"Fear Death? to feel the fog in my throat." Sometimes his verse fell into coils as it came, but he himself, as he wrote the first line of a poem, never knew in what form of verse the poem would come forth. Hence the novel figures and strange counterpoint. Having evolved the first group of lines at haphazard, he will sometimes repeat the form (a very complex form, perhaps, which, in order to have any organic effect, would have to be tuned to the ear most nicely), and repeat it clumsily. Individual taste must be judge of his success in these experiments. Sometimes the ear is worried by an attempt to trace the logic of the rhymes which are concealed by the rough jolting of the metre. Sometimes he makes no attempt to repeat the first verse, but continues in irregular improvisation. Browning never really stoops to literature; he makes perfunctory obeisance to it. The truth is that Browning is expressed by his defects. He would not be Robert Browning without them. In the technical part of his art, as well as in his spirit, Browning represents a reaction of a violent sort. He was too great an artist not to feel that his violations of form helped him. The blemishes in The Grammarian's Funeral--_hoti's business, the enclitic de_--were stimulants; they heightened his effects. They helped him make clear his meaning, that life is greater than art. These savageries spoke to the hearts of men tired of smoothness and platitude, and who were relieved by just such a breaking up of the ice. Men loved Browning not only for what he was, but also for what he was not. These blemishes were, under the circumstances, and for a limited audience, strokes of art. It is not to be pretended that, even from this point of view, they were always successful, only that they are organic. The nineteenth century would have to be lived over again to wipe these passages out of Browning's poetry. In that century he stands as one of the great men of England. His doctrines are the mere effulgence of his personality. He himself was the truth which he taught. His life was the life of one of his own heroes; and in the close of his life--by a coincidence which is not sad, but full of meaning--may be seen one of those apparent paradoxes in which he himself delighted. Through youth and manhood Browning rose like a planet calmly following the laws of his own being. From time to time he put forth his volumes which the world did not understand. Neglect caused him to suffer, but not to change. It was not until his work was all but finished, not till after the publication of The Ring and the Book, that complete recognition came to him. It was given him by men and women who had been in the nursery when he began writing, who had passed their youth with his minor poems, and who understood him. In later life Browning's powers declined. The torrent of feeling could no longer float the raft of doctrine, as it had done so lightly and for so long. His poems, always difficult, grew dry as well.