Tündérek

Tündérek are named as a supernatural people in the play’s dramatis personae, placing them within its otherworldly cast. The available text, however, does not describe their collective nature or give them an independent action: their significance here is a frame around Tünde and the play’s movement between fairy and mortal settings.

Identity and Introduction

The opening cast list identifies Tündérek as a group alongside Nemtők and other supernatural beings. It separately identifies Tünde as a fairy girl, while Ilma is described as Balga’s wife and Tünde’s attendant. These distinctions establish Tünde as an individual character connected to a broader fairy people, rather than treating the group as interchangeable with her.

Presence in the Dramatic World

The group’s presence is primarily indirect in the supplied passages. Tünde appears in a scene with Ilma, and later the two enter a desolate landscape together; these stage directions place Tünde’s fairy identity in scenes of conversation and travel without showing a collective gathering of Tündérek. The cast-list designation thus supplies a supernatural context for an otherwise individually focused dramatic action.

Narrative Significance and Limits

The play’s scene headings move among sharply different settings, including the Hármas út and, in a later act, a desolate landscape. Against these changes, Tündérek remain a named part of the world’s supernatural order, but the cited passages do not establish their customs, powers, hierarchy, or role in any particular event. Their clearest function in this evidence is to situate Tünde within a larger fairy kind while leaving her own encounters and movements at the center.