LUDOVIC See also:

• HALEVY, JACQUES FRANCOIS FROMENTAL ELIE (1799-. 1862)
• LUDOVIC HALEVY (1834-1908)

HALEVY (1834-1908)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French author, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris on the 1st of See also:

• JANUARY

January 1834 . His See also:

• FATHER

father, See also:

• LEON
• LEON, LUIS PONCE DE (1527-1591)
• LEON, MOSES BEN SI
• LEON, or LEON DE LAS ALDAMAS

Leon See also:

• HALEVY, JACQUES FRANCOIS FROMENTAL ELIE (1799-. 1862)
• HALEVY, LUDOVIC (1834-1908)

Halevy (1802-1883), was a See also:

• CLEVER

clever and versatile writer, who tried almost every See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of literature—See also:

• PROSE

prose and See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, See also:

• VAUDEVILLE

vaudeville, See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, See also:

• HISTORY

history—without, however, achieving decisive success in any . His See also:

• UNCLE

uncle, J . F . Fromental E . Halevy (q.v.), was for many years associated with the See also:

• OPERA (Italian for " work ")

opera; hence the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double and See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early connexion of Ludovic Halevy with the Parisian See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of six he might have been seen playing in that Foyer de la danse with which he was to make his readers so See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar, and, when a boy of twelve, he would often, of a See also:

• SUNDAY

Sunday See also:

• NIGHT

night, on his way back to the See also:

• COLLEGE (Collegium)

College See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis le See also:

• GRAND

Grand, look in at the Odeon, where he had See also:

• FREE

free admittance, and see the first See also:

• ACT (Lat. actus, actum)

act of the new See also:

• PLAY

play . At eighteen he joined the ranks of the French See also:

• ADMINISTRATION (Lat. administrare, to serve)

administration and occupied various posts, the last being that of secretaire-redacteur to the See also:

• CORPS (pronounced as in French, from which it is taken, being a late spelling of tors, from Lat. corpus, a body; cf. " corpse ")

Corps Legislatif . In that capacity he enjoyed the See also:

• SPECIAL

special favour and friendship of the famous See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• MORNY, CHARLES AUGUSTE LOUIS JOSEPH

Morny, then See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of that See also:

• ASSEMBLY, UNLAWFUL

assembly . In 1865 Ludovic Halevy's increasing popularity as an author enabled him to retire from the public service . Ten years earlier he had become acquainted with the musician See also:

• OFFENBACH
• OFFENBACH, JACQUES (1819-1880)

Offenbach, who was about to start a small See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre of his own in the Champs Elysees, and he wrote a sort of See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

prologue, Entrez, messieurs, mesdames, for the opening night . Other little productions followed, See also:

• EA(nar...), (p.s„,.,.)
• EA(psr...), (p, „...)• (pqr...)

Ea-la-See also:

• CLAN (Gaelic clann, O. Ir. cland, connected with Lat. planta, shoot or scion, the ancient Gaelic or Goidelic substituting k for p)

clan being the most noticeable among them .

They were produced under the See also:

• PSEUDONYM (Gr. >l ev&,vuµos, having a false name, ¢Evirls, false and ovoµa, name)

pseudonym of Jules Servieres . The name of Ludovic Halevy appeared for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time on the bills on the 1st of January 1856 . Soon after-wards the unprecedented run of Orphee aux enfers, a musical See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody, written in collaboration with See also:

• HECTOR

Hector Cremieux, made his, name famous . In the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 186o he was commissioned to write a play for the manager of the Varietes in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with another vaudevillist, See also:

• LAMBERT [alias NICHOLSON], JOHN (d. 1538)
• LAMBERT, DANIEL (1770-1809)
• LAMBERT, FRANCIS (c 1486-153o)
• LAMBERT, JOHANN HEINRICH (1728–1777)
• LAMBERT, JOHN (1619-1694)

Lambert Thiboust . The latter having abruptly retired from the collaboration, Halevy was at a loss how to carry out the See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract, when on the steps of the theatre he met See also:

• HENRI

Henri See also:

• MEILHAC, HENRI (1831-1897)

Meilhac (1831-1897), then comparatively a stranger to him . He proposed to Meilhac the task rejected by Lambert Thiboust, and the proposal was immediately accepted . Thus began a connexion which was to last over twenty years, and which proved most fruitful both for the reputation of the two authors and the prosperity of the See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor Paris theatres . Their See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint See also:

• WORKS

works may be divided into three classes: the operettes, the farces, the comedies . The operettes afforded excellent opportunities to a gifted musician for the display of his See also:

• PECULIAR

peculiar See also:

• HUMOUR (Latin humor)

humour . They were broad and lively libels against the society of the time, but savoured strongly of the vices and follies they were supposed to satirize . Amongst the most celebrated works of the joint authors were La Belle Helene (1864), Barbe Bleue (1866), La Grande Duchesse de See also:

• GEROLSTEIN

Gerolstein (1867), and La Perichole (r868) . After 1870 the See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue of Parody rapidly declined .

The decadence became still more apparent when Offenbach was no longer at See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand to assist the two authors with his See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint musical See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony, and when they had to See also:

• DEAL

deal with interpreters almost destitute of singing See also:

• POWERS, HIRAM (1805-1873)

powers . They wrote farces of the old type, consisting of complicated intrigues, with which they cleverly interwove the See also:

• REPRESENTATION

representation of contemporary whims and social oddities . They generally failed when they attempted comedies of a more serious See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and tried to introduce a higher sort of emotion . A solitary exception must be made in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of Frou frou (1869), which, owing perhaps to the admirable See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent of Aimee Desclee, remains their unique succes de larmes . Meilhac and Halevy will be found at their best in See also:

• LIGHT

light sketches of Parisian See also:

• LIFE

life, See also:

• LES

Les Sonnettes, Le Roi Candaule, Madame attend See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur, Toto chez See also:

• TATA, JAMSETJI NASARWANJI (1839-1904)

Tata . In that intimate association between the two men who had met so opportunely on the See also:

• PERRON (a French word meaning properly a "large stone," Ital. Petrone, from Lat. Petra, Fr. pierre, stone)
• PERRON, PIERRE CUILLIER (1755-1834)

perron See also:

• DES

des varietes, it was often asked who was the leading partner . The question was not answered until the connexion was finally severed and they stood before the public, each to See also:

• ANSWER (derived from and, against, and the same root as swear)

answer for his own See also:

• WORK

work . It was then apparent that they had many gifts in See also:

• COMMON

common . Both had wit, humour, observation of character . Meilhac had a ready See also:

• IMAGINATION

imagination, a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and whimsical See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy; Halevy had See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, refinement and pathos of a certain See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . Not less clever than his brilliant comrade, he was more human . Of this he gave See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence in two delightful books, Monsieur et Madame See also:

• CARDINAL (Lat. cardinalis)

Cardinal (1873) and Les Petites Cardinal, in which the lowest orders of the Parisian See also:

• MIDDLE

middle class are faithfully described .

The pompous, pedantic, venomous Monsieur Cardinal will See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long survive as the true See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

image of sententious and self-glorifying immorality . M . Halevy's peculiar qualities are even more visible in the See also:

• SIMPLE

simple and striking scenes of the Invasion, published soon after the conclusion of the Franco-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War, in Criquette (1883) and L'See also:

• ABBE (Serbo-Croatian Rai))

Abbe Constantin (1882), two novels, the latter of which went through innumerable See also:

• EDITIONS

editions . See also:

• ZOLA, EMILE EDOUARD CHARLES ANTOINE (1840-1902)

Zola had presented to the public an almost exclusive See also:

• COMBINATION (Lat. combinare, to combine)

combination of See also:

• BAD, BCD

bad men and See also:

• WOMEN

women; in L'Abbe Constantin all are kind and See also:

• GOOD, JOHN MASON (1764-1827)

good, and the See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change was eagerly welcomed by the public . Some enthusiasts still maintain that the Abbe will See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank permanently in literature by the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the equally chimerical See also:

• VICAR (Lat. vicarius, substitute)

Vicar of See also:

• WAKEFIELD
• WAKEFIELD, GILBERT (1756-1801)

Wakefield . At any See also:

• RATE

rate, it opened for M . Ludovic Halevy the doors of the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, to which he was elected in 1884 . Halevy remained an assiduous frequenter of the Academy, the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire, the Comedie Francaise, and the Society of Dramatic Authors, but, when he died in Paris on the 8th of May 1908, he had produced practically nothing new for many years . His last See also:

• ROMANCE

romance, Kari Kari, appeared in 1892 . The Theatre of MM . Meilhac and Halevy was published in 8 vols . (1900-1902) .