Kurrah

Kurrah, one of the three little devils, is a recurring trickster in the magical episodes surrounding Csongor’s search. He is identified alongside Berreh and Duzzog as one of the devils, and his scattered entrances give him a practical, opportunistic presence: he claims an enchanted shoe, bargains with Mirígy, and later helps confront Csongor. Though the evidence does not establish a continuous personal history or a final fate, it places Kurrah at several turning points where possession, disguise, and pursuit intersect.

Identity and Introduction

Kurrah belongs to a trio rather than appearing as an isolated supernatural figure. The dramatis personae groups him with Berreh and Duzzog as little devils; their collective identity frames his actions as part of a mischievous, mobile company. The surviving scenes do not define a hierarchy among the three, but Kurrah receives individual lines and acts independently within the group.

His entrances are often marked by energetic vocal play. A sequence of cries and exclamations introduces him in the early encounter, where he calls out to Berreh. The sound of the exchange gives the devils a lively, theatrical presence before their practical dealings come into focus. Kurrah’s characterization is therefore carried less by explanation than by brief interventions, possessions, and confrontations.

Enchanted Objects and the Devils

In the episode involving the magical equipment, Kurrah announces that he will take the enchanted shoe. This claim identifies him with the material spoils at the center of the devils’ encounter with Csongor: the object is not merely an accessory but part of the equipment that enables the hero’s onward movement. Kurrah’s attention to it gives the supernatural episode a comic, acquisitive edge, as the devils handle objects whose powers matter to the larger quest.

The sequence also shows the trio arriving in disorder. The stage direction describes the little devils as coming on while quarrelling, and Kurrah’s declaration about the shoe follows this turbulent entrance. The staging makes their group less a disciplined force than a contentious band whose members pursue advantage amid confusion. Kurrah’s claim is specific, but the brief evidence does not say whether he ultimately keeps the shoe or how the dispute is settled.

Bargaining with Mirígy

Kurrah later answers Mirígy’s question about what else is needed. His reply is open-ended—he asks her to say what more is required—before Mirígy directs his attention to a white dwelling. The exchange places him in a transaction with the witch, but its terms remain unsettled in the excerpt: Mirígy supplies the next object of attention, while Kurrah signals readiness to hear her demand.

This encounter gives Kurrah a role distinct from simple comic noise or physical possession. He can participate in negotiation and respond to another character’s initiative. At the same time, the scene does not establish trust, allegiance, or a lasting partnership between them. The significance lies in the shifting arrangement: Kurrah’s availability to Mirígy makes the little devils part of the story’s web of opportunistic dealings, without reducing them to a stable faction.

Confrontation and Narrative Role

At a later moment, Kurrah appears as Tünde and Ilma depart on their mourning journey. The stage direction records their exit, and Kurrah then speaks while Csongor is being struck or disturbed, urging the thief-like young man to wake. The juxtaposition makes his entrance part of a sudden interruption: the women leave, and the action turns to Csongor’s vulnerable, altered state. The fragment does not explain all the circumstances of the blow, so Kurrah’s precise motive should not be assumed; what it does establish is his direct involvement in the encounter and his address to Csongor as a thief.

In the final supplied appearance, Kurrah confronts a man and demands his surrender, warning that he would have starved to death anyway. The line casts the encounter in the language of capture and deprivation, but the excerpt does not identify the man conclusively or disclose what follows. Across these scenes, Kurrah moves between claiming enchanted gear, responding to Mirígy, interrupting Csongor, and threatening an opponent. This episodic pattern makes him a flexible agent of the play’s comic danger: a little devil whose practical claims and sudden challenges keep the pursuit unsettled, even where the surviving moments leave their immediate outcomes unresolved.