Roberts and John Roberts, "those critics who expressed appreciation for Crashaw's poetry were primarily impressed not with its thought, but with its music and what they called 'tenderness and sweetness of language'"—including a roster of writers such as Samuel Taylor Coleridge, William Wordsworth, Elizabeth Barrett Browning, Ralph Waldo Emerson, Henry Wadsworth Longfellow, Amy Lowell, and A. Bronson Alcott. During and after his life, friends and poets esteemed Crashaw as a saint—Abraham Cowley called him such in his elegy "On the Death of Mr. Crashaw" (1656); and Sir John Beaumont's poem "Psyche" (1648) compares Crashaw with fourth-century poet and saint Gregory of Nazianzen. Others referred to him in comparison with George Herbert, as "the other Herbert" or "the second Herbert of our late times". "His faith, perhaps, in some nice tenets might Be wrong; his life, I'm sure, was in the right: And I, myself, a Catholic will be, So far at least, dear saint, to pray to thee" Legacy Crashaw Prize The Crashaw prize for poetry is awarded by Salt Publishing. Later plagiarism Alexander Pope judged Crashaw "a worse sort of Cowley", adding that "Herbert is lower than Crashaw, Sir John Beaumont higher, and Donne, a good deal so." Pope first identified the influence of Italian poets Petrarch and Marino on Crashaw, which he criticised as yielding thoughts "oftentimes far fetch'd and strain'd", but that one could "skim off the froth" to get to Crashaw's "own natural middle-way". However, contemporary critics were quick to point out that Pope owed Crashaw a debt and in several instances, plagiarised from him. In 1785, Peregrine Philips disparaged those who borrowed from and imitated Crashaw without giving proper acknowledgement—singling out Pope, John Milton, Young, and Gray—saying that they "dress themselves in his borrowed robes" Early 20th-century literary critic Austin Warren identified that Pope's The Rape of the Lock borrowed heavily from Crashaw's style and translation of Sospetto d'Herode. In a 1751 edition of in The Rambler, critic Samuel Johnson called attention to a direct example of Pope's plagiaristic borrowing from Crashaw: Crashaw's verse: —This plain floor, Believe me, reader, can say more Than many a braver marble can, Here lies a truly honest man Pope's plagiarized verse: This modest stone, what few vain marbles can, May truly say, Here lies an honest man. Musical settings Crashaw's verse has been set by or inspired musical compositions. Elliott Carter (1908–2012) was inspired by Crashaw's Latin poem