To attack Strauss through the mouth of the dying apostle was a smart pamphleteering device; but it gave his otherwise noble verse a disagreeable twang of theological disputation, and did no manner of harm to Strauss, who had to be met on other ground and with other weapons,--the weapons of history and comparative religion--in which Browning's skill was that only of a brilliant amateur.

But the impulse which created it had deeper springs than this.
What is most clearly personal and most deeply felt in it is the exaltation of love, which seems to have determined the whole imaginative fabric.

Love, Browning's highest expression of spiritual vitality, was the cardinal principle of his creed; God was vital to him only as a loving God, and Christ only as the human embodiment and witness of God's love.

The traditional story of Christ was in this sense of profound significance for him, while he turned away with indifference or disgust from the whole doctrinal apparatus of the Atonement, which, however closely bound up with the popular conception of God's love, had nothing to do with his conception of it, and he could thus consistently decline the name of Christian, as some witnesses aver that he did.[42] It was thus in entire keeping with his way of approaching Christianity that he imagined this moving episode,--the dying apostle whose genius had made that way so singularly persuasive, the little remnant of doomed and hunted fugitives who seem to belong to earth only by the spiritual bond of their love to him, as his own physical life is now a firebrand all but extinct,--"all ashes save the tip that holds a spark," but that still glowing with undiminished soul.

The material fabric which enshrines this fine essence of the Christian spirit is of the frailest; and the contrast is carried out in the scenic setting,--the dim cool cavern, with its shadowy depth and faint glimmerings of day, the hushed voices, the ragged herbage, and the glory in the face of the passing saint within; without, the hard dazzling glare of the desert noon, and the burning blue, and the implacable and triumphant might of Rome.
[Footnote 42: Other testimony, it is true, equally strong, asserts that he accepted the name; in any case he used it in a sense of his own.] The discourse of the "aged friend" is full of subtle and vivid thinking, and contains some of Browning's most memorable utterances about Love, in particular the noble lines-- "For life with all it yields of joy and woe ...
Is just our chance of the prize of learning love, How love might be, hath been indeed, and is." Nowhere, either, do we see more clearly how this master-conception of his won control of his reasoning powers, framing specious ladders to conclusions towards which his whole nature yearned, but which his vision of the world did not uniformly bear out.