Browning's theory of poetry is further reenforced by his poem
_How It Strikes a Contemporary_, which, in the final rearrangement
of his works, he placed directly after _Transcendentalism_, as though
to drive his doctrine home. Here is a picture of a real poet. Where
does he live, whence does he get his sources of inspiration, and how
does he pass his time? The poem answers these questions in a most
instructive manner, if only we keep in mind the original definition
given in _Pauline_. It is conventionally believed that the country
is more poetic than the city: that an ideal residence for a poet
would be in lonely, lovely, romantic scenery; and that in splendid
solitude and isolation he should clothe his thoughts in forms of
beauty. Now Browning's own life and methods of work were in exact
contrast to these popular ideas; because his theory of poetry
requires the poet to live in the very midst of human activities, and
to draw his inspiration not from a mountain or the stars, but from
all sorts and conditions of men. Thus, in the poem, _How It Strikes
a Contemporary_, the poet lives in a noisy city, spends his time
walking the streets, and instead of being lost in a trance, he is
intensely aware of everything that happens in the town. The poet is
an observer, not a dreamer. Indeed, the citizens think this old poet
is a royal spy, because he notices people and events with such sharp
attention. Browning would seem to say that the mistake is a quite
natural one; the poet ought to act like a spy, for, if he be a true
poet, he is a spy--a spy on human life. He takes upon himself the
mystery of things, as if he were God's spy.

He walked and tapped the pavement with his cane,
Scenting the world, looking it full in face....
He glanced o'er books on stalls with half an eye,
And fly-leaf ballads on the vendor's string,