"To undergo experience for our sake, Just that the gift of pain, bestowed on them, In us might temper to the due degree Joy's else-excessive largess,"-- instead of admitting a like appeal to the same human assurance, he falls back upon the unfathomable ways of Omnipotence. If the rifts in the argument are in any sense supplied, it is by the brief snatches of song which intervene between the _Fancies_, as the cicada-note filled the pauses of the broken string. These exquisite lyrics are much more adequate expressions of Browning's faith than the dialogues which professedly embody it. They transfer the discussion from the jangle of the schools and the cavils of the market-place to the passionate persuasions of the heart and the intimate experiences of love, in which all Browning's mysticism had its root. Thus Ferishtah's pragmatic, almost philistine, doctrine of "Plot-culture," by which human life is peremptorily walled in within its narrow round of tasks, "minuteness severed from immensity," is followed by the lyric which tells how Love transcends those limits, making an eternity of time and a universe of solitude. Finally, the burden of these wayward intermittent strains of love-music is caught up, with an added intensity drawn from the poet's personal love and sorrow, in the noble Epilogue. As he listens to the call of Love, the world becomes an enchanted place, resounding with the triumph of good and the exultant battle-joy of heroes. But a "chill wind" suddenly disencharms the enchantment, a doubt that buoyant faith might be a mirage conjured up by Love itself:-- "What if all be error, If the halo irised round my head were--Love, thine arms?" He disdains to answer; for the last words glow with a fire which of itself dispels the chill wind. A faith founded upon love had for Browning a surer guarantee than any founded upon reason; it was secured by that which most nearly emancipated men from the illusions of mortality, and enabled them to see things as they are seen by God.