It is a mistake to say that Browning is a metaphysical poet: he is a psychological poet. His interest does not lie in the abstract problems of time and space, mind and matter, divinity and humanity. It lies in the concrete problems of opportunity and crisis, flesh and spirit, man the individual and God the person. He is an anatomist of souls. “Take the least man of all mankind, as I; Look at his head and heart, find how and why He differs from his fellows utterly.”[14] But his way of finding out this personal equation is not by observation and reflection. It is by throwing himself into the character and making it reveal itself by intricate self-analysis or by impulsive action. What his poetry lacks is the temperate zone. He has the arctic circle of intellect and the tropics of passion. But he seldom enters the intermediate region of sentiment, reflection, sympathy, equable and prolonged feeling. Therefore it is that few of his poems have the power of “sinking inward from thought to thought” as Wordsworth’s do. They surprise us, rouse us, stimulate us, more than they rest us. He does not penetrate with a mild and steady light through the portals of the human heart, making them transparent. He flings them wide open suddenly, and often the gates creak on their hinges. He is forever tying Gordian knots in the skein of human life and cutting them with the sword of swift action or intense passion. His psychological curiosity creates the difficulties, his intuitive optimism solves them. IV The results of this preoccupation with such subjects and of this manner of dealing with them may be recognized very easily in Browning’s work. First of all they turned him aside from becoming a great Nature-poet, though he was well fitted to be one. It is not that he loves Nature’s slow and solemn pageant less, but that he loves man’s quick and varied drama more. His landscapes are like scenery for the stage. They accompany the unfolding of the plot and change with it, but they do not influence it. His observation is as keen, as accurate as Wordsworth’s or Tennyson’s, but it is less steady, less patient, less familiar. It is the observation of one who passes through the country but does not stay to grow intimate with it. The forms of nature do not print themselves on his mind; they flash vividly before him, and come and go. Usually it is some intense human feeling that makes the details of the landscape stand out so sharply. In _Pippa Passes_, it is in the ecstasy of love that Ottima and Sebald notice “The garden’s silence: even the single bee Persisting in his toil, suddenly stopped, And where he hid you only could surmise By some campanula chalice set a-swing.” It is the sense of guilty passion that makes the lightning-flashes, burning through the pine-forest, seem like dagger-strokes,— “As if God’s messenger through the closed wood screen Plunged and re-plunged his weapon at a venture, Feeling for guilty thee and me.”