In the worst of a storm's uproar,
I shall pull her through the door,
I shall have her for evermore!
This is partly a study of the memory of love; and Browning has represented, without any sorrow linked to it, memorial love in a variety of characters under different circumstances, so that, though the subject is the same, the treatment varies. A charming instance of this is The Flowers Name; easy to read, happy in its fancy, in its scenery, in the subtle play of deep affection, in the character of its lover, in the character of the girl who is remembered—a good example of Browning's power to image in a few verses two human souls so clearly that they live in our world for ever. Meeting at Night—Parting at Morning is another reminiscence, mixed up with the natural scenery of the meeting and parting, a vivid recollection of a fleeting night of passion, and then the abandonment of its isolation for a wider, fuller life with humanity. I quote it for the fine impassioned way in which human feeling and natural scenery are fused together.
MEETING AT NIGHT.
The grey sea and the long black land;
And the yellow half-moon large and low;
And the startled little waves that leap
In fiery ringlets from their sleep,
As I gain the cove with pushing prow.