In spite of the difficulties of distance, he managed to keep abreast of the thought of literary London, the London of Drayton and Webster, of Beaumont, Fletcher, Massinger, and Ford. His chief satisfaction was to know that his own work was not unacceptable to this brilliant group, and one of the great pleasures of his life was a visit from Ben Jonson, who, making a walking tour to Scotland, found at Hawthornden that congenial hospitality in which his soul delighted. Of this famous visit, as of other important events, Drummond kept a record, in which he set down his guest's behavior, opinions, and confidential sayings. Warmly as he admired Jonson's genius, he found his personality oppressive, and intrusted his criticisms to his diary. When this was published, more than a century later, the gentle Scot was accused of bad taste, breach of confidence, and disloyalty to friendship. But his defense lies in the fact that the book was meant for no eyes but his own, and that the intimacy and candor of its revelations were intended to preserve his recollections of a memorable experience. If his environment was not entirely favorable to literary excellences, it is yet very likely that Drummond developed the full measure of his gift. He expressed the spirit of the more imaginative generation which succeeded a hard and fettered predecessor, and it is for this that literature owes him its peculiar debt. His career began in his twenty-ninth year with the publication of an elegy on the death of Henry, Prince of Wales, eldest son of James I. This poem, under the title 'Tears on the Death of Moeliades,' appeared in 1613, and reached a third edition within a twelvemonth. Its two hundred lines show the finished versification of the scholar, with much poetic grace. It was a product of the Spenserian school, and emphasized the fact that the representative literature of the land had abandoned the Scottish dialect for English forms. Drummond's second volume of poems commemorated the death of his wife and his love of her. It is in this work that the ultimate mood of the poet appears. Much beauty of form, a delightful sensitiveness to nature, a luxuriance of color, and a finely tempered thoughtfulness pervade the poems. His next production, celebrating the visit of James I. to his native land, was entitled 'Forth Feasting,' and represented the Forth and all its borders as rejoicing in the presence of their King. To the reader of to-day the panegyric sounds fulsome and the poetry stilted, and the once famous book has now merely an archaic interest.