He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love. In this (if I may be pardoned for so bold a truth) Mr. Cowley has copied him to a fault; so great a one, in my opinion, that it throws his Mistress infinitely below his Pindarics and his latter compositions, which are undoubtedly the best of his poems and the most correct.' Dryden's estimate of Donne, as well as his application to his poetry of the epithet 'metaphysical', was transmitted through the eighteenth century. Johnson's famous paragraphs in the _Life of Cowley_ do little more than echo and expand Dryden's pronouncement, with a rather vaguer use of the word 'metaphysical'. In Dryden's application it means correctly 'philosophical'; in Johnson's, no more than 'learned'. 'The metaphysical poets were men of learning, and to show their learning was their whole endeavour; but unluckily resolving to show it in rhyme, instead of writing poetry, they only wrote verses, and very often such verses as stood the trial of the fingers better than of the ear.' They 'drew their conceits from recesses of learning not very much frequented by common readers of poetry'. Waller is exempted from being a metaphysical poet because 'he seldom fetches an amorous sentiment from the depths of science; his thoughts are for the most part easily understood, and his images such as the superficies of nature readily supplies'. Even to those critics with whom began a revived appreciation of Donne as a poet and preacher, his 'wit' still bulks largely. It is impossible to escape from it. 'Wonder-exciting vigour,' writes Coleridge, 'intenseness and peculiarity, using at will the almost boundless stores of a capacious memory, and exercised on subjects where we have no right to expect it--this is the wit of Donne.' And lastly De Quincey, who alone of these critics recognizes the essential quality which may, and in his best work does, make Donne's wit the instrument of a mind which is not only subtle and ingenious but profoundly poetical: 'Few writers have shown a more extraordinary compass of powers than Donne; for he combined what no other man has ever done--the last sublimation of dialectical subtlety and address with the most impassioned majesty. Massy diamonds compose the very substance of his poem on the Metempsychosis, thoughts and descriptions which have the fervent and gloomy sublimity of Ezekiel or Aeschylus, whilst a diamond dust of rhetorical brilliancies is strewed over the whole of his occasional verses and his prose.'