|
1
|
"Between Us Now"
|
47
|
100%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
39
|
82%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
23
|
48%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
24
|
51%
|
0
|
0%
|
|
5
|
[Greek Title]
|
1
|
2%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
13
|
27%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
6
|
12%
|
0
|
0%
|
|
8
|
A Circular
|
2
|
4%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
3
|
6%
|
0
|
0%
|
|
10
|
A Confession To A Friend in Trouble
|
8
|
17%
|
0
|
0%
|
|
11
|
A Death-Day Recalled
|
6
|
12%
|
0
|
0%
|
|
12
|
A Dream Or No
|
10
|
21%
|
0
|
0%
|
|
13
|
A King's Soliloquy [On the Night of His Funeral]
|
2
|
4%
|
0
|
0%
|
|
14
|
A Meeting With Despair
|
3
|
6%
|
0
|
0%
|
|
15
|
A Poet
|
1
|
2%
|
0
|
0%
|
|
16
|
A Sign-Seeker
|
2
|
4%
|
0
|
0%
|
|
17
|
A Thunderstorm in Town
|
8
|
17%
|
0
|
0%
|
|
18
|
A Wasted Illness
|
1
|
2%
|
0
|
0%
|
|
19
|
A Wife in London (December, 1899)
|
4
|
8%
|
0
|
0%
|
|
20
|
After A Journey
|
2
|
4%
|
0
|
0%
|
|
21
|
Afterwards
|
5
|
10%
|
0
|
0%
|
|
22
|
Ah, Are You Digging on My Grave?
|
2
|
4%
|
0
|
0%
|
|
23
|
Amabel
|
2
|
4%
|
0
|
0%
|
|
24
|
An Ancient to Ancients
|
2
|
4%
|
0
|
0%
|
|
25
|
An August Midnight
|
2
|
4%
|
0
|
0%
|
|
26
|
An Autumn Rain-Scene
|
1
|
2%
|
0
|
0%
|
|
27
|
Aquae Sulis
|
1
|
2%
|
0
|
0%
|
|
28
|
Architectural Masks
|
3
|
6%
|
0
|
0%
|
|
29
|
At Day-Close In November
|
2
|
4%
|
0
|
0%
|
|
30
|
At A Bridal
|
1
|
2%
|
0
|
0%
|
|
31
|
At a Hasty Wedding
|
1
|
2%
|
0
|
0%
|
|
32
|
At A House In Hampstead Sometime The Dwelling Of John Keats
|
2
|
4%
|
0
|
0%
|
|
33
|
At a Lunar Eclipse
|
1
|
2%
|
0
|
0%
|
|
34
|
At An Inn
|
2
|
4%
|
0
|
0%
|
|
35
|
At Castle Boterel
|
2
|
4%
|
0
|
0%
|
|
36
|
At Lulworth Cove a Century Back
|
2
|
4%
|
0
|
0%
|
|
37
|
At Moonrise And Onwards
|
2
|
4%
|
0
|
0%
|
|
38
|
At the Railway Station, Upways
|
3
|
6%
|
0
|
0%
|
|
39
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
1
|
2%
|
0
|
0%
|
|
40
|
At the War Office, London.
|
1
|
2%
|
0
|
0%
|
|
41
|
Barthelemon At Vauxhall
|
1
|
2%
|
0
|
0%
|
|
42
|
Beeny Cliff
|
3
|
6%
|
0
|
0%
|
|
43
|
Before And After Summer
|
2
|
4%
|
0
|
0%
|
|
44
|
Bereft, She Thinks She Dreams
|
2
|
4%
|
0
|
0%
|
|
45
|
Between Us Now
|
4
|
8%
|
0
|
0%
|
|
46
|
Birds at Winter Nightfall (Triolet)
|
2
|
4%
|
0
|
0%
|
|
47
|
By the Earth's Corpse
|
1
|
2%
|
0
|
0%
|
|
48
|
Cardinal Bembo's Epitaph on Raphael
|
1
|
2%
|
0
|
0%
|
|
49
|
Catullus: XXXI
|
2
|
4%
|
0
|
0%
|
|
50
|
Channel Firing
|
2
|
4%
|
0
|
0%
|
|
51
|
Convergence Of The Twain
|
2
|
4%
|
0
|
0%
|
|
52
|
De Profundis
|
2
|
4%
|
0
|
0%
|
|
53
|
Departure (Southampton Docks: October, 1899)
|
1
|
2%
|
0
|
0%
|
|
54
|
Departure.
|
2
|
4%
|
0
|
0%
|
|
55
|
Ditty
|
2
|
4%
|
0
|
0%
|
|
56
|
Domicilium
|
3
|
6%
|
0
|
0%
|
|
57
|
Doom and She
|
2
|
4%
|
0
|
0%
|
|
58
|
Drummer Hodge
|
31
|
65%
|
0
|
0%
|
|
59
|
During Wind and Rain
|
2
|
4%
|
0
|
0%
|
|
60
|
Embarcation
|
2
|
4%
|
0
|
0%
|
|
61
|
Embarcation (Southampton Docks: October, 1899)
|
2
|
4%
|
0
|
0%
|
|
62
|
Epeisodia
|
2
|
4%
|
0
|
0%
|
|
63
|
Epitaph on a pessimist
|
2
|
4%
|
0
|
0%
|
|
64
|
Exeunt Omnes
|
2
|
4%
|
0
|
0%
|
|
65
|
Faintheart In A Railway Train
|
2
|
4%
|
0
|
0%
|
|
66
|
Fragment
|
3
|
6%
|
0
|
0%
|
|
67
|
Friends Beyond
|
3
|
6%
|
0
|
0%
|
|
68
|
From Victor Hugo
|
2
|
4%
|
0
|
0%
|
|
69
|
From: Men Who March Away
|
2
|
4%
|
0
|
0%
|
|
70
|
Genoa and the Mediterranean (March, 1887)
|
1
|
2%
|
0
|
0%
|
|
71
|
Genoa and the Mediterranean.
|
1
|
2%
|
0
|
0%
|
|
72
|
George Meredith
|
2
|
4%
|
0
|
0%
|
|
73
|
God-Forgotten
|
1
|
2%
|
0
|
0%
|
|
74
|
God's Funeral
|
5
|
10%
|
0
|
0%
|
|
75
|
Going And Staying
|
1
|
2%
|
0
|
0%
|
|
76
|
Had You Wept
|
1
|
2%
|
0
|
0%
|
|
77
|
Hap
|
6
|
12%
|
0
|
0%
|
|
78
|
He Never Expected Much
|
3
|
6%
|
0
|
0%
|
|
79
|
Heiress And Architect
|
3
|
6%
|
0
|
0%
|
|
80
|
Her Death And After
|
1
|
2%
|
0
|
0%
|
|
81
|
Her Dilemma
|
1
|
2%
|
0
|
0%
|
|
82
|
Her Immortality
|
1
|
2%
|
0
|
0%
|
|
83
|
Her Initals
|
1
|
2%
|
0
|
0%
|
|
84
|
Her Initials
|
3
|
6%
|
0
|
0%
|
|
85
|
Her Late Husband (King's-Hintock, 182-.)
|
1
|
2%
|
0
|
0%
|
|
86
|
Her Reproach
|
1
|
2%
|
0
|
0%
|
|
87
|
Her Secret
|
1
|
2%
|
0
|
0%
|
|
88
|
Her Song
|
1
|
2%
|
0
|
0%
|
|
89
|
Heredity
|
1
|
2%
|
0
|
0%
|
|
90
|
His Immortality
|
1
|
2%
|
0
|
0%
|
|
91
|
I Look Into My Glass
|
2
|
4%
|
0
|
0%
|
|
92
|
I Need Not Go
|
2
|
4%
|
0
|
0%
|
|
93
|
In Tenebris
|
3
|
6%
|
0
|
0%
|
|
94
|
In The British Museum
|
1
|
2%
|
0
|
0%
|
|
95
|
In The Days Of Crinoline
|
1
|
2%
|
0
|
0%
|
|
96
|
In The Moonlight
|
6
|
12%
|
0
|
0%
|
|
97
|
In the Old Theatre, Fiesole (April, 1887)
|
1
|
2%
|
0
|
0%
|
|
98
|
In The Old Theatre, Fiesole.
|
1
|
2%
|
0
|
0%
|
|
99
|
In The Servants' Quarters
|
1
|
2%
|
0
|
0%
|
|
100
|
In The Vaulted Way
|
1
|
2%
|
0
|
0%
|
|
101
|
In Time Of
|
1
|
2%
|
0
|
0%
|
|
102
|
In Time of 'The Breaking of Nations'
|
3
|
6%
|
0
|
0%
|
|
103
|
In Vision I Roamed
|
1
|
2%
|
0
|
0%
|
|
104
|
Lines On The Loss Of The "Titanic"
|
2
|
4%
|
0
|
0%
|
|
105
|
Men Who March Away
|
3
|
6%
|
0
|
0%
|
|
106
|
Nature's Questioning
|
1
|
2%
|
0
|
0%
|
|
107
|
Night in the Old Home
|
1
|
2%
|
0
|
0%
|
|
108
|
No Buyers
|
1
|
2%
|
0
|
0%
|
|
109
|
On an Invitation to the United States.
|
1
|
2%
|
0
|
0%
|
|
110
|
Shelley's Skylark (The neighbourhood of Leghorn: March, 1887)
|
1
|
2%
|
0
|
0%
|
|
111
|
Shelley's Skylark.
|
1
|
2%
|
0
|
0%
|
|
112
|
Song of Hope
|
1
|
2%
|
0
|
0%
|
|
113
|
Tess's Lament
|
1
|
2%
|
0
|
0%
|
|
114
|
The Bedridden Peasant to an Unknown God
|
1
|
2%
|
0
|
0%
|
|
115
|
The Contretemps
|
1
|
2%
|
0
|
0%
|
|
116
|
The Convergence Of The Twain
|
1
|
2%
|
0
|
0%
|
|
117
|
The Curtains Now Are Drawn
|
1
|
2%
|
0
|
0%
|
|
118
|
The Darkling Thrush
|
6
|
12%
|
0
|
0%
|
|
119
|
The Last Chrysanthemum
|
1
|
2%
|
0
|
0%
|
|
120
|
The Man He Killed
|
14
|
29%
|
0
|
0%
|
|
121
|
The Mother Mourns
|
2
|
4%
|
0
|
0%
|
|
122
|
The Moth-Signal (On Egdon Heath)
|
1
|
2%
|
0
|
0%
|
|
123
|
The Night Of Trafalgar
|
1
|
2%
|
0
|
0%
|
|
124
|
The Oxen
|
8
|
17%
|
0
|
0%
|
|
125
|
The Peasent's Confession
|
1
|
2%
|
0
|
0%
|
|
126
|
The Puzzled Game-Birds (Triolet)
|
1
|
2%
|
0
|
0%
|
|
127
|
The Selfsame Song
|
1
|
2%
|
0
|
0%
|
|
128
|
The Self-Unseeing
|
2
|
4%
|
0
|
0%
|
|
129
|
The Sweet Hussy
|
1
|
2%
|
0
|
0%
|
|
130
|
The Telegram
|
1
|
2%
|
0
|
0%
|
|
131
|
The To-Be-Forgotten
|
1
|
2%
|
0
|
0%
|
|
132
|
The Voice
|
2
|
4%
|
0
|
0%
|
|
133
|
The Voice
|
2
|
4%
|
0
|
0%
|
|
134
|
The Walk
|
3
|
6%
|
0
|
0%
|
|
135
|
The Well-Beloved
|
1
|
2%
|
0
|
0%
|
|
136
|
The West-Of-Wessex Girl
|
1
|
2%
|
0
|
0%
|
|
137
|
The Woman In The Rye
|
2
|
4%
|
0
|
0%
|
|
138
|
The Year's Awakening
|
1
|
2%
|
0
|
0%
|
|
139
|
Then and Now
|
1
|
2%
|
0
|
0%
|
|
140
|
Thought Of Ph---a At News Of Her Death
|
3
|
6%
|
0
|
0%
|
|
141
|
To An Orphan Child
|
1
|
2%
|
0
|
0%
|
|
142
|
To An Orphan Child
|
1
|
2%
|
0
|
0%
|
|
143
|
To Lizbie Browne
|
3
|
6%
|
0
|
0%
|
|
144
|
Unknowing
|
1
|
2%
|
0
|
0%
|
|
145
|
We Are Getting to the End
|
1
|
2%
|
0
|
0%
|
|
146
|
Weathers
|
4
|
8%
|
0
|
0%
|
|
147
|
Welcome Home
|
3
|
6%
|
0
|
0%
|
|
148
|
Your Last Drive
|
1
|
2%
|
0
|
0%
|