or solace out of
imitating Prospero, so one reason for Setebos's creation of the world
was a half-scornful attempt to delude himself into apparent content. His
imitations, his "make believes," are the unwilling homage his weakness
pays to the power of the Quiet.

170-184. The weaknesses of all living beings were special devices
whereby Setebos could, through need and fear, torture and rule.

185-199. Setebos worked also out of pure ennui. He liked the exercise of
power, he liked to use his "wit," and he needed distraction.

200-210. Setebos hates and favors human beings without discoverable
reason.

211-285. It is impossible to discover a way to please Setebos. His favor
goes by caprice as does Caliban's with the daring squirrel and the
terrified urchin, who please one day, and, doing the same things the
next, would bring down vengeance. The only philosophy at which Caliban
can arrive is that it is best not to be too happy. Simulated misery is
more likely to escape than any show of happiness.

MAY AND DEATH

In memory of Browning's cousin, James Silverthorne, the "Charles" of the
poem. The "one plant" of the last two stanzas is supposed to be the
_Spotted Persicaria_, "a common weed with purple stains upon its rather
large leaves." According to popular tradition this plant grew beneath
the Cross, and the stains were made by drops of blood from the Savior's
wounds. (Berdoe, _Browning Cyclopaedia_, page 268, quoting from Rev. H.
Friend, _Flowers and Flower Lore_.)

PROSPICE

"Prospice" ("Look forward") was written in the autumn following Mrs.
Browning's death. "It ends with the expression of his triumphant
certainty of meeting her, and breaks forth at last into so great a cry
of pure passion that ear and heart alike rejoice. Browning at his best,
Browning in the central fire of his character, is in it." (Brooke, _The
Poetry of Browning_, page 251.)

A FACE

"No poem in the volume of _Dramatis Personae_ is connected with pictorial
art, unless it be the few lines entitled 'A Face,' lines of which Emily
Patmore, the poet's wife, was the subject, and written, as Browning
seldom wrote, for the mere record of beauty. That 'little head of hers'
is transferred to Browning's panel in the manner of an early Tuscan
piece of ideal loveliness." (Dowden, _Life of Browning_.)

14. _Correggio._ A famous Italian painter of the Lombard school. These
lines well describe his style.

O LYRIC LOVE

These are the closi