An almost oppressive intensity of womanhood pulses in _A Woman's Last Word, In a Year_, and _Any Wife to Any Husband_: the first, with its depth of self-abasement and its cloying lilting melody, trembles, exquisite as it is, on the verge of the "sentimental." There is a rarer, subtler pathos in _Two in the Campagna_.

The outward scene finds its way to his senses, and its images make a language for his mood, or else they break sharply across it and sting it to a cry.

He feels the Campagna about him, with its tranced immensity lying bare to heaven:-- "Silence and passion, joy and peace, An everlasting wash of air-- ...
Such life here, through such length of hours, Such miracles performed in play, Such primal naked forms of flowers, Such letting nature have her way While heaven looks from its towers;" and in the presence of that large sincerity of nature he would fain also "be unashamed of soul" and probe love's wound to the core.

But the invisible barriers will not be put aside or transcended, and in the midst of that "infinite passion" there remain "the finite hearts that yearn." Or else he wakes after the quarrel in the blitheness of a bright dawn:-- "All is blue again After last night's rain, And the South dries the hawthorn spray.
Only, my love's away! I'd as lief that the blue were grey." The disasters of love rarely, with Browning, stir us very deeply.

His temperament was too elastic, his intellect too resourceful, to enter save by artificial processes into the mood of blank and hopeless grief.
Tragedy did not lie in his blood, and fortune--kinder to the man than to the poet--had as yet denied him, in love, the "baptism of sorrow" which has wrung immortal verse from the lips of frailer men.