duties and to the practices of an ascetic piety which to the usual American
mind must seem about equally admirable and conventional. His religious
poems, published after his death in a volume called 'The Temple,' show
mainly two things, first his intense and beautiful consecration to his
personal God and Saviour, which, in its earnest sincerity, renders him
distinctly the most representative poet of the Church of England, and
second the influence of Donne, who was a close friend of his mother. The
titles of most of the poems, often consisting of a single word, are
commonly fantastic and symbolical--for example, 'The Collar,' meaning the
yoke of submission to God; and his use of conceits, though not so pervasive
as with Donne, is equally contorted. To a present-day reader the apparent
affectations may seem at first to throw doubt on Herbert's genuineness; but
in reality he was aiming to dedicate to religious purposes what appeared to
him the highest style of poetry. Without question he is, in a true if
special sense, a really great poet.

The second of these religious poets, Richard Crashaw, [Footnote: The first
vowel is pronounced as in the noun _crash_.] whose life (1612-1649)
was not quite so short as Herbert's, combined an ascetic devotion with a
glowingly sensuous esthetic nature that seems rather Spanish than English.
Born into an extreme Protestant family, but outraged by the wanton
iconoclasm of the triumphant Puritans, and deprived by them of his
fellowship, at Cambridge, he became a Catholic and died a canon in the
church of the miracle-working Lady (Virgin Mary) of Loretto in Italy. His
most characteristic poetry is marked by extravagant conceits and by
ecstatic outbursts of emotion that have been called more ardent than
anything else in English; though he sometimes writes also in a vein of calm
and limpid beauty. He was a poetic disciple of Herbert, as he avowed by
humbly entitling his volume 'Steps to the Temple.'