What then is the conclusion forced upon this English religious conscience? Simply this: that, though failing both from the intellectual and the æsthetic standpoint, the dissenting view was the only religious view of the time possessing any genuine vitality. It represented the progressive, democratic religious force which was then in England bringing religion into the lives of the people with a positiveness long lost to the Anglican Church. The religious conscience of England was growing through this Methodist movement. This is why the speaker of the poem chooses at last that form of worship which he finds in the little chapel. While no one can doubt that the exalted mysticism based upon feeling, and the large tolerance of the poem, reflect most nearly the poet's personal attitude, on the other hand it is made clear that in his opinion the dissenting bodies possessed the forms of religious orthodoxy most potent at the time for good. In "Easter Day," the doubts and fears which have racked the hearts and minds of hundreds and thousands of individuals, as the result of the increase of scientific knowledge and biblical criticism are given more personal expression. The discussion turns principally upon the relation of the finite to the Infinite, a philosophical problem capable of much hair-splitting controversy, solved here in keeping with the prevailing thought of the century--namely, that the finite is relative and that this relativity is the proof of the Infinite. The boldness of this statement, one such as might be found in the pages of Spencer, is by Browning elaborated with pictorial and emotional power. Only by a marvelous vision is the truth brought home to the speaker that the beauties and joys of earth are not all-sufficient, but that they are in the poet's speech but partial beauty, though through this very limitation they become "a pledge of beauty in its plenitude," gleams "meant to sting with hunger for full light." It is not, however, until this see-er of visions perceives the highest gleam of earth that he is able to realize through the spiritual voice of his vision that the nature of the Infinite is in its essence Love, the supreme manifestation of which was symbolized in the death and resurrection of Christ. This revelation is nevertheless rendered null by the man's conviction that the vision was merely such "stuff as dreams are made on." At the end as at the beginning he finds it hard to be a Christian.