ing, of full experience of pleasure, even though such moments be of the essence of evil and fruitful in all dark consequences. It is probable that a deep optimism underlies all this; that Browning believed that the soul does not perish in its wrong-doing, but that through this experience, too, as through good, it develops finally its immortal nature, and that, as in his view the life of the soul is in its energy of action, the man must act even evil if he is to grow at all. Optimism, certainly, of the most thorough-going kind this is; but Browning is so consistent an optimist in other parts of his philosophy that this defense may be made for him on a point where the common thought and deepest conviction of the race, in its noblest thinkers and purest artists, are opposed to him, refusing to believe that the doing of evil is to be urged in the interest of true manliness.
The discussion of Browning's attitude towards life in the actual world of men has led away from the direct consideration of the work in which he embodied his convictions. The important portion of it came in middle life, when he obtained mastery of the form of poetic art known as the dramatic
