To seize upon the quaintest possible thought and then to express it in as quaint a manner as possible became the chief aim of English poets during the first three-quarters of the seventeenth century. Donne had encountered trouble in obtaining his wife from her father. Finding one morning a flea that had feasted during the night on his wife and himself, he was overcome by its poetic possibilities, and wrote: "This flea is you and I, and this Our marriage bed and temple is; Tho' parents frown, and you, we're met And cloister'd in these living walls of jet." To strain after conceits, to strive for quaintness of thought and expression, was the striking characteristic of all the poets of the generation, to whom Dr. Johnson gave the title Metaphysical, and who are now known as the Marinists. There were Quarles, with his Dutch _Emblems_; Vaughan, Sandys, Crashaw, and pure-souled George Herbert, with his _Temple_. There were Carew, with the _Rapture_; Wither and his "Shall I wasting in despair"; the two dashing Cavaliers Suckling and Lovelace, the latter the only man who ever received an M.A. for his personal beauty. There was Herrick, the dispossessed Devonshire rector, with _Hesperides_ and _Noble Numbers_, freer than were the others from the beauty-marring conceits of the time. There, too, were to be found the gallant love-maker Waller, Cowley, the queen's secretary during her exile, and Marvell, Milton's assistant Secretary of State. But these three men were to pledge allegiance to a new sovereignty in English verse. In the civil strife, Waller had at first sided with Parliament, had later engaged in a plot against it, and after a year's imprisonment was exiled to France. At this time the Academy, organized to introduce form and method in the French language and literature, held full sway. Malherbe was inculcating its principles, Corneille and Molière were practicing its tenets in their plays, and Boileau was following its rules in his satires, when Waller and his associates came in contact with this influence. The tendency was distinctly toward formality and conventionality. Surfeited with the eccentricities and far-fetched conceits of the Marinists, the exiled Englishmen welcomed the change; they espoused the French principles; and when at the Restoration they returned to England with their king, whose taste had been trained in the same school, they began at once to formalize and conventionalize English poetry. The writers of the past, even the greatest writers of the past, were regarded as men of genius, but without art; and English poetry was thenceforth, in Dryden's own words, to start with Waller.