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He has a considerable estate; he belongs to the French Academy; his house is agreeable; his manners delightful; his dinners unequalled. If in all happiness there is a dash of management, where is the harm in Monsieur Ernest Legouvé's case? Why should not gentlemen, too, be sometimes adroit? Rogues are so always!
The publication recently of Legouve's Death of Henry the Fourth, has led to the reprinting of a contemporary piece on the same subject, which is not only written in a ludicrous style, but in the general plan and distribution of the subject, with its prologue spoken by Satan, and its chorus of pages, with its endless monologues and want of progress and action, betrays the infancy of the dramatic art; not a naive infancy, full of hope and promise, but one disfigured by the most pedantic bombast and absurdity.
He composed several masses and other church music; a "Stabat Mater" with orchestra; the oratorio of "Tobie"; "Gallia," a lamentation for France; incidental music for Legouvé's tragedy of "Les Deux Reines," and for Jules Barbier's "Jeanne d'Arc"; a large number of songs and romances, both sacred and secular, such as "Nazareth," and "There is a Green Hill"; and orchestral works, a "Salterello in A," and the "Funeral March of a Marionette."
Monsieur Legouvé's play, which was then called "Le Nom du Mari," and which has since been played under the title of "Par Droit de Conquête," was pleasing.
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