ly the Department of State
(1852); the Algerian Department (1858), and later on became editorial
secretary of the Corps Legislatif (1860). When his patron, the Duc de
Morny, died in 1865, Halevy resigned, giving up a lucrative position for
the uncertain profession of a playwright: At this period he devoted
himself exclusively to the theatre.

He had already written plays as early as 1856, and had also tried his
hand at fiction, but did not meet with very great success. Toward 1860,
however, he became acquainted with Henri Meilhac, and with him formed a
kind of literary union, lasting for almost twenty years, when Halevy
rather abruptly abandoned the theatre and became a writer of fiction.

We have seen such kinds of co-partnerships, for instance, in Beaumont and
Fletcher; more recently in the beautiful French tales of
Erckmann-Chatrian, and still later in the English novels of Besant and
Rice.

Some say it was a fortunate event for Meilhac; others assert that Halevy
reaped a great profit by the union. Be this as it may, a great number of
plays-drama, comedy, farce, opera, operetta and ballet--were jointly
produced, as is shown by the title-pages of two score or more of their
pieces. 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 not intended 'virginibus puerisque', and the author's attitude
is that of a half-pitying, half-contemptuous moralist, yet the virility
of his criticism has brought him immortality.

Personal recollections of the great war are to be found in 'L'