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In _Pauline_, he will gloat over the hero's confession
that he is inept in love because he is concerned with his perceptions
rather than with their objects, and his explanation,
I am made up of an intensest life;
Of a most clear idea of consciousness
Of self ...
And I can love nothing,--and this dull truth
Has come at last: but sense supplies a love
Encircling me and mingling with my life.
He will point out that Sordello is another example of the same type, for
though Sordello is ostensibly the lover of Palma, he really finds
nothing outside himself worthy of his unbounded adoration. [Footnote:
Compare Browning's treatment of Sordello with the conventional treatment
of him as lover, in _Sordello_, by Mrs. W. Buck (1837).] Turning to
Tennyson, in _Lucretius_ the non-lover will note the tragic death
of the hero that grows out of the asceticism in love engendered by his
absorption in composition. With the greatest pride the enemy of love
will point to his popularity in the 1890's, when the artificial and
heartless artist enjoyed his greatest vogue.


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