The poet is growing old; the unity of poetic vision is breaking up into conflicting aspects only to be adjusted in the give and take of debate; he puts off his singing robes to preside as moderator, while Fancy and Reason exchange thrust and parry on the problem of immortality; delivering at last, as the "sad summing up of all," a balanced and tentative affirmation. And he delivers the decision with an oppressive sense that it is but his own. He is "Athanasius contra mundum"; and he dwells, with a "pallid smile" which Athanasius did not inspire, upon the marvellous power of fame. Nay, Athanasius himself has his doubts. Even his sober hope is not a secure possession; but in the gloom of London's November he remembers that he had hoped in the sunset glory of Salève, and "saves up" the memory of that pregnant hour for succour in less prosperous times. The _Two Poets of Croisic_, published with _La Saisiaz_, cannot be detached from it. The opening words take up the theme of "Fame," there half mockingly played with, and the whole poem is a sarcastic criticism of the worship of Fame. The stories of René Gentilhomme and Paul Desfarges Maillard are told with an immense burly vivacity, in the stanza, and a Browningesque version of the manner, of _Beppo_. Both stories turned upon those decisive moments which habitually caught Browning's eye. Only, in their case, the decisive moment was not one of the revealing crises which laid bare their utmost depths, but a crisis which temporarily invested them with a capricious effulgence. Yet these instantaneous transformations have a peculiar charm for Browning; they touch and fall in with his fundamental ideas of life; and the delicious prologue and epilogue hint these graver analogies in a dainty music which pleasantly relieves the riotous uncouthness of the tale itself. If René's life is suddenly lighted up, so is the moss bank with the "blue flash" of violets in spring; and the diplomatic sister through whose service Paul wins his laurels has a more spiritual comrade in the cicada, who, with her little heart on fire, sang forth the note of the broken string and won her singer his prize. Browning's pedestrian verse passes into poetry as he disengages from the transient illusions, the flickerings and bickerings, of Fame, the eternal truth of Love. But it is only in the closing stanzas of the main poem that his thought clearly emerges; when, having exposed the vanity of fame as a test of poetic merit, he asks how, then, poets shall be tried; and lays down the characteristic criterion, a happy life. But it is the happiness of Rabbi ben Ezra, a joy three parts pain, the happiness won not by ignoring evil but by mastering it!--