I. The opening lines (1-18) present, with Browning's usual power of delineation, the environment of the speaker. Cleon, the poet, as well as his correspondent, Protus, the tyrant, seem alike to be imaginary personages. With lines 19-42 the soliloquist at once strikes the key-note of the poem. By the act of munificence which showers gifts upon the poet, "whose song gives life its joy," the king evinces his "recognition of the use of life": and by this recognition proves himself no mere materialist. He is ruling his people, not with exclusive attention to their material needs, though they may not themselves look beyond the gratification of these. Whilst he is building his tower, achieving his life's work, the beauty of which is sufficient to the "vulgar" gaze, he, the builder, is looking "to the East"; and looking to the East in a sense not intended by the Greek when he makes enquiry through his messengers for the "mere barbarian Jew," "one called Paulus." II. The following section of the poem (ll. 42-157) is an interesting elaboration of Cleon's theory of the development, not only of the individual (Browning's favourite theme), but of the growth of the race. The Greek holds that where individual members of humanity have attained in their several departments to the greatest heights, nothing further _in that direction_ is possible of accomplishment. What then remains for the advancement of the race? When the "outside verge that rounds our faculties" has been reached, "these divine men of old" must remain unsurpassed by their successors in that particular department of work or thought. Where they reached, who can do more than reach?