Yet he is no more a realist of the ordinary type here than in his colouring.

His deep sharp lines are caught from life, but under the control of a no less definite bias of eye and brain.

Sheer nervous and muscular energy had its part here also.

As he loved the intense colours which most vigorously stimulate the optic nerve, so he delighted in the angular, indented, intertwining, labyrinthine varieties of line and surface which call for the most delicate, and at the same time the most agile, adjustments of the muscles of the eye.

He caught at the edges of things--the white line of foam against the shore, the lip of the shell, and he could compare whiteness as no other poet ever did to "the bitten lip of hate." He once saw with delight "a solitary bee nipping a leaf round till it exactly fitted the front of a hole."[73] Browning's joy in form was as little epicurean as his joy in colour; it was a banquet of the senses in which the sense of motion and energy had the largest part.