I could not love thee, dear, so much, Loved I not honor more-- and to _Althaea from Prison_, in which he sings "the sweetness, mercy, majesty, and glories" of his king, and declares that "stone-walls do not a prison make, nor iron bars a cage." Another of the cavaliers was Sir John Suckling, who formed a plot to rescue the Earl of Strafford, raised a troop of horse for Charles I., was impeached by the Parliament and fled to France. He was a man of wit and pleasure, who penned a number of gay trifles, but has been saved from oblivion chiefly by his exquisite _Ballad upon a Wedding_. Thomas Carew and Edmund Waller were poets of the same stamp--graceful and easy, but shallow in feeling. Carew, however, showed a nicer sense of form than most of the fantastic school. Some of his love songs are written with delicate art. There are noble lines in his elegy on Donne and in one passage of his masque _Coelum Britannicum_. In his poem entitled _The Rapture_ great splendor of language and imagery is devoted to the service of an unbridled sensuality. Waller, who followed the court to Paris, was the author of two songs, which are still favorites, _Go, Lovely Rose_, and _On a Girdle_, and he first introduced the smooth, correct manner of writing in couplets, which Dryden and Pope carried to perfection. Gallantly rather than love was the inspiration of these courtly singers. In such verses as Carew's _Encouragements to a Lover_, and George Wither's _The Manly Heart_, If she be not so to me, What care I how fair she be?-- we see the revolt against the high, passionate, Sidneian love of the Elizabethan sonneteers, and the note of _persiflage_ that was to mark the lyrical verse of the Restoration. But the poetry of the cavaliers reached its high-water mark in one fiery-hearted song by the noble and unfortunate James Graham, Marquis of Montrose, who invaded Scotland in the interest of Charles II., and was taken prisoner and put to death at Edinburgh in 1650. My dear and only love, I pray That little world of thee Be governed by no other sway Than purest monarchy. In language borrowed from the politics of the time, he cautions his mistress against _synods_ or _committees_ in her heart; swears to make her glorious by his pen and famous by his sword; and, with that fine recklessness which distinguished the dashing troopers of Prince Rupert, he adds, in words that have been often quoted, He either fears his fate too much, Or his deserts are small, That dares not put it to the touch To gain or lose it all.