He did not impute a personality like ours to Nature, but he saw joy and rapture and play, even love, moving in everything; and sometimes headded to this delight she has in herself--and just because the creature was not human--a touch of elemental unmoral malice, a tricksome sportiveness like that of Puck in _Midsummer Night's Dream_.

The life, then, of Nature had no relation of its own to our life; but we had some relation to it because we were conscious that we were its close and its completion.
It follows from this idea of Browning's that he was capable of describing Nature as she is, without adding any deceiving mist of human sentiment to his descriptions; and of describing her as accurately and as vividly as Tennyson, even more vividly, because of his extraordinary eye for colour.

And Nature, so described, is of great interest in Browning's poetry.
But, then, in any description of Nature, we desire the entrance into such description of some human feeling so that it may be a more complete theme for poetry.

Browning does this in a different way from Tennyson, who gives human feelings and thoughts to Nature, or steeps it in human memories.

Browning catches Nature up into himself, and the human element is not in Nature but in him, in what _he_ thinks and feels, in all that Nature, quite apart from him, awakens in him.