Two songs of Wither's, quoted in Percy's "Reliques"--"The Steadfast Shepherd," and the one beginning "Shall I, wasting in despair, Die because a woman's fair? Or make pale my cheeks with care 'Cause another's rosy are? Be she fairer than the day, Or the flowery meads in May; If she be not so to me, What care I how fair she be?"-- are exquisite lines, that no reader ever forgets. Crashaw (_b._, 1616; _d._, 1650) was of a deeply religious tone of mind, and became a Catholic. His finest poems are his religious ones, and they are full of music and passionate reveries, yet disfigured by the Donne fashion, which Dryden, and after him Johnson, inaccurately termed the Metaphysical School, instead of the Fantastic or Singularity School. His very first poem, called "The Weeper," shows how he treated even sacred subjects:-- "Hail, sister springs! Parents of silver-forded rills, Ever-bubbling things! Thawing crystal, snowy hills, Still spending, never spent, I mean Thy fair eyes, sweet Magdalene. "Heavens thy fair eyes be, Heavens of ever-falling stars; 'Tis seed-time still with thee, And stars thou sow'st, whose harvest dares Promise the earth to countershine, Whatever makes heaven's forehead shine." Carew, Suckling, Lovelace are poets whose merits, in their various styles, would deserve a separate examination, but we must pass on to three other poets, who have been more known to modern readers, and who would of themselves have stamped their age as one of genuine inspiration--Herbert, Herrick, and Quarles. Herbert and Herrick, like Donne, were clergymen, and in their quiet country parsonages poured forth some of the most exquisite lyrics which enrich any language. Herrick may be said to be the born poet of nature--Herbert of devotion. Robert Herrick (_b._, 1591; _d._, 1674) was of an old family of Leicestershire. His lyrics, so full of grace, are the very soul of Nature's melody and rapture. He revels in all the charms of the country--flowers, buds, fairies, bees, the gorgeous blossoming May, the pathos and antique simplicity of rural life; its marriages, its churchyard histories, its imagery of awaking and fading existence. The free, joyous, quaint, and musical flow and rhythm of his verse have all that felicity and that ring of woodland cadences which mark the snatches of rustic verse which Shakespeare scatters through his dramas. His "Night Piece to Juliet," beginning-- "Her eyes the glow-worm lend thee, The shooting stars attend thee, And the elves also Whose little eyes glow Like sparks of fire, befriend thee!" is precisely of that character. His "Daffodils" express the beautiful but melancholy sentiment which he so frequently found in nature:--