tender and pious conceits. Of his English poems, the secular Delights of the Muses (1648) include experiments in conceit and metrical effect such as Love's Duel and Wishes, and eulogies in the highly abstract style of Donne's, with less of thought and more of sentiment. But his most characteristic and individual work is the religious poetry contained in the Steps to the Temple (1646) written before, and the Carmen Deo Nostro (1652) published in Paris after his ardent nature and the failure of Laud's endeavour had driven him to seek shelter in the bosom of the Roman Church, poems on all the favourite subjects of Catholic devotion—the Name of Christ, the Virgin, Mary Magdalene weeping, martyrs, saints, and festivals.
Crashaw's style may have been influenced by Marino as well as Donne. His conceits are frequently of the physical and luscious character, to which the Italian tended always, the English poet never. He translated the first canto of the Strage degli Innocenti, frequently intensifying the imaginative effect, at other times making the conceit more pointed and witty, occasionally going further in the direction of confectionery even than Marino. The latter does not describe hell as a "shop of woes," nor say that the Wise Men went—
"Westward to find the world's true Orient";
nor would Marino, I think, speak of the Magdalen's tears as flowing upward to become the cream upon the Milky Way. Marino's early and purer style
