh expresses pleasure that they have come together, and Duzzog declares that peace now reigns between them. The contrast with his earlier refusal to yield the cloak gives the short line a clear dramatic function: the group that was marked by competing claims is now presented as reconciled. The text does not specify the circumstances that produced this peace, so the reconciliation is stated rather than dramatized in the available evidence.

Duzzog’s role is therefore carried by a sequence of compact stage and speech details: an entrance from the crossroads with a fox, resistance over the cloak, an uncertain answer to Mirígy, and a final declaration of peace. Together these moments make him a participant in the play’s comic supernatural ensemble and provide one visible marker of change within it, without giving him a separate plot arc beyond the group’s movements.