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es. When Ludovic Halevy was a candidate for L’Academie–he entered
that glorious body in 1884–the question was ventilated by Pailleron:
“What was the author’s literary relation in his union with Meilhac?” It
was answered by M. Sarcey, who criticised the character and quality of
the work achieved. Public opinion has a long time since brought in quite
another verdict in the case.

Halevy’s cooperation endowed the plays of Meilhac with a fuller ethical
richness–tempered them, so to speak, and made them real, for it can not
be denied that Meilhac was inclined to extravagance.

Halevy’s novels are remarkable for the elegance of literary style,
tenderness of spirit and keenness of observation. He excels in ironical
sketches. He has often been compared to Eugene Sue, but his touch is
lighter than Sue’s, and his humor less unctuous. Most of his little
sketches, originally written for La Vie Parisienne, were collected in his
‘Monsieur et Madame Cardinal’ (1873); and ‘Les Petites Cardinal’, (1880).
They are