human
there emerges a trait always implicit in Browning but only distinctly apparent in this last decade--the ironical contrasts between the hidden deeps of a man's soul and the assumptions or speculations of his neighbours about it. The two worlds--inner and outer--fall more sharply apart; stranger abysses of self-consciousness appear on the one side, more shallow and complacent illusions on the other. Relph's horror of remorse--painted with a few strokes of incomparable intensity, like his 'Get you behind the man I am now, you man that I used to be!'--is beyond the comprehension of the friendly peasants; Clive's
gpt
is as much misunderstood by his auditor as his courage by the soldiers; the