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Updated: June 11, 2025
Besides these plays for music, and besides the more important five-act comedies to be considered later, MM. Meilhac and Halévy are the authors of thirty or forty comic dramas as they are called on the English stage or farce-comedies in one, two, three, four, and even five acts, ranging in aim from the gentle satire of sentimentality in La Veuve to the outspoken farce of the Réveillon.
Having passed the ninth preparatory grade, under the direction of the indolent M. Tavernier, always busy polishing his nails, like a Chinese mandarin, the child had for a professor in the eighth grade Pere Montandeuil, a poor fellow stupefied by thirty years of teaching, who secretly employed all his spare hours in composing five-act tragedies, and who, by dint of carrying to and going for his manuscripts at the Odeon, ended by marrying the stagedoor-keeper's daughter.
The year after her return from Majorca was marked by her first appearance before the public as a dramatic author. Although it was a line in which she afterwards obtained successes, as will be seen in a future chapter, the result of this initial effort, Cosima, a five-act drama, was not encouraging. It was acted at the Théâtre Français in the spring of 1840, and proved a failure.
By a curious coincidence the two poets were at this time simultaneously sickening for what may perhaps be appropriately called the "poetic measles." They were each engaged in the composition of a five-act tragedy, and read scenes to each other, and to each other's admiration, from their respective dramas. Neither play was fortunate in its immediate destiny.
It creeps on us so quickly! But in truth it does not creep quicker on youth than does youth on infancy; but the years seem to fly fast because not marked by distinct changes. It is the part of a wise man to see that each portion of his five-act poem shall be well performed.
Perhaps a few other writers might with pains be added; and of course every reviewer knows that the flow of five-act tragedies, though less abundant than of old, has continued.
"So on January 16, 1850, I go to Paris; a couple of overtures will at once be put into practice; and I shall take my completed opera scheme: it is Wiland der Schmied. First of all I attack the five-act opera form, then the statute according to which in every great opera there must be a special ballet.
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