Browning’s dramatic power is well exhibited in poems like In a Balcony or Pippa Passes, in which powerful individual scenes are presented without all the accompanying details of a complete drama.  The great force of such scenes lies in his manner of treating moments of severe trial.  He selects such a moment, focuses his whole attention upon it, and makes the deed committed stand forth as an explanation of all the past emotions and as a prophecy of all future acts. In a Balcony shows the lives of three characters converging toward a crisis.  The hero of this drama thus expresses his theory of life’s struggles in the development of the soul:—­

  “...I count life just stuff
  To try the soul’s strength on, educe the man.”

Pippa Passes is one of Browning’s most artistic presentations of such dramatic scenes.  The little silk weaver, Pippa, rises on the morning of her one holiday in the year, with the intention of enjoying in fancy the pleasures “of the Happiest Four in our Asolo,” not knowing, in her innocence, of their misery and guilt.  She wanders from house to house, singing her pure, significant refrains, and, in each case, her songs arrest the attention of the hearer at a critical moment.  She thus becomes unconsciously a means of salvation.  The first scene is the most intense.  She approaches the home of the lovers, Sebald and Ottima, after the murder of Ottima’s husband.  As Sebald begins to reflect on the murder, there comes this song of Pippa’s, like the knocking at the gate in Macbeth, to loose the floodgates of remorse:—­

  [Illustration:  FACSIMILE OF MS. FROM PIPPA PASSES.]

His Optimistic Philosophy.—­It has been seen that the Victorian age, as presented by Matthew Arnold, was a period of doubt and negation.  Browning, however, was not overcome by this wave of doubt.  Although he recognized fully the difficulties of religious faith in an age just awakening to scientific inquiry, yet he retained a strong, fearless trust in God and in immortality.

Browning’s reason demanded this belief.  In this earthly life he saw the evil overcome the good, and beheld injustice, defeat, and despair follow the noblest efforts.  If there exists no compensation for these things, he says that life is a cheat, the moral nature a lie, and God a fiend.  In Asolando, Browning thus presents his attitude toward life:—­

  “One who never turned his back but marched breast forward,
        Never doubted clouds would break,
  Never dreamed, tho’ right were worsted, wrong would triumph,
  Held we fall to rise, are baffled to fight better,
        Sleep to wake.”

There is no hesitancy in this philosophy of Browning’s.  With it, he does not fear to face all the problems and mysteries of existence.  No other poet strikes such a resonant, hopeful note as he.  His Rabbi Ben Ezra is more a song of triumphant faith than anything written since the Puritan days:—­