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And upon this, the first chapter of my book, Monsieur Ludovic Halévy adds, moreover, some special and piquant details which are well worth quoting: "That which gave me very great pleasure in this tale of a man of politics is that politics really have little, very little place in the novel; it is love that dominates it and in the most despotic and pleasant way possible.
François LENORMANT, Manuel d'Histoire ancienne de l'Orient, liv. iv. ch. i. A single voice, that of M. Halévy, is now raised to combat this opinion. He denies that there is need to search for any language but a Semitic one in the oldest of the Chaldæan inscriptions.
The younger Dumas, Emile Augier, Halevy and Becque with a crescendo that in the last of the four is somewhat harsh diverged from the traditional path, and in their plays put men and women whose motives and conduct were nearer to the humanity of their audience.
M. Halévy had been at the same college with him, and they had pored together over the same legends of old time, but working without M. Meilhac on Orphée aux Enfers, M. Halévy showed his inferiority, for Orphée is the old-fashioned anachronistic skit on antiquity funny if you will, but with a fun often labored, not to say forced the fun of physical incongruity and exaggeration.
To think I might yet be a hopeless bachelor had it not been for them, is to overflow with gratitude to the Giver of Helen's Babies. The Abbé Constantin Ludovic Halevy, born in Paris on January 1, 1834, was a nephew of Jacques François Halevy, the famous operatic composer.
He answered that he had been, but had become a Christian for his wife's sake. This freedom of speech was a pleasant surprise to me, because in Germany in such cases we always studiously avoided the point, as discourteous to the person referred to. But as we never got to the proof correcting, Schlesinger made me promise to give Halevy no peace until we had done them.
One of the first things noticed by an American student of French dramatic literature is that the chief Parisian critics generally refer to the joint work of these two writers as the plays of M. Meilhac, leaving M. Halévy altogether in the shade. At first this seems a curious injustice, but the reason is not far to seek.
We have no intention of discussing his thesis in these pages; we must refer those who are interested in the problem to M. HALÉVY'S dissertation in the Journal Asiatique for June 1874: Observations critiques sur les prétendus Touraniens de la Babylonie. M. Stanislas Guyard shares the ideas of M. Halévy, to whom his accurate knowledge and fine critical powers afford no little support.
Halévy, his great disciple, speaks of this period as follows: "He is already more nervous; there peeps out I know not exactly how much of force and virility of which the Italian musicians of his day did not know or did not seek the secret. It is the dawn of a new day. Cherubini was preparing himself for the combat. Gluck had accustomed France to the sublime energy of his masterpieces.
The question is only of secondary importance, but M. Halévy enlarges its scope by reopening the whole matter of debate between himself and M. Oppert as to the true character of what Assyriologists call the Sumerian language and written character. The Comptes rendus only gives a summary of the paper. LAYARD, Discoveries, p. 341. Chaldæan and Assyrian Notions as to a Future Life.
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