‘Methought I saw the grave where Laura lay, Within that temple, where the vestal flame Was wont to burn, and passing by that way To see that buried dust of living fame, Whose tomb fair Love, and fairer Virtue kept. All suddenly I saw the Faery Queen: At whose approach the soul of Petrarch wept; And from thenceforth those Graces were not seen, For they this queen attended, in whose stead Oblivion laid him down on Laura’s hearse. Hereat the hardest stones were seen to bleed, And groans of buried ghosts the Heav’ns did pierce, Where Homer’s spright did tremble all for grief, And curst th’ access of that celestial thief.’ A higher strain of compliment cannot well be conceived than this, which raises your idea even of that which it disparages in the comparison, and makes you feel that nothing could have torn the writer from his idolatrous enthusiasm for Petrarch and his Laura’s tomb, but Spenser’s magic verses and diviner Faery Queen—the one lifted above mortality, the other brought from the skies! The name of Drummond of Hawthornden is in a manner entwined in cypher with that of Ben Jonson. He has not done himself or Jonson any credit by his account of their conversation; but his Sonnets are in the highest degree elegant, harmonious, and striking. It appears to me that they are more in the manner of Petrarch than any others that we have, with a certain intenseness in the sentiment, an occasional glitter of thought, and uniform terseness of expression. The reader may judge for himself from a few examples. ‘I know that all beneath the moon decays, And what by mortals in this world is wrought In time’s great periods shall return to nought; That fairest states have fatal nights and days. I know that all the Muse’s heavenly lays, With toil of spright which are so dearly bought, As idle sounds, of few or none are sought; That there is nothing lighter than vain praise. I know frail beauty’s like the purple flow’r, To which one morn oft birth and death affords: That love a jarring is of minds’ accords, Where sense and will bring under reason’s pow’r. Know what I list, this all cannot me move, But that, alas! I both must write and love.’ Another—