and blood reality, in which he may or may not (according to his greatness) find a soul. Browning was thus a realist, and he chose habitually the objective method of art—but to set forth "the history of a soul." Had he been an idealist, his subject would have been "the history of the soul;" his method might or might not have been different. This change of the particle is a slight one, but it involves that polarity of mind which sets Browning opposite to Tennyson. He deals with individuals, takes in imagination their point of view, assumes for the time being their circumstances and emotions; and one who does this in our time, with a preoccupation with the soul in the individual, cannot escape from one overpowering impression, repeated from every side of the modern age,—the impression, namely, of the relativity of human life.
This is the lesson which is spread over Browning's pages, with line on line and precept on precept. By it he comes into harmony with the very spirit of the century on its intellectual side, and represents it. The "history of a soul" differs very greatly according to circumstance, native impulses, the needs of life at different stages of growth,
