soning habit led him often to be diffuse in matter. In Sordello the two produced a monstrosity, both in construction and expression, not to be rivaled in literature. Picturesque detail, intellectual interest, moral meaning, struggle in vain in that tale to make themselves felt and discerned through the tangle of words and the labyrinth of act and reflection. But already in these poems Browning had shown, to himself, if not to the world, that he had come to certain conclusions, to a conception of human life and a decision as to the use of his art in regard to it, which were to give him substantial power. He defined it by his absorption in Paracelsus with the broad ideas of infinite power and infinite love, which in his last poem still maintain their place in his system as the highest solvents of experience and speculation; and in Sordello he stated the end of art, which he continued to seek, in his maxim that little else is worth study except the "history of a soul." His entire poetic work, broadly speaking, is the illustration of this short sentence. Such prepossessions with the spiritual meaning of life as these poems show made sure the predominance in his work of the higher interests of
