In that one brief first and last interview, we discovered, at least, the simple, earnest sincerity of the man's nature,a quality too rare, even among authors. When we took our seat in the train for Rouse's Point, we opened the volume of "Saul." The first part was finished as we approached St. Albans; the second at Vergennes; and twilight was falling as we closed the book between Bennington and Troy. Whatever crudities of expression, inaccuracies of rhythm, faults of arrangement, and violations of dramatic law met us from time to time, the earnest purpose of the writer carried us over them all. The book has a fine flavor of the Elizabethan age,a sustained epic rather than dramatic character, an affluence of quaint, original images; yet the construction was frequently that of a school-boy. In opulence and maturity of ideas, and poverty of artistic skill, the work stands almost alone in literature. What little we have learned of the history of the author suggests an explanation of this peculiarity. Never was so much genuine power so long silent.
"Saul" is yet so little known, that a descriptive outline of the poem will be a twice-told tale to very few readers of the "Atlantic." The author strictly follows the history of the renowned Hebrew king, as it is related in I Samuel, commencing with the tenth chapter, but divides the subject into three dramas, after the manner of Schiller's "Wallenstein." The first part embraces the history of Saul, from his anointing by Samuel at Ramah to David's exorcism of the evil spirit, (xvi. 23,) and contains five acts. The second part opens with David as a guest in the palace at Gibeah. The defeat of the Philistines at Elah, Saul's jealousy of David, and the latter's marriage with Michal form the staple of the four acts of this part. The third part consists of six acts of unusual length, (some of them have thirteen scenes,) and is devoted to the pursuits and escapes of David, the Witch of Endor, and the final battle, wherein the king and his three sons are slain. No liberties have been taken with the order of the Scripture narrative, although a few subordinate characters have here and there been introduced to complete the action. The author seems either to lack the inventive faculty, or to have feared modifying the sacred record for the purposes of Art. In fact, no considerable modification was necessary. The simple narrative fulfils almost all the requirements of dramatic writing, in its succession of striking situations, and its cumulative interest. From beginning to end, however, Mr. Heavysege makes no attempt to produce a dramatic effect. It is true that he has availed himself of the phrase "an evil spirit from the Lord," to introduce a demoniac element, but, singularly enough, the demons seem to appear and to act unwillingly, and manifest great relief when they are allowed to retire from the stage.