literature, I think--the term _Dramatic Lyric_. This naturally
appealed to Browning, and he gave the title in 1842 to his first
published collection of short poems. At first blush "dramatic lyric"
sounds like a contradiction in terms, like "non-mathematical algebra."
Drama is the most objective branch of poetry, and the lyric the most
subjective: but Browning was so intent upon the chronicling of all
stages of life that he carried the methods of the drama into the
lyric form, of which _Meeting at Night_ may serve as an excellent
example. Many of his short poems have the lyrical beauty of Shelley
and Heine; but they all represent the soul of some historical or
imaginary person.

At the very end of _The Ring and the Book_, Browning declared that
human testimony was false, a statement that will be supported by any
lawyer or judge of much court experience. Human testimony being
worthless, there remains but one way for the poet to tell the truth
about humanity, and that is through his art. The poet should use his
skill not primarily with the idea of creating something beautiful,
but with the main purpose of expressing the actual truth concerning
human life and character. The highest art is the highest veracity,
and this conforms to Browning's theory of poetry. This was his ideal,
and by adhering to this he hoped to save his soul. Browning believed
that by living up to our best capacity we attained unto salvation.
The man who hid his talent in the earth was really a lost soul. Like
many truly great artists, Browning felt deeply the responsibility of
his splendid endowment. In one of his letters to Miss Barrett, he
said, "I must write poetry and save my soul." In the last lines of
_The Ring and the Book_ we find this thought repeated:

So, British public, who may like me yet,