“Gold Hair:  A Story of Pornic.” ("Dramatis Personae.” 1864.)

     “Herve Riel.” ("Pacchiarotto, and other Poems,” written at
     Croisic, 1867.  Published in the “Cornhill Magazine.” 1871.)

In the third group:—­

     “Through the Metidja to Abd-el-Kadr.” ("Dramatic Lyrics.”
     1842.)

     “Meeting at Night.” ("Dramatic Lyrics.”  Published as “Night”
     in “Dramatic Romances and Lyrics.” 1845.)

     “Parting at Morning.” ("Dramatic Lyrics.”  Published as
     “Morning” in “Dramatic Romances and Lyrics.”)

     “The Patriot.  An old Story.” ("Dramatic Romances.”  Published
     in “Men and Women.” 1855.)

     “Instans Tyrannus.” ("Dramatic Romances.”  Published in “Men
     and Women.” 1855.)

     “Mesmerism.” ("Dramatic Romances.”  Published in “Men and
     Women.” 1855.)

     “Time’s Revenges.” ("Dramatic Romances.”  Published in
     “Dramatic Romances and Lyrics.” 1845.)

     “The Italian in England.” ("Dramatic Romances.”  Published as
     “Italy in England” in “Dramatic Romances and Lyrics.” 1845.)

     “Protus.” ("Dramatic Romances.”  Published in “Men and Women.”
     1855.)

     “Apparent Failure.” ("Dramatis Personae.” 1864.)

     “Waring.” ("Dramatic Romances.”  Published in “Dramatic
     Lyrics.” 1842.) This poem is a personal effusion of feeling
     and reminiscence, which can stand for nothing but itself.

First Group.

“THE LOST LEADER” is a lament over the defection of a loved and honoured chief.  It breathes a tender regret for the moral injury he has inflicted on himself; and a high courage, saddened by the thought of lost support and lost illusions, but not shaken by it.  The language of the poem shows the lost “leader” to have been a poet.  It was suggested by Wordsworth, in his abandonment (with Southey and others) of the liberal cause.

“NATIONALITY IN DRINKS.”  A fantastic little comment on the distinctive national drinks—­Claret, Tokay, and Beer.  The beer is being drunk off Cape Trafalgar to the health of Nelson, and introduces an authentic and appropriate anecdote of him.  But the laughing little claret flask, which the speaker has on another occasion seen plunged for cooling into a black-faced pond, suggests to him the image of a “gay French lady,” dropped, with straightened limbs, into the silent ocean of death; while the Hungarian Tokay (Tokayer Ausbruch), in its concentrated strength, seems to jump on to the table as a stout pigmy castle-warder, strutting and swaggering in his historic costume, and ready to defy twenty men at once if the occasion requires.

“THE FLOWER’S NAME.  Garden Fancies,” I. A lover’s reminiscence of a garden in which he and his lady-love have walked together, and of a flower which she has consecrated by her touch and voice:  its dreamy Spanish name, which she has breathed upon it, becoming part of the charm.