between the genres and turned away from didactic genres toward more lyric, folk-inspired works (e.g. Ján Kollár and František Čelakovský.) It was during this period that the idea of a truly national literature and culture developed, as a rejection of Bernard Bolzano's vision of a bi-lingual and bi-cultural Czech-German state. The perhaps greatest figure of this era is Josef Jungmann, who translated many classics of world literature and spent his life establishing Czech literature as a serious, rich literature capable of great development. František Palacký and Pavel Jozef Šafárik took up the challenge of reexamining Czech history. As part of the effort to establish a pedigree for Czech literature and culture, Czech historians of the time sought evidence of heroic epics of the Middle Ages. They appeared to find such evidence in the Rukopis královédvorský and Rukopis zelenohorský (the Dvůr Králové Manuscript and the Zelená Hora Manuscript, respectively), although both were later proven forgeries. By the 1830s, the foundations of Czech literature were laid and authors now began to focus more on the artistic merits of their work and less on developing the idea of Czech literature and culture as a whole. During this time period two main types of literature were produced: Biedermeier literature, which strove to educate the readers and encourage them to be loyal to the Austro-Hungarian Empire (e.g. Karel Jaromír Erben and Božena Němcová), and romanticism, which emphasized the freedom of the individual and focused on subjectivity and the subconscious (e.g. Karel Hynek Mácha, Václav Bolemír Nebeský.) These authors were generally published in either newspapers or in the literary magazine Květy (Blossoms) published by Josef Kajetán Tyl. The year 1848 brought to the fore a new generation of Czech authors who followed in the footsteps of Mácha, and published their work in the new almanac Máj (May) (e.g. Vítězslav Hálek, Karolina Světlá and Jan Neruda). These authors rejected the narrow ideal of a purely national culture and favored one that incorporated Czech literature into European culture and drew inspiration from the progress made outside of the Czech lands. Their work, however, also commented on the encroachment of industrialization and focused increasingly on the simple life as opposed to the unfettered romantic ideal. The May generation was followed by the neo-romantics, who continued in the romantic tradition, but also incorporated more contemporary styles: realism, Symbolism, and decadence. Three periods are apparent: the first reacted to the disappointment