In the nineteenth century Tennyson and Browning have represented, broadly speaking, these two tendencies. As with Spenser, the classics and the Arthurian legends have been the sources from which Tennyson has drawn most largely; but although a philosophical undercurrent is this poet's spiritual addition to the subject-matter, his method of putting his soul inside his work is very different from Spenser's. He does not tear the old myths to pieces and join them together again after a pattern of his own to fit his allegorical situation, but keeps the events of his stories almost unchanged, in this particular resembling Chaucer and Shakespeare, and--except in a few instances, such as Tithonus and Lucretius, where the classic spirit of the originals is preserved--he infuses in his subject a vein of philosophy, illustrating those modern tendencies of English thought of which Tennyson, himself, was the exemplar. Even when inventing subjects, founded upon the experiences of everyday life, he so manipulates the story as to make it illustrate some of his favorite moral maxims. His characters do not act from motives which are the inherent necessities of their natures, but they act in accordance with Tennyson's preconceived notions of how they ought to act. He manipulates the elements of character to suit his own view of development, just as Spenser manipulated the elements of the story to suit his own allegorical purpose. Browning is the nineteenth-century heir of Chaucer; but it is doubtful whether Chaucer would recognize his own offspring, so remarkable has the development been in those five centuries. With Chaucer's keen interest in human nature deepened to a profound insight into the very soul of humanity, and the added wealth of these centuries of human history, Browning not only had a far wider range of choice in subject-matter, but he was enabled to instil into it greater intellectual and emotional complexities.