Browning, instead of an abstract discussion, presents in an artistic form an important truth, that he who lives for the world does not live at all. By introducing this woman to us in a serious attitude of mind, reflecting on the one hand a worldly mood, on the other the deep, abiding love of a true woman, he makes the desired impression. The last line throbs with deep emotion, and we feel how slowly and sadly she would acknowledge the failure of life:
Browning's "Caliban upon Setebos" furnishes a forcible illustration of the importance of the speaker and the necessity of preserving his character and point of view in the monologue. "'Will sprawl" begins a long parenthesis which implies the first intention of Caliban to lie flat in "the pit's much mire." He describes definitely the position he likes "in the cool slush." The words express Caliban's feelings at his noonday rest and the position he takes for enjoyment. He has not yet risen to the dignity of the consciousness of the ego. He does not use the pronoun "I" or the possessive "my." His verbs are impersonal,--"'Will sprawl," not "I will sprawl,"--and he
"Talks to his own self, howe'er he please, Touching that other whom his dam called God."
He lies down in this position to have a good "think" regarding his "dam's God, Setebos." Notice the continual recurrence of the impersonal "thinketh" without any subject. Here we have a most humorous but really profound meditation of such a creature with all the elements of "natural theology in the island." The subheading before the monologue, "Thou thoughtest that I was altogether such an one as thyself," indicates the current of Browning's ideas.
When we have once pictured Caliban definitely in our minds with his "saith" and "thinketh," we perceive the analogy which he establishes after the manner of men between his own low nature and that of deity.
To read such a work without a definite conception of the character talking, makes utter nonsense of the reading. Every sentiment and feeling in the poem regarding God is dramatic. However deep or profound the lesson conveyed, it is entirely indirect.
How different is the story of the glove and King Francis, as treated by Leigh Hunt, from its interpretation by Browning! Leigh Hunt centres everything in the sequence of events and the simple statement of facts.