Lippincott's Magazine of Popular Literature and Science, Vol. XVI., December, 1880.Various
History
Lippincott's Magazine of Popular Literature and Science, Vol. XVI., December, 1880.
Various
Literature, Modern -- 19th century -- Periodicals; Science -- Periodicals
Born in 1832, M. Henri Meilhac, like M. Emile Zola, dealt in books
before he began to make them. He soon gave up trade for journalism, and
contributed with pen and pencil to the comic _Journal pour Rire_. He
began as a dramatist in 1855 with a two-act play at the Palais Royal
Theatre: like the first pieces of Scribe and of M. Sardou, and of so
many more who have afterward abundantly succeeded on the stage, this
play of M. Meilhac's was a failure; and so also was his next, likewise
in two acts. But in 1856 the _Sarabande du Cardinal_, a delightful
little comedy in one act, met with favor at the Gymnase. It was followed
by two or three other comediettas equally clever. In 1859, M. Meilhac
made his first attempt at a comedy in five acts, but the _Petit fils de
Mascarille_ had not the good fortune of his ancestor. In 1860, for the
first time, he was assisted by M. Ludovic Halevy, and in the twenty
years since then their names have been linked together on the
title-pages of two score or more plays of all kinds--drama, comedy,
farce, opera, operetta and ballet. M. Meilhac's new partner was the
nephew of the Halevy who is best known out of France as the composer of
the _Jewess_, and he was the son of M. Leon Halevy, poet, philosopher
and playwright. Two years younger than M. Henri Meilhac, M. Ludovic
Halevy held a place in the French civil service until 1858, when he
resigned to devote his whole time, instead of his spare time, to the
theatre. As the son of a dramatist and the nephew of a popular composer,
he had easy access to the stage. He began as the librettist-in-ordinary
to M. Offenbach, for whom he wrote _Ba-ta-clan_ in 1855, and later the
_Chanson de Fortunio_, the _Pont des Soupirs_ and _Orphee aux Enfers_.
The first very successful play which MM. Meilhac and Halevy wrote
together was a book for M. Offenbach; and it was possibly the good
fortune of this operetta which finally affirmed the partnership. Before
the triumph of the _Belle Helene_ in 1864 the collaboration had been
tentative, as it were: after that it was as though the articles had been
definitely ratified--not that either of the parties has not now and then
indulged in outside speculations, trying a play alone or with an
outsider, but this was without prejudice to the permanent partnership.
Public-domain text, read in full here on John Shaqi.
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