\J scs s-resA.if. <•''</+1 / . * • ’■ Gbe Scottish tleyt Society THE POETICAL WORKS OF WILLIAM DRUMMOND OF HAWTHORNDEN Etc. d II Pi ate i.—Portrait from the (?) 1614 Edition of the Poems. Frontispiece. THE TOEEICAL WORKS OF William Drummond Of Hawthornden With i Cypresse Qrove" Edited by L. E. Kastner, M.A. Professor of French Language and Literature in the University of Manchester Volume the Second ^rtnteti for dje Soctetg fcg WILLIAM BLACKWOOD AND SONS EDINBURGH AND LONDON 1913 All Rights reserved CONTENTS PAGE Iconography ....... vii List of Illustrations ...... xvii Flowres of Sion ...... 5 A Cypresse Grove ...... 67 The Entertainment of King Charles . 113 To the Exequies, etc. ..... 141 Madrigals, etc. ....... 149 Commendatory Verses ..... 161 Posthumous Poems I. .... 173 Posthumous Poems II. 205 Posthumous Poems III. ..... 227 Posthumous Poems IV. ..... 257 Poems of Doubtful Authenticity— Drummonds Lines one the Bischopes . 293 For the Kinge ...... 296 Hymns ....... 300 Polemo-Medinia . .321 To the Reader ...... 327 Notes ........ 331 Index of First Lines ...... 427 II Plate 2.—Panel-Portrait at Hawthornden. Facing page vii. <rw ICONOGRAPHY. The Drummond portraits seem to us to fall naturally into three distinct groups : Group A. I. Unsigned oval-shaped engraving (reproduced for the first time in plate I, Frontispiece to Vol. II.), measuring 3r x 3} inches ; half length to right, in lace-edged collarette and sash. This portrait, roughly executed, probably by a local artist, has so far remained unnoticed, and is of the greatest importance in determining the genuineness and the relationship of the various portraits said to represent the poet William Drummond. It occurs for the first time in the Bodleian advance issue of the Poems (? 1614), mounted on a blank leaf, between the title-page and the commencement of the Poems. It is also contained in the Bodleian copy of the regular edition of the Poems (1616), mounted on the back of the title-page of Madrigalls and Epigrammes ; and likewise in the Edinburgh University copy of the Poems (1616), mounted on a blank leaf facing p. 96. In the Aberdeen University copy of the Poems (1616), the blank leaf in the same place is extant, but the engraving itself has disappeared. All these copies of the Poems are original editions, bound in a contemporary binding, and in all three cases the blank leaf on which is mounted the portrait forms part of a sheet sewn in with the rest of the sheets when the volume was made up by the binder. Thus vii Vlll ICONOGRAPHY. there can be no doubt that this portrait was inserted by Drummond’s authority, and that we are in presence of an undoubtedly genuine picture of the poet, however unskilled the artist may have been. If, as we may reasonably suppose, the engraving was executed expressly for the advance issue of the Poems, which appeared in 1614 or 1615, it represents Drummond at the age of twenty-nine or thirty. We should say that it was probably copied from a picture. II. Signed panel-portrait (reproduced for the first time in plate 2, facing p. vii); three-quarter length to left, in stiff collar, cloak and sash. This portrait is now hung in the dining-room at Hawthornden. It was acquired, some twenty years ago, at an auction sale in Edinburgh. In an estimate, dated 1892, from a Mr. Halkerston, a picture-restorer of Edinburgh, mention is made of a panel-picture at Hawthornden. This would tend to show that the picture in question was restored at that date. It certainly bears traces of having been touched up at least once. Not- withstanding, it undeniably bears a close resemblance to No. I., and in its original state was perhaps the model of the latter. III. Signed oval-shaped etching, with arms of Drummond (reproduced in plate 3, facing p. viii), measuring 6x4! inches; half length to right, in lace-edged collarette, cloak and sash, by Richard Gaywood {c. 1630-c. 1711), a pupil and imitator of Wenceslaus Hollar. This engraving figures as frontispiece to the first edition (165!) of Drummond’s History of Scotland. A copy of this (measuring 3i x 2§ inches), reversed, appears as frontispiece to Phillips’s edition of the Poems (1656), and, in a modified form, in the 1681, 1682, and 1683 editions of the History of Scotland. Another copy of Gaywood’s first attempt, also facing right, but very coarsely executed, constitutes the frontispiece of the folio edition (Edinburgh, 1711) of Drummond’s Works. Plate 3—Portrait after the Engraving Gaywood. Facing page viii. ICONOGRAPHY. IX However unsatisfactory the execution of Gaywood’s engraving may appear—we confess that it leaves a great deal to be desired—there is no reason to doubt its genuine- ness. The History of Scotland and the Poems of 1656 were both published with the approval and concurrence of Sir John Scott of Scotstarvet,1 Drummond’s brother- in-law, who was a man of literary tastes, and with whom Drummond was on terms of the most intimate friendship. It is not likely, under the circumstances, that Scott of Scotstarvet would have allowed the London publisher, who, it may be recalled, dedicated the Poems of 1656 to Sir John, to insert a portrait of Drummond which had no claim to authenticity. The same argument holds good of the editors of the folio edition of the Works ; they give us clearly to understand in the preface that they were in close touch with Sir William, the poet’s son. Moreover, the Gaywood engraving bears a close resem- blance to Nos. I. and II., except in one unimportant particular—the length and shape of the moustache. In our opinion Nos. I., II., and III. undoubtedly belong to the same group, and confirm one another’s genuineness. Probably No. III. was copied from No. I., or possibly from No. II., and perhaps No. II., in its original state, served as the model for No. I. The Gaywood engraving is also reproduced in : (a) David Masson, Drummond of Hawthornden. London, 1873—as frontispiece, in embellished form by C. H. Jeens. {b) W. M. C. Ward, The Poems of William Drummond of Hawthornden. London and New York, 1894—as frontispiece to the first volume. (c) R. Garnett and E. Gosse, History of English Literature. London, 1903, vol. ii. p. 296—a poor reproduction. {d) Chambers, Cyclopcedia of English Literature (new edition). London and Edinburgh, 1903, vol. i. p. 510—from the engraving prefixed to the Works, but embellished. 1 See our Bibliography, vol. i. p. Ixxxiv. X ICONOGRAPHY. IV. Miniature, formerly at Hawthornden, but now appar- ently lost (reproduced, according to the copy in Effigies Poeticce, in plate 4, facing p. x). Though this miniature cannot be said to bear any close resemblance to those already described, we are not indisposed to believe that it may represent Drummond, at a more advanced age, however, than the three fore- going. In it several of the characteristic features of Nos. I., II., and III. are traceable—the hair advancing to a point over the high forehead and receding on both sides, leaving the temples quite free, the large superciliary arches, the eyes deep-set, the cheek-bones projecting slightly, etc. The collar, too, is of the same type. Reproduced in : {a) [B. W. Proctor], Effigies Poeticce: or the Portraits of the British Poets. London, 1824, vol. i. plate 39. It is there said to be in the possession of Captain Drummond. {b) The Maitland Club edition of Drummond’s Poems. Edinburgh, 1832—as frontispiece, with the addition at the foot of Drummond’s autograph. It is important to lay stress on the fact that the autograph of Drummond has no connection with the miniature. (c) W. B. Turnbull, The Poetical Works of William Drummond of Hawthornden. London, 1856 (reprinted in 1890) —as frontispiece, according to the copy of the Maitland Club edition, but reduced and embellished. V. Unsigned portrait (reproduced for the first time in plate 5, facing p. xii); half length to right, in lace-edged collarette. This portrait, a beautiful work of art, is at Hawthorn- den, and has been there for a considerable time. When, some hundred years ago, John Gibson Lockhart visited Hawthornden, he had no doubt as to the authenticity of the portrait in question ; in the following passage of II Plate 4.—Portrait from the Miniature formerly at Hawthornden. Facing page x. ICONOGRAPHY. XI his Peter’s Letters to his Kinsfolk, he gives a beautiful and withal remarkably accurate description of it: “ Mr. G carried me into the house, chiefly to show me the original portrait of Drummond, which is preserved there ; and, in truth, I am obliged to him for having done so. The picture represents him at about the age of forty— the best of all ages, perhaps, for taking a man’s portrait, if only one is to be taken of him—when the substance of the face is in all its firmness and vigour, and the fire of youth has been tempered, but not obscured, by the gravity of manhood. Drummond’s features are singularly fine and expressive—and the picture is an admirable one, and in perfect preservation, so that we see them exactly as they were the day they were painted. His forehead is clear, open, and compact, with the short black hair combed back in dark glossy ringlets, in the true Italian style—as we see it in the pictures of Venetian Nobles, by Titian. The nose is high and aquiline, and the lips rich and full, like those in the statues of Antinous. His eyes are black as jet (and so are his eyebrows), but the dazzle of their brilliancy is softened by a melancholy wateriness, which gives to the whole visage an inexpress- ible air of pensive delicacy and sentiment.”1 Since Lockhart’s days, however, the portrait described by him has been all but forgotten,2 and most of the authorities to whom it has been submitted are agreed that it does not represent the poet Drummond.