Drummond of Hawthornden, after observing Anna Hume's commendatory verses, declared himself unworthy of 'the blazon of so pregnant and rare a wit.'
He is known for cutting off the head of the French Warden Antoine d'Arces de la Bastle in 1517, after he was killed by John and Partick Hume.
"[2]After her father's death, Anna Hume was instrumental in getting an edition of his History of the Houses of Douglas and Angus into print in 1644.
She also proposed to dedicate the volume to the Marquis of Douglas, and believing it proper that his Lordship should see a book regarding his family, she had sent him an early copy, with a request for his permission.
[2] Controversy surrounded her publication of History of the House and Race of Douglas and Angus, as William Douglas, 11th Earl of Angus, and first marquis of Douglas, was dissatisfied with Hume's work, which he believed exhibited various defects and extravagant views: "By confession, Hume had infused his own political opinions and criticisms into his narrative, had not slurred over the rebellions of some of the Douglases, and their conflicts with the Crown, but, on the contrary, had been frank in his commendations at such points, and his explications of the principle of popular liberty as opposed to kingly power.
[2] William Drummond wrote "To the Right Honourable, His Very Good Lord, the Marquis of Douglas": Anna Hume also translated the first three of Petrarch's Trionfi ("Triumphs").
Historians believe that the publication of her father's book influenced Hume's decision to have her own poetry printed, as it enabled her to form the connection with a printer.
"[3] The following lines from "The Triumph of Death" show Hume's specific style of writing: The translation is, on the whole, was considered to be faithful and spirited, and was widely well received.
The second half of the Triumph of Love, Part iii., descriptive of the disappointed lover, and the bright account of the fair maids in the 'Triumph of Chastitie,' was admirably rendered.
Noella Pousada-Lobiera suggests that in both the translation itself and her prefaratory poems and annotations Hume rewrites Petrach's tales of tragic love as patriarchal violence.