There are so many different varieties in the Victorian poetry of subject-imagery, tone and diction that one might conclude that one might conclude that this multiplicity is n itself the chief characteristic of the Victorian poetry. The growth of the natural sciences and of tendencies in social and political life, philosophy, and religion led to the minimization of poetry and even hostility toward it. Paradoxically, alongside this devaluation of the poet and poetry, there is a growing emphasis on the prophetic nature of the poet. Alfred Lord Tennyson, spoke directly to his age as an inspiring prophet and preacher committed to middle-class ideals. Arnold, as a poet and critic argued, poets guided culture by offering contact with ‘the great primary human affections’. In the Victorian period, in particular, religious faith had to face difficulties that perhaps no other period had yet experienced to the same degree. Three movements of thoughts made onslaught upon the stronghold of orthodoxy: a new approach to the authority of the Scriptures, the emergence of evolutionary theories, and the growth of positivism. The dominant Victorian poetic genre was the lyric, focusing most usually on themes of nature, love, religion and death. Victorian lyricism was primarily elegiac, expressing nostalgia for lost happiness and meditating on flux as the essential quality of the modern human condition. Dramatic verse appealed to the Victorians’ fascination with the human personality, and dramatic monologue was appealing most of all. Through his religious poems, Browning tried to find a secure ground foe his faith. He found this secure ground in the final triumph of “right”, which was based upon his belief in “Divine Love.” For Browning, love in human heart was the best evidence of God’s providential love. Arnold’s allusion to thee classical Greek in a reflection on the “long, withdrawing roar” of the Victorian “Sa of Faith” brings consolation by suggesting that heroic predecessors experience similar anguish over lost ideals.