The image below is the same as the previous page only now the poem is open illustrating its size in comparison to the booklet. The poetry is taken from Robert Browning's first book, Pauline: A Fragment of a Confession. Written in 1832, Browning initially published it anonymously as a confession of love to the namesake, Pauline. It was reprinted in 1868 after Browning had well established himself as an eminent poet. There were no alterations to the republished text despite it being generally considered immature and clumsy... ironically, the same can be said for any young love or someone lacking a clear, emotional perspective.
  You can find the verse in the last section [chapter 10?] beginning with the middle of the 25th line. It is an interesting editorial choice to start the excerpt, "No - we will pass to morning..." Though the spelling is not the same, morning gets its name from the word of the same pronunciation - mourning. It is both a dark time and the beginning of a new day dawning. The verse is wrought with wooded imagery which coincidently mirrors his early Redgate paintings - even the hues of light described.
  What is of the greatest interest and a prevailing theme is the wooing, if you will, of a prospective love interest. The artwork accompanying the poetry is linked to Woodward's father's courtship of his mother and Browning annonymously confessing his love for a woman he has an interest. The theme of courtship from title to contents seems relevant to us. Though Woodward would deny a romantic   intent  it   is  hard   to  refute  the preponderance   of  the

evidence. Still, Helen kept it in her private, personal papers. What is equally interesting is that we believe rowing is a mutual interest of the two friends. There is a photograph of Woodward in a canoe with an oar in hand we think may have been taken by Helen and Woodward included an oar in the artwork of Helen's bookplate. The picture of Woodward in the canoe is after his accident and we know from newspapers that he vacationed twice at Lake Cazenovia in upstate New York and we wonder if this was a meeting place for the friends. A romance, as far as we know never materialized, however, we do suspect Helen's feelings for Woodward were once romantic.
  As for the calligraphy of the page, it is crisp and well laid out. The seventh line contains the use of the term "Cataract" which connects the selection to it's cover. It is not clear to us when Woodward made the poetry page. Its composition would have been time-consuming and requiring long bouts of concentration and endurance for its tediousness. Perhaps it was started around the same time he made the cover and he colored it and added effects after his accident? Each letter is drawn in the same style and colored. However, Woodward varies the coloring from what appears to be a faint pink to a mild grey and highlights a number of other selected words in a dark, almost black shading. A cursory examination of the dark bolded words produces additional insights - "Sun brightens in the mist" "Broken Rocks" to its end "with a Shout" - but no discernable pattern reveals itself.