This sense of an over-consciousness is the mark of an objective poet--one who sympathizes with all the emotions and aspirations of humanity,--interprets their actions through the light of this sympathy, and at the same time keeps his own individuality distinct. The poet of this poem discovers that he can no longer lose himself with enthusiasm in any phase of life; but what does that mean to a soul constituted as his? It means that the way has been cleared for the birth of that greater, broader love of the fully developed artist-soul which, while entering into sympathy with all phases of life, finds its true complement only in an ideal of absolute Love. This picture of the artist aspiring toward the absolute by means of his large human sympathy may be supplemented by the theory of man's relation to the universe involved in 'Paracelsus' where it is shown that the Absolute cannot be fully realized by mankind either through knowledge or love. Aprile's doctrine has an element of fatalism in it. He sees and loves God in imperfection, but does not seem to have much notion of progress. On the other hand, Paracelsus sees God only in perfected Mankind, until he is really made wise to know that "Even hate is but a mask of love's To see a good in evil and a hope In ill success," and so is led to combine his own former standpoint with Aprile's by perceiving God and God's love in progress from lesser to ever greater good, and that evil and failure are the spurs that send man onwards to a future where joy climbs its heights "forever and forever." From this point in his work Browning, like the Hindu Brahmah, becomes manifest not as himself, but in his creations. The poet whose portrait we get in 'Pauline' is the same poet who sympathetically presents a whole world of human experiences to us, keeping his own individuality for the most part intact, and the philosopher whose portrait is drawn in 'Paracelsus' is the same who interprets these human experiences in the light of the great life-theories therein presented. But as the creations of Brahmah return into himself, so the human experiences Browning has entered into artistic sympathy with return to enrich his completed view of the problems of life, when like his own Rabbi Ben Ezra, he reaches the last of life for which "the first was planned" in these 'Fancies' and 'Parleyings'. Though these two groups of poems undoubtedly express the poet's own mature conclusions, they yet preserve the dramatic form. Several things are gained in this way. First, the poems are saved from didacticism, for the poet expresses his opinion as an individual and not as a seer, trying to implant his theories in the minds of disciples. Second, variety is given and the mind is stimulated by having opposite points of view presented, while the thought is infused with a certain amount of emotional force through the heat of argument.