In the opinion of one critic of the 1960s, defining the extent of the Baroque style in 17th-century English poetry “may even be said to have taken the place of the earlier discussion of the metaphysical”. Southwell counts as a notable pioneer of the style, in part because his formative years were spent outside England. And the circumstance that Crashaw's later life was also spent outside England contributed to making him, in the eyes of Mario Praz, “the greatest exponent of the Baroque style in any language”. Crashaw is frequently cited by Harold Segel when typifying the characteristics of "The Baroque Poem", but he goes on to compare the work of several other Metaphysical poets to their counterparts in both Western and Eastern Europe. The use of conceits was common not only across the Continent, but also elsewhere in England among the Cavalier poets, including such elegists of Donne as Carew and Godolphin. As an example of the rhetorical way in which various forms of repetition accumulate in creating a tension, only relieved by their resolution at the end of the poem, Segel instances the English work of Henry King as well as Ernst Christoph Homburg's in German and Jan Andrzej Morsztyn’s in Polish. In addition, Marvell’s “To His Coy Mistress” is given as a famous example of the use of hyperbole common to many other Metaphysical poets and typical of the Baroque style too. The way George Herbert and other English poets “torture one poor word ten thousand ways”, in Dryden's phrase, finds its counterpart in a poem like “Constantijn Huygens’ "Sondagh" (Sunday) with its verbal variations on the word ‘sun’. Wordplay on this scale was not confined to Metaphysical poets, moreover, but can be found in the multiple meanings of ‘will’ that occur in Shakespeare's “Sonnet 135”. and of ‘sense’ in John Davies’ “That the Soul is more than a Perfection or Reflection of the Sense”. Such rhetorical devices are common in Baroque writing and frequently used by poets not generally identified with the Metaphysical style. Another striking example occurs in Baroque poems celebrating "black beauty", built on the opposition between the norm of feminine beauty and instances that challenge that commonplace.