Consistent, so far, with his own theories we find the work of Browning to be. He also follows his ideal in the discarding of classical allusion and illustration. Part of his dictum that the form should express the thought is shown in his habitual fitting of his allusions to the subject he is treating. By this means he produces his atmosphere and brings the scene clearly before us; witness his constant references to Molinos and his influence in "The Ring and the Book," an influence which was making itself felt in all classes of society at the time when the actual tragedy portrayed in the poem occurred. This habit, of course, brings into his poetry a far wider range of allusions unfamiliar to his contemporaries than is to be found in other Victorian poets, and makes it necessary that these should be "looked up" before an adequate enjoyment of their fitness is possible. Hence the Browning societies, so often held up to ridicule by the critics, who blindly prefer to show their superior attitude of mind in regard to everything they do not know, and growl about his obscurity, to welcoming any movement which means an increase of general culture. The Browning societies have not only done much to make Browning's unusual allusions common matters of knowledge, but they have helped to keep alive a taste for all poetry in an age when poetry has needed all the friendly support it could get. All great poets lead the ordinary mind to unfamiliar regions of knowledge and thereby to fresh planes of enjoyment. That Browning has outdone all other poets in this particular should be to his honor, not to his dispraise. In one very marked direction, however, he is not a perfect exemplar of his own theories--that is, he is not always consistently dramatic. He belongs to that order of poets described by himself in the Shelley Introduction as neither completely subjective nor completely objective, but with the two faculties at times running in upon each other. He is often absolutely objective in his expression of a mood or a feeling, but the moment the mood takes upon it the tinge of thought we begin to feel Browning himself.