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 on the “force of the blood” in various animals, its rate of flow, the capacity of the different vessels, &c., entitles him to be regarded as one of the originators of experimental physiology. But he did not confine his attention to abstract inquiries. The quest of a solvent for calculus in the bladder and kidneys was pursued by him as by others at the period, and he devised a form of forceps which, on the testimony of John Ranby (1703–1773), sergeant-surgeon to George II., extracted stones with “great ease and readiness.” His observations of the evil effect of vitiated air caused him to devise a “ventilator” (a modified organ-bellows) by which fresh air could be conveyed into gaols, hospitals, ships’-holds, &c.; this apparatus was successful in reducing the mortality in the Savoy prison, and it was introduced into France by the aid of H. L. Duhamel du Monceau. Among other things Hales invented a “sea-gauge” for sounding, and processes for distilling fresh from sea water, for preserving corn from weevils by fumigation with brimstone, and for salting animals whole by passing brine into their arteries. His Admonition to the Drinkers of Gin, Brandy, &c., published anonymously in 1734, has been several times reprinted.

HALESOWEN, a market town in the Oldbury parliamentary division of Worcestershire, England, on a branch line of the Great Western and Midland railways, 6 m. W.S.W. of Birmingham. Pop. (1901), 4057. It lies in a pleasant country among the eastern foothills of the Lickey Hills. There are extensive iron and steel manufactures. The church of SS Mary and John the Baptist has rude Norman portions; and the poet William Shenstone, buried in 1763 in the churchyard, has a memorial in the church. His delight in landscape gardening is exemplified in the neighbouring estate of the Leasowes, which was his property. There is a grammar school founded in 1652, and in the neighbourhood is the Methodist foundation of Bourne College (1883). Close to the town, on the river Stour, which rises in the vicinity, are slight ruins of a Premonstratensian abbey of Early English date. Within the parish and 2 m. N.W. of Halesowen is Cradley, with iron and steel works, fire-clay works and a large nail and chain industry.

HALEVI, JUDAH BEN SAMUEL (c. 1085–c. 1140), the greatest Hebrew poet of the middle ages, was born in Toledo c. 1085, and died in Palestine after 1140. In his youth he wrote Hebrew love poems of exquisite fancy, and several of his Wedding Odes are included in the liturgy of the Synagogue. The mystical connexion between marital affection and the love of God had, in the view of older exegesis, already expressed itself in the scriptural Song of Songs and Judah Halevi used this book as his model. In this aspect of his work he found inspiration also in Arabic predecessors. The second period of his literary career was devoted to more serious pursuits. He wrote a philosophical dialogue in five books, called the Cuzari, which has been translated into English by Hirschfeld. This book bases itself on the historical fact that the Crimean Kingdom of the Khazars adopted Judaism, and the Hebrew poet-philosopher describes what he conceives to be the steps by which the Khazar king satisfied himself as to the claims of Judaism. Like many other medieval Jewish authors, Judah Halevi was a physician. His real fame depends on his liturgical hymns, which are the finest written in Hebrew since the Psalter, and are extensively used in the Septardic rite. A striking feature of his thought was his devotion to Jerusalem. To the love of the Holy City he devoted his noblest genius, and he wrote some memorable Odes to Zion, which have been commemorated by Heine, and doubly appreciated recently under the impulse of (q.v.). He started for Jerusalem, was in Damascus in 1140, and soon afterwards died. Legend has it that he was slain by an Arab horseman just as he arrived within sight of what Heine called his “Woebegone poor darling, Desolation’s very image,—Jerusalem.”

Excellent English renderings of some of Judah Halevi’s poems may be read in Mrs H. Lucas’s The Jewish Year, and Mrs R. N. Solomon’s Songs of Exile.

HALÉVY, JACQUES FRANÇOIS FROMENTAL ÉLIE (1799–1862), French composer, was born on the 27th of May 1799, at Paris, of a Jewish family. He studied at the Paris Conservatoire under Berton and Cherubini, and in 1819 gained the grand prix de Rome with his cantata Herminie. In accordance with the conditions of his scholarship he started for Rome, where he devoted himself to the study of Italian music, and wrote an opera and various minor works. In 1827 his opera L’Artisan was performed at the Théâtre Feydeau in Paris, apparently without much success. Other works of minor importance, and now forgotten, followed, amongst which Manon Lescaut, a ballet, produced in 1830, deserves mention. In 1834 the Opéra-Comique produced Ludovic, the score of which had been begun by Hérold and had been completed by Halévy. In 1835 Halévy composed the tragic opera La Juive and the comic opera L’Éclair, and on these works his fame is mainly founded. The famous air of Eléazar and the anathema of the cardinal in La Juive soon became popular all over France. L’Éclair is a curiosity of musical literature. It is written for two tenors and two soprani, without a chorus, and displays the composer’s mastery over the most refined effects of instrumentation and vocalization in a favourable light. After these two works he wrote numerous operas of various genres, amongst which only La Reine de Chypre, a spectacular piece analyzed by Wagner in one of his Paris letters (1841), and La Tempesta, in three acts, written for Her Majesty’s theatre, London (1850), need be mentioned. In addition to his productive work Halévy also rendered valuable services as a teacher. He was professor at the Conservatoire from 1827 till his death—some of the most successful amongst the younger composers in France, such as Gounod, Victor Massé and Georges Bizet, the author of Carmen, being amongst his pupils. He was maestro al cembalo at the Théâtre Italien from 1827 to 1829; then director of singing at the Opera House in Paris until 1845, and in 1836 he succeeded Reicha at the Institut de France. Halévy also tried his hand at literature. In 1857 he became permanent secretary to the Académie des Beaux Arts, and there exists an agreeable volume of Souvenirs et portraits from his pen. He died at Nice, on the 17th of March 1862.

HALÉVY, LUDOVIC (1834–1908), French author, was born in Paris on the 1st of January 1834. His father, Léon Halévy (1802–1883), was a clever and versatile writer, who tried almost every branch of literature—prose and verse, vaudeville, drama, history—without, however, achieving decisive success in any. His uncle, (q.v.), was for many years associated with the opéra; hence the double and early connexion of Ludovic Halévy with the Parisian stage. At the age of six he might have been seen playing in that Foyer de la danse with which he was to make his readers so familiar, and, when a boy of twelve, he would often, of a Sunday night, on his way back to the College Louis le Grand, look in at the Odéon, where he had free admittance, and see the first act of the new play. At eighteen he joined the ranks of the French administration and occupied various posts, the last being that of secrétaire-rédacteur to the Corps Législatif. In that capacity he enjoyed the special favour and friendship of the famous duke of Morny, then president of that assembly. In 1865 Ludovic Halévy’s increasing popularity as an author enabled him to retire from the public service. Ten years earlier he had become acquainted with the musician Offenbach, who was about to start a small theatre of his own in the Champs Élysées, and he wrote a sort of prologue, Entrez, messieurs, mesdames, for the opening night. Other little productions followed, Ba-ta-clan being the most noticeable among them. They were produced under the pseudonym of Jules Servières. The name of Ludovic Halévy appeared for the first time on the bills on the 1st of January 1856. Soon afterwards the unprecedented run of Orphée aux enfers, a musical parody, written in collaboration with Hector Crémieux, made his name famous. In the spring of 1860 he was commissioned to write a play for the manager of the Variétés in conjunction with another vaudevillist, Lambert Thiboust. The latter having abruptly retired from the collaboration, Halévy was at a loss how to carry out the contract, when on the steps of the theatre he met Henri Meilhac (1831–1897), then comparatively a stranger to him. He proposed to Meilhac the task rejected by Lambert Thiboust, and the proposal was immediately accepted. Thus