|
1
|
"Between Us Now"
|
30
|
65%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
21
|
45%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
12
|
26%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
23
|
50%
|
0
|
0%
|
|
5
|
[Greek Title]
|
15
|
32%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
46
|
100%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
36
|
78%
|
0
|
0%
|
|
8
|
A Christmas Ghost-Story
|
11
|
23%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
7
|
15%
|
0
|
0%
|
|
10
|
A Commonplace Day.
|
6
|
13%
|
0
|
0%
|
|
11
|
A Confession To A Friend in Trouble
|
23
|
50%
|
0
|
0%
|
|
12
|
A Man (In Memory of H. of M.)
|
7
|
15%
|
0
|
0%
|
|
13
|
A Meeting With Despair
|
14
|
30%
|
0
|
0%
|
|
14
|
A Sign-Seeker
|
7
|
15%
|
0
|
0%
|
|
15
|
A Spot
|
3
|
6%
|
0
|
0%
|
|
16
|
A Thunderstorm in Town
|
14
|
30%
|
0
|
0%
|
|
17
|
A Wasted Illness
|
13
|
28%
|
0
|
0%
|
|
18
|
A Wife in London (December, 1899)
|
32
|
69%
|
0
|
0%
|
|
19
|
Additions
|
8
|
17%
|
0
|
0%
|
|
20
|
After Schiller
|
1
|
2%
|
0
|
0%
|
|
21
|
Afterwards
|
10
|
21%
|
0
|
0%
|
|
22
|
Ah, Are You Digging on My Grave?
|
13
|
28%
|
0
|
0%
|
|
23
|
An Ancient to Ancients
|
1
|
2%
|
0
|
0%
|
|
24
|
An August Midnight
|
4
|
8%
|
0
|
0%
|
|
25
|
Architectural Masks
|
1
|
2%
|
0
|
0%
|
|
26
|
At a Lunar Eclipse
|
6
|
13%
|
0
|
0%
|
|
27
|
At An Inn
|
5
|
10%
|
0
|
0%
|
|
28
|
At Castle Boterel
|
7
|
15%
|
0
|
0%
|
|
29
|
At Lulworth Cove a Century Back
|
2
|
4%
|
0
|
0%
|
|
30
|
At the Railway Station, Upways
|
1
|
2%
|
0
|
0%
|
|
31
|
At the War Office, London.
|
3
|
6%
|
0
|
0%
|
|
32
|
Beeny Cliff
|
8
|
17%
|
0
|
0%
|
|
33
|
By the Earth's Corpse
|
4
|
8%
|
0
|
0%
|
|
34
|
Cardinal Bembo's Epitaph on Raphael
|
1
|
2%
|
0
|
0%
|
|
35
|
Catullus: XXXI
|
1
|
2%
|
0
|
0%
|
|
36
|
Channel Firing
|
6
|
13%
|
0
|
0%
|
|
37
|
De Profundis
|
9
|
19%
|
0
|
0%
|
|
38
|
Departure (Southampton Docks: October, 1899)
|
1
|
2%
|
0
|
0%
|
|
39
|
Departure.
|
1
|
2%
|
0
|
0%
|
|
40
|
Ditty
|
1
|
2%
|
0
|
0%
|
|
41
|
Domicilium
|
1
|
2%
|
0
|
0%
|
|
42
|
Doom and She
|
1
|
2%
|
0
|
0%
|
|
43
|
Drummer Hodge
|
24
|
52%
|
0
|
0%
|
|
44
|
During Wind and Rain
|
12
|
26%
|
0
|
0%
|
|
45
|
Embarcation (Southampton Docks: October, 1899)
|
1
|
2%
|
0
|
0%
|
|
46
|
Epitaph on a pessimist
|
2
|
4%
|
0
|
0%
|
|
47
|
Friends Beyond
|
3
|
6%
|
0
|
0%
|
|
48
|
From Victor Hugo
|
1
|
2%
|
0
|
0%
|
|
49
|
Genoa and the Mediterranean.
|
1
|
2%
|
0
|
0%
|
|
50
|
George Meredith
|
3
|
6%
|
0
|
0%
|
|
51
|
God-Forgotten
|
7
|
15%
|
0
|
0%
|
|
52
|
God's Funeral
|
6
|
13%
|
0
|
0%
|
|
53
|
Hap
|
21
|
45%
|
0
|
0%
|
|
54
|
He Never Expected Much
|
9
|
19%
|
0
|
0%
|
|
55
|
Heiress And Architect
|
3
|
6%
|
0
|
0%
|
|
56
|
Her Death And After
|
6
|
13%
|
0
|
0%
|
|
57
|
Her Initals
|
2
|
4%
|
0
|
0%
|
|
58
|
Her Late Husband (King's-Hintock, 182-.)
|
1
|
2%
|
0
|
0%
|
|
59
|
Her Reproach
|
1
|
2%
|
0
|
0%
|
|
60
|
Heredity
|
8
|
17%
|
0
|
0%
|
|
61
|
His Immortality
|
3
|
6%
|
0
|
0%
|
|
62
|
I Look Into My Glass
|
8
|
17%
|
0
|
0%
|
|
63
|
I Need Not Go
|
28
|
60%
|
0
|
0%
|
|
64
|
I said to Love
|
1
|
2%
|
0
|
0%
|
|
65
|
I Said to Love.
|
4
|
8%
|
0
|
0%
|
|
66
|
In A Eweleaze Near Weatherbury
|
1
|
2%
|
0
|
0%
|
|
67
|
In a Museum
|
3
|
6%
|
0
|
0%
|
|
68
|
In a Wood
|
2
|
4%
|
0
|
0%
|
|
69
|
In A Wook
|
1
|
2%
|
0
|
0%
|
|
70
|
In Tenebris
|
5
|
10%
|
0
|
0%
|
|
71
|
In The Moonlight
|
5
|
10%
|
0
|
0%
|
|
72
|
In the Old Theatre, Fiesole (April, 1887)
|
1
|
2%
|
0
|
0%
|
|
73
|
In Time of 'The Breaking of Nations'
|
10
|
21%
|
0
|
0%
|
|
74
|
Last Words to a Dumb Friend
|
1
|
2%
|
0
|
0%
|
|
75
|
Leipzig
|
2
|
4%
|
0
|
0%
|
|
76
|
Lines On The Loss Of The "Titanic"
|
4
|
8%
|
0
|
0%
|
|
77
|
Mad Judy
|
2
|
4%
|
0
|
0%
|
|
78
|
Men Who March Away
|
4
|
8%
|
0
|
0%
|
|
79
|
Middle-Age Enthusiasms
|
3
|
6%
|
0
|
0%
|
|
80
|
Mismet
|
1
|
2%
|
0
|
0%
|
|
81
|
Mute Opinion
|
2
|
4%
|
0
|
0%
|
|
82
|
My Cicely
|
3
|
6%
|
0
|
0%
|
|
83
|
My spirit will not haunt the mound
|
2
|
4%
|
0
|
0%
|
|
84
|
Nature's Questioning
|
12
|
26%
|
0
|
0%
|
|
85
|
Neutral Tones
|
7
|
15%
|
0
|
0%
|
|
86
|
Night in the Old Home
|
1
|
2%
|
0
|
0%
|
|
87
|
No Buyers
|
2
|
4%
|
0
|
0%
|
|
88
|
On a Fine Morning
|
5
|
10%
|
0
|
0%
|
|
89
|
On an Invitation to the United States.
|
2
|
4%
|
0
|
0%
|
|
90
|
Postponement
|
2
|
4%
|
0
|
0%
|
|
91
|
Revulsion
|
1
|
2%
|
0
|
0%
|
|
92
|
Rome: At the Pyramid of Cestius. (Near the graves of Shelley & Keats)
|
2
|
4%
|
0
|
0%
|
|
93
|
Rome: Building a New Street in the Ancient Quarter (April, 1887)
|
1
|
2%
|
0
|
0%
|
|
94
|
Rome: The Vatican--Sala Delle Muse (1887)
|
1
|
2%
|
0
|
0%
|
|
95
|
San Sebastian
|
6
|
13%
|
0
|
0%
|
|
96
|
Sapphic Fragment
|
4
|
8%
|
0
|
0%
|
|
97
|
She At His Funeral
|
1
|
2%
|
0
|
0%
|
|
98
|
She Hears the Storm
|
4
|
8%
|
0
|
0%
|
|
99
|
She, To Him
|
2
|
4%
|
0
|
0%
|
|
100
|
She, To Him III
|
1
|
2%
|
0
|
0%
|
|
101
|
She, to Him, I
|
1
|
2%
|
0
|
0%
|
|
102
|
She, to Him, II
|
1
|
2%
|
0
|
0%
|
|
103
|
She, to Him, IV
|
2
|
4%
|
0
|
0%
|
|
104
|
Song of Hope
|
2
|
4%
|
0
|
0%
|
|
105
|
Song of the Soldier's Wifes.
|
1
|
2%
|
0
|
0%
|
|
106
|
Tess's Lament
|
5
|
10%
|
0
|
0%
|
|
107
|
The Bedridden Peasant to an Unknown God
|
1
|
2%
|
0
|
0%
|
|
108
|
The Bridge of Lodi (Spring, 1887)
|
1
|
2%
|
0
|
0%
|
|
109
|
The Bullfinches
|
1
|
2%
|
0
|
0%
|
|
110
|
The Burghers
|
1
|
2%
|
0
|
0%
|
|
111
|
The Caged Thrush Freed and Home Again (Villanelle)
|
2
|
4%
|
0
|
0%
|
|
112
|
The Casterbridge Captains
|
1
|
2%
|
0
|
0%
|
|
113
|
The Cave of the Unborn
|
1
|
2%
|
0
|
0%
|
|
114
|
The Church-Builder
|
9
|
19%
|
0
|
0%
|
|
115
|
The Colonel's Soliloquy (Southampton Docks: October, 1899)
|
5
|
10%
|
0
|
0%
|
|
116
|
The Colonel's Solilquy.
|
2
|
4%
|
0
|
0%
|
|
117
|
The Comet at Valbury or Yell'ham
|
3
|
6%
|
0
|
0%
|
|
118
|
The Contretemps
|
4
|
8%
|
0
|
0%
|
|
119
|
The Convergence Of The Twain
|
5
|
10%
|
0
|
0%
|
|
120
|
The Dame of Athelhall
|
1
|
2%
|
0
|
0%
|
|
121
|
The Dance At The Phoenix
|
4
|
8%
|
0
|
0%
|
|
122
|
The Darkling Thrush
|
11
|
23%
|
0
|
0%
|
|
123
|
The Dead Man Walking
|
2
|
4%
|
0
|
0%
|
|
124
|
The Dream-Follower
|
2
|
4%
|
0
|
0%
|
|
125
|
The Ghost of the Past
|
1
|
2%
|
0
|
0%
|
|
126
|
The Going
|
12
|
26%
|
0
|
0%
|
|
127
|
The Going of the Battery Wives. (Lament)
|
2
|
4%
|
0
|
0%
|
|
128
|
The House of Hospitalities
|
4
|
8%
|
0
|
0%
|
|
129
|
The Ivy-Wife
|
1
|
2%
|
0
|
0%
|
|
130
|
The Lacking Sense Scene.--A sad-coloured landscape, Waddon Vale
|
1
|
2%
|
0
|
0%
|
|
131
|
The Levelled Churchyard
|
3
|
6%
|
0
|
0%
|
|
132
|
The Lost Pyx: A Mediaeval Legend
|
3
|
6%
|
0
|
0%
|
|
133
|
The Man He Killed
|
31
|
67%
|
0
|
0%
|
|
134
|
The Milkmaid
|
3
|
6%
|
0
|
0%
|
|
135
|
The Mother Mourns
|
1
|
2%
|
0
|
0%
|
|
136
|
The Oxen
|
10
|
21%
|
0
|
0%
|
|
137
|
The Phantom Horsewoman.
|
1
|
2%
|
0
|
0%
|
|
138
|
The Problem
|
1
|
2%
|
0
|
0%
|
|
139
|
The Respectable Burgher on "The Higher Criticism"
|
1
|
2%
|
0
|
0%
|
|
140
|
The Roman Road
|
1
|
2%
|
0
|
0%
|
|
141
|
The Ruined Maid
|
6
|
13%
|
0
|
0%
|
|
142
|
The Sergeant's Song
|
1
|
2%
|
0
|
0%
|
|
143
|
The Slow Nature
|
1
|
2%
|
0
|
0%
|
|
144
|
The Subalterns
|
1
|
2%
|
0
|
0%
|
|
145
|
The Voice
|
3
|
6%
|
0
|
0%
|
|
146
|
The Widow
|
3
|
6%
|
0
|
0%
|
|
147
|
To Flowers From Italy in Winter
|
4
|
8%
|
0
|
0%
|
|
148
|
To Life
|
1
|
2%
|
0
|
0%
|
|
149
|
To Outer Nature
|
1
|
2%
|
0
|
0%
|
|
150
|
Transformations
|
1
|
2%
|
0
|
0%
|
|
151
|
Under the Waterfall
|
8
|
17%
|
0
|
0%
|
|
152
|
Unknowing
|
2
|
4%
|
0
|
0%
|
|
153
|
V.R. 1819-1901, A Reverie
|
1
|
2%
|
0
|
0%
|
|
154
|
Weathers
|
5
|
10%
|
0
|
0%
|
|
155
|
When I Set Out for Lyonnesse
|
3
|
6%
|
0
|
0%
|
|
156
|
Winter in Durnover Field
|
2
|
4%
|
0
|
0%
|
|
157
|
Wives in the Sere
|
3
|
6%
|
0
|
0%
|
|
158
|
Zermat: To the Matterhorn (June-July, 1897)
|
1
|
2%
|
0
|
0%
|