One of those delicately phrased stories for which the French seem to have a genius. It moves on quietly, giving incidentally vivid pictures of French home life and successfully portraying a simple hearted and unselfish Roman father, true to the ideal of his church, yet not spoiled in his human interest.
es. 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