ree 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.

The work, therefore, cannot be measured by dramatic laws. It is an epic
in dialogue; its chief charm lies in the march of the story and the
detached individual monologues, rather than in contrast of characters or
exciting situations. The sense of proportion--the latest developed
quality of the poetic mind--is dimly manifested. The structure of the
verse, sometimes so stately and majestic, is frequently disfigured by
the commonest faults; yet the breath of a lofty purpose has been
breathed upon every page. The personality of the author never pierces
through his theme. The language is fresh, racy, vigorous, and utterly
free from the impress of modern masters: much of it might have been
written by a contemporary of Shakspeare.

In the opening of the first part, Saul, recently anointed king, receives
the messengers of Jabesh Gilead, and promises succor. A messenger
says,--

"The winds of heav