Not less vivid is the vision of the light craft with its lateen sail outside Triest, in which Waring--the Flying Englishman--is seen "with great grass hat and kerchief black," looking up for a moment, showing his "kingly throat," till suddenly in the sunset splendour the boat veers weather-ward and goes off, as with a bound, "into the rose and golden half of the sky." And what animal-painter has given more of the leonine wrath in mane and tail and fixed wide eyes than Browning has conveyed into his lion of King Francis with three strokes of the brush? Or it is only a bee upon a sunflower on which the gazer's eye is fixed, and we get the word of Rudel: And therefore bask the bees On my flower's breast, as on a platform broad. Or--a grief to booklovers!--the same eye is occupied by all the grotesquerie of insect life in the revel over that unhappy tome lurking in the plum tree's crevice of Browning's _Garden Fancy_, which creeps and crawls with beetle and spider, worm and eft.[33] Or it is night and moonlight by the sandy shore, and for a moment--before love enters--all the mind of the impressionist artist lives merely in the eye: 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. If Browning did not rejoice in perfect health and animal spirits--and in the letters to Miss Barrett we hear of frequent headaches and find a reference to his pale thin face as seen in a mirror--he had certainly the imagination of perfect vitality and of those "wild joys of living," sung by the young harper David in that poem of _Saul_, which appeared as a fragment in the _Bells and Pomegranates_, and as a whole ten years later, with the awe and rapture of the spirit rising above the rapture of the senses.[34]