writes as if
intellect rather than passion were the ultimate umpire of the work of
his art. Of course, there are many exceptions; and the study of those
exceptions, as exceptions, would make an interesting essay. On the other
hand, Tennyson's composition was for the most part excellent, and
always careful.

(2) Then as to style. Browning had a style of his own, wholly devoid of
imitation, perfectly individual, and this is one of the marks of a good
artist. It was the outcome of his poetic character, and represented it.
At this point his style is more interesting than Tennyson's. Tennyson's
style was often too much worked, too consciously subjected to the rules
of his art, too worn down to smoothness of texture. Moreover, the
natural surprises of an unchartered individuality do not sufficiently
appear in it (Tennyson repressed the fantastic), though the whole weight
of his character does magnificently appear. But if Tennyson was too
conscious of his style--a great misfortune especially in passionate
song--Browning did not take any deliberate pains with his style, and
that is a greater misfortune. His freedom ran into undue licence; and he
seems to be over-conscious, even proud, of his fantastical way of
writing. His individuality runs riot in his style. He paid little
attention to the well-established rules of his art, in a revulsion,
perhaps, from any imitation of the great models. He had not enough
reverence for his art, and little for the public. He flung his diction
at our heads and said: "This is myself; take it or leave it."

None of the greater artists of the world have ever done this. They have
not cared for what the world said, but they have cared for their art.
There are certain limits to individual capriciousness in style, long
since laid down, as it were, by Beauty herself; which, transgressed,
lessen, injure or lose beauty; and Browning continually transgressed
those limits.

Again, clearness is one of the first elements in style, and on poetry
attaining clearness, depends, in great measure, its enduringness in the
future. So far as clearness carries him, Tennyson's poetry is sure to
last. So far as Browning's obscurity goes, his poetry will not last like
Tennyson's. It is all very well for his students to say that he is not
obscure; he is. Nor is it by any exceptional depth of thought or by any
specially profound analysis of the soul that Browning is obscure. It is
by his style. By that he makes what is