The title of the poem pretty much sums up what happens in the poem: the speaker describes a "meeting at night," or rather he describes all the things he must do to make his "meeting" happen. The grey sea and the long black land;. "Black land" and the presence of the moon inform us that it is nighttime (hence the title "Meeting at Night").

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They are described by Kennedy and Hair as "a compact dramatic narrative reflecting a decidedly masculine attitude toward love. This page was last edited on 30 April 2017, at 09:55. Upon getting a reply he sent her the manuscripts of poems and plays of the for proofreading. We learn that the speaker is sailing.

Jeanie Watson; Philip McM.Kennedy and Hair describe the poem as the "most sensual poem" he had written up to that time.
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The original poem appeared in (1845) in which "Night" and "Morning" were two sections. The poem (like others of the 1845 collection) was written during the courtship period of Browning with his future wife. The poem is written in two stanzas of six lines each. The poem opens with a description of the landscape: a "grey sea," "long black land," and a "half-moon" that is either rising or setting (it is "low" on the horizon).

  • " Meeting at Night" is a English love poem by.
  • "Black land" and the presence of the moon inform us that it is nighttime (hence the title "Meeting at Night").
  • "Quench its speed" is strange, in part because we don't know what "its" refers to.
  • "Quench" means to extinguish or stop (like quenching your thirst by drinking Gatorade), so "quench its speed" means to "stop" the boat on the shore, "i[n] the slushy sand.

Kennedy and Hair explain that Browning's urgent love for Elizabeth Barrett had led him to write "the most sensual poem he had yet created.

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  • We already know that the speaker is near the ocean, but this description of the waves suggests that maybe the speaker is in a boat.
  • The second stanza describes the joy of the meeting of the two lovers.
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Like its sister poem "Parting at Morning" which uses pronominal reference to attribute the gender of the person in the boat (as male), the poem never reveals the identity of the two lovers. Mary Sanders Pollock (1 January 2003). Poetics and Linguistics Association. Ronald Carter; Walter Nash (8 January 1991). Seeing Through Language: A Guide To Styles Of English Writing.

  1. By using this site, you agree to the and.
  2. Finally, someone is doing something in the poem!
  3. He reaches ("gains") the "cove" (a kind of recess or sheltered space on the coast of an ocean).
  4. In 1849, the poet separated them into the two poems "" and "".
  5. It follows the rhyme scheme abccba and deffed.
  6. The "fiery ringlets" of line 3 contrast with the images of darkness we have already encountered ("black land," the moon, and the "night" of the title). The descriptions in lines 1-4 refer to the scene the speaker observes while sailing. The first stanza describes the excitement of a secret journey by a boat on the sea. The living principle: "English" as a discipline of thought.

    It seems likely that "its" refers to the boat the speaker is sailing.
    1. A distant cousin of, presented a copy of Barrett's to Sarianna Browning, sister of Robert Browning.
    2. Additional terms may apply.
    3. And quench its speed i' the slushy sand.
    4. Browning, discovering his name in print in the poem volume, wrote a letter to Barrett on January 10, 1845.
    5. The poems in Dramatic Romances and Lyrics were arranged in groups of two or three with the two love poems "Night" and "Morning" as complementary. The speaker continues describing the features of the landscape; there are "little waves" that, strangely, resemble "fiery ringlets. There are no verbs in these first two lines, so we don't know what the land is doing; it is just there. There are two published accounts of this poem: one by and another by Ronald Carter and Walter Nash.

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