This poem and "Sibrandus Schafnaburgensis," a companion poem, appeared in _Hood's Magazine_, July, 1844, under the title of "Garden Fancies." "The Flower's Name" is a description of a garden by a lover whose conception of its beauty is heightened and made vital by the memories it enshrines. Of this poem Miss Barrett wrote to Browning, "Then the 'Garden Fancies'--some of the stanzas about the name of the flower, with such exquisite music in them, and grace of every kind--and with that beautiful and musical use of the word 'meandering,' which I never remember having seen used in relation to sound before. It does to mate with your '_simmering_ quiet' in _Sordello_, which brings the summer air into the room as sure as you read it." (_Letters of R. B. and E. B. B._, I, 134.) 10. _Box._ An evergreen shrub, dwarf varieties of which are used for low hedges or the borders of flower-beds. MEETING AT NIGHT AND PARTING AT MORNING These poems were published originally simply as "Night" and "Morning." The second of these love lyrics is somewhat difficult to interpret. If the man is speaking, the "him" in l. 3 must refer to the sun. In any case, after the isolation with the woman he loved as described in the first poem, there comes with the morning a sense of the world of action to which the man must return. The two poems are fully discussed in _Poet-Lore_, Volume VII, April, May, June-July. The poems are noteworthy for the fusion of human emotion and natural scenery and for the startlingly specific phrasing of the first quatrain. EVELYN HOPE In this lyric are embodied Browning's faith in personal immortality, his belief in the permanence of true love and in the value of love though unrequited in this world. 34. _What meant._ From this point on through line 52 the lover repeats what he shall say to Evelyn Hope when in the life to come he claims her. LOVE AMONG THE RUINS A man is on his way across the fields to a turret where he is to meet the girl he loves. As he walks through the solitary pastures he mentally recreates the powerful life and varied interests of the city which, tradition has it, once occupied this site, and he seems to be absorbed in a melancholy recognition of the evanescence of human glory. The girl is not mentioned till stanza 5. Does the emphasis on the scenery and its historic associations unduly minimize the love element of the poem? Or is the whole picture of vanished joy and woe, pride and defeat, but a background against which stands out more clearly the rapture of the meeting in the ruined turret? 80. _Earth's returns._ This phrase refers to the ruins which are all that now remains of the centuries of folly, noise, and sin. "Them" in l. 81 refers apparently to the "fighters" and the others of the first part of the stanza. UP AT A VILLA--DOWN IN THE CITY