Meeting at night and parting at the morning

                      Meeting at night and parting at the morning

                                       By Robert Browning

Meeting at night and parting at morning were first published in 'Dramatic romances' in 1845 as two part of one poem Night and morning part of one poem. Night and morning, part-1 as night and part -2 as morning. In 1849 the two parts were made two seprate poems known by their present titles. But they are generally read as companion pieces. Both are short poems which demonstrate Browning's mastery of the short, simple , dramatic lyric. Meeting at night , this short poem is divided into two stanzas of six lines each yhe rhyme scheme  ab cc ba ab ccba. This is not a typical love poem. Rather, the poet conveys feelings of love by not simply describing or talking about how strong or everlasting they are but by means of vivid presentation of a situation through which these feeligs emerge.
 A detailed analysis of every line will reveal how the poet is able to do. So through the use of language  that is alive: The speaker in the poem describe his arrival in a boat and the long, steady journey of the lover back to his beloved are presented to us in stage. Browning conveys feeling of anticipation at the thought of reunion is terms of ohysical activities.
       
The persona speaker indicated by the word " I " is by universal onsent, thought to be a man. The immensity of background is built up by Browning with the ' grey sea', ' long black land'. The first two lines are slow and suggestive conveyed in a speaking voice rhythm. After his boat ride on the ' grey sea' , the lover comes near the shore. The descriptive words like ' started' and ' leap' used to capture the lively movement of the waves are equally suggestive of an eagrness on the part of the lover. The first stanza ends with words loke ' gain' , 'pushy' which convey forceful movement as the lover concludes his sea journey.

The use of slush- sand, very effectively expresses an invitable slowing down of the lover's movement inspite of his desire to return home as fast as possible.

The second stanza indicates that from the beach the persona has to walk a mile, cross three fields and stop near a farm , near the farm is houses several phrases suggest the poet's haste such as the quickness of 'Then a mile' and 'Three  fields to cross'. The onomatopoetic quality in the next line, " a tap at the pane'' , the 'quick sharp scratch', followed by a clear visual image, And blue spurt of a lighted match. The last two lines provide an emotional climax  to the preceding emotions of anticipation as his beloved responds to his return home. The movement of the stanza has  narrowed from the vast coast line to the physical closeness of the two lovers. Browning thus, succeeds in writing a unique love poem without a description of the beloved lady, or the meeting of the lovers giving us instead  only a natural description.

'Parting at Morning' is appreciated for the re,arkable concentration and power of suggestion achieved by these four lines, with rhyme scheme abba. The first line introduces the return of daylight. As the sun begins its course on a golden path across the sky, the speaker accepts that he must return t his daily existance as part of the larger human society. The rising sun establishes society. The rising sun establoshes time in the world of men which can be measured. There is a final intensity of the meeting  of lovers in the last two lines of meeting at night. While  'Parting at the morning' reflects acceptance of the inevitable movement away from the intensity experienced by the man and his beloved. The leaping sea presents a contrast with the silent sea of meeting at night. The golden rays of the sun here can be contrasted with the darkness of the meeting at night.