As a participant in the hunting scene, he describes the bringing out of ancestral articles of clothing, the tugging on of old jack-boots, and the putting on of discarded articles of medieval dress. What a touch regarding the experiences of the Duke's tailor! Then follows the long study as to the role the Duchess should play,--she, of course, being supposed to sit idly awaiting it, whatever it might be. When, to the astonishment of the Duke, she refuses the part, his cruelty and that of his mother is shown in the fearful description of the latter's tongue. At last they leave the Duchess alone to become aware of her sins. What pictures does the servant paint! The old gypsy crone sidles up to the Duke as he is riding off to the hunt. He gives no response until she says she has come to pay her respects to the new Duchess. Then his face lights up, and he whispers in her ear and tells her of the fright she is to give the Duchess; and beckoning a servant,--the speaker in the monologue, sends him as her guide. This man, as he guides the old woman toward the castle, sees her become transfigured before him. Later he, with Jacinth, his sweetheart, waits outside on the balcony until, awakened by her crooning song, he becomes aware that the gypsy is bewitching the Duchess. Yet, when his mistress issues forth, a changed woman, with transfigured face and a look of determination, he obeys her least motion, brings her palfrey, and thus aids in her escape. Browning gives a characteristic final touch, and we see this man gazing into the distance and expressing his determination soon to leave all and go forth into the wide world to find the lost Duchess. The theme of all art is to interpret impressions or to produce upon the human heart an adequate impression of events and of truth. Dramatic art has always led the other arts in its power to present the motives of different characters, show the various processes of passion passing into action, the consequences of action, or the working of the complex elements of a human character.