Saintsbury, in his _Seventeenth Century Lyrics_, has a small and very choice group of Vaughan’s songs, and Professor Palgrave, having to do with him for the third time, gives him large and cordial honor in the eleventh volume of _Y Cymmrodor_. In Emerson’s Parnassus he appears but once. He had his most graceful and grateful American tribute when Mr. Lowell, long ago, named him in passing as “dear Henry Vaughan,” in _A Certain Condescension in Foreigners_. [33] In one of his prefaces, Vaughan hits neatly at the crowd of Herbertists: “These aim more at verse than at perfection.” Where there are noble resemblances, it is well to remember that two sides have the right to be heard. Mrs. Thoreau used to say: “Mr. Emerson imitates Henry!” And she was at least as accurate as the critics who annoyed her old age by the reversed statement. [34] Mr. R. H. Stoddard owns a copy of the first edition of _Nieremberg’s Meditations_, translated by Vaughan in 1654, and published the following year, which has upon the title-page an autographic “J. M.” supposed, by every evidence, to be Milton’s. If it be so, the busy Latin Secretary, meditating his grand work, must have been, on his part, a reader and a lover of the man who was almost his equal at golden phrases. [35] Congreve and Waller employ the same rather too obvious love-name for their serenaded divinities. [36] Vaughan openly wears jewels which belong to Jonson. “Go seek thy peace in war: Who falls for love of God shall rise a star!” wrote brave Father Ben; and no Englishman of spirit, between 1642 and the Restoration, was likely to forget it. The passage certainly clung to Vaughan’s mind, for he assimilated it later in a sweet line all for peace: “Do thou the works of day, and rise a star.” III GEORGE FARQUHAR 1677-1707