“A love which, while it burns The soul with fairest beams, In that uncreated sun the soul it turns, And makes such beauty prove, That, if sense saw her gleams, All lookers-on would pine and die for love.” (ll. 97–102.) The essential nature of this beatific vision is described either as a sense of eternal rest or of eternal joy. In Norris’s “Prospect,” the soul is preparing for the great change that will come when it is free from the body; and its greatest change is described as a sight of “the only Fair.” “Now for the greatest Change prepare, To see the only Great, the only Fair, Vail now thy feeble eyes, gaze and be blest; Here all thy Turns and Revolutions cease, Here’s all Serenity and Peace: Thou’rt to the _Center_ come, the native seat of _rest_. Here’s now no further change nor need there be; When _One_ shall be _Variety_.” (Stz. 5.) In Drummond’s “Teares on the Death of Mœliades” the joy of the departed soul is repeatedly emphasized as a rest in the enjoyment of God’s beauty. Thus, in closing, the dead is addressed: “Rest, blessed spright, rest satiate with the sight Of him whose beams doth dazzle and delight, Life of all lives, cause of each other cause, The sphere and centre where the mind doth pause; Narcissus of himself, himself the well, Lover, and beauty, that doth all excel. Rest, happy ghost, and wonder in that glass Where seen is all that shall be, is, or was, While shall be, is, or was do pass away, And nought remain but an eternal day: For ever rest.” (ll. 179–188.) The note of joy in the beatific vision is heard in Drummond and Norris. In Drummond earthly love is a care, a war within our nature; but love “Among those sprights above Which see their Maker’s face, It a contentment is, a quiet peace, A pleasure void of grief, a constant rest, Eternal joy which nothing can molest.” (“Urania,” Madrigal 2.) And again: “O blest abode! O happy dwelling-place Where visibly th’ Invisible doth reign! Blest people, who do see true beauty’s face, With whose dark shadows he but earth doth deign, All joy is but annoy, all concord strife, Match’d with your endlesse bliss and happy life.” (“Urania,” S. v.) In Norris’s “Seraphick Love” a more violent strain is detected. He has forsaken the beauty of earth because he has seen a fairer beauty in contemplation, and to this source of all good and beauty he thus addresses the close of his poem.