ill-starred Elector-Palatine and King of Bohemia, and ancestress of the
present English royal family. The Elizabethan spirit is present but mingled
with seventeenth century melancholy in the sonnets and other poems of the
Scotch gentleman William Drummond of Hawthornden (the name of his estate
near Edinburgh), who in quiet life-long retirement lamented the untimely
death of the lady to whom he had been betrothed or meditated on heavenly
things.

In Drummond appears the influence of Spenser, which was strong on many
poets of the period, especially on some, like William Browne, who continued
the pastoral form. Another of the main forces, in lyric poetry as in the
drama, was the beginning of the revival of the classical spirit, and in
lyric poetry also this was largely due to Ben Jonson. As we have already
said, the greater part of Jonson's non-dramatic poetry, like his dramas,
expresses chiefly the downright strength of his mind and character. It is
terse and unadorned, dealing often with commonplace things in the manner of
the Epistles and Satires of Horace, and it generally has more of the
quality of intellectual prose than of real emotional poetry. A very
favorable representative of it is the admirable, eulogy on Shakspere
included in the first folio edition of Shakspere's works. In a few
instances, however, Jonson strikes the true lyric note delightfully. Every
one knows and sings his two stanzas 'To Celia'--'Drink to me only with
thine eyes,' which would still be famous without the exquisitely
appropriate music that has come down to us from Jonson's own time, and
which are no less beautiful because they consist largely of ideas culled
from the Greek philosopher Theophrastus. In all his poems, however, Jonson
aims consistently at the classical virtues of clearness, brevity,
proportion, finish, and elimination of all excess.

These latter qualities appear also in the lyrics which abound in the plays