The natural result of Browning’s theory of evil, and his sense of the value of limitation, is that he should welcome for man the experience of doubt, difficulty, temptation, pain; and this we find is the case.

    Life is probation and the earth no goal
    But starting point of man ... 
    To try man’s foot, if it will creep or climb
    ’Mid obstacles in seeming, points that prove
    Advantage for who vaults from low to high
    And makes the stumbling-block a stepping-stone.

The Ring and the Book:  The Pope, 1436-7, 410-13.

It is this trust in unending progress, based on the consciousness of present failure, which is peculiarly inspiriting in Browning’s thought, and it is essentially mystical.  Instead of shrinking from pain, the mystic prays for it, for, properly met, it means growth.

                          Was the trial sore? 
    Temptation sharp?  Thank God a second time! 
    Why comes temptation but for man to meet
    And master and make crouch beneath his foot,
    And so be pedestaled in triumph?

The Ring and the Book:  The Pope, 1182-02.

Rossetti’s mysticism is perhaps a more salient feature in his art than is the case with Browning, and the lines of it, and its place in his work, have been well described by Mr Theodore Watts-Dutton.[10] We can only here indicate wherein it lies, and how it differs from and falls short of the mysticism of Shelley and Browning.  Rossetti, unlike Browning, is not the least metaphysical; he is not devoured by philosophical curiosity; he has no desire to solve the riddle of the universe.  All his life he was dominated and fascinated by beauty, one form of which in especial so appealed to him as at times almost to overpower him—­the beauty of the face of woman.[11] But this beauty is not an end in itself; it is not the desire of possession that so stirs him, but rather an absolute thirst for the knowledge of the mystery which he feels is hiding beneath and beyond it.  Here lies his mysticism.  It is this haunting passion which is the greatest thing in Rossetti, which inspires all that is best in him as artist, the belief that beauty is but the expression or symbol of something far greater and higher, and that it has kinship with immortal things.  For beauty, which, as Plato has told us, is of all the divine ideas at once most manifest and most lovable to man, is for Rossetti the actual and visible symbol of love, which is at once the mystery and solution of the secret of life.[12] Rossetti’s mystical passion is perhaps most perfectly expressed in his little early prose romance, Hand and Soul.  It is purer and more austere than much of his poetry, and breathes an amazing force of spiritual vision.  One wonders, after reading it, that the writer himself did not attain to a loftier and more spiritual development of life and art; and one cannot help feeling the reason was that he did not sufficiently heed the warning of Plotinus, not to let ourselves become entangled in sensuous beauty, which will engulf us as in a swamp.