|
1
|
"Between Us Now"
|
26
|
100%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
15
|
57%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
12
|
46%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
19
|
73%
|
0
|
0%
|
|
5
|
[Greek Title]
|
4
|
15%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
21
|
80%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
11
|
42%
|
0
|
0%
|
|
8
|
A Circular
|
1
|
3%
|
0
|
0%
|
|
9
|
A Confession To A Friend in Trouble
|
9
|
34%
|
0
|
0%
|
|
10
|
A Jog-Trot Pair
|
1
|
3%
|
0
|
0%
|
|
11
|
A King's Soliloquy [On the Night of His Funeral]
|
2
|
7%
|
0
|
0%
|
|
12
|
A Man (In Memory of H. of M.)
|
3
|
11%
|
0
|
0%
|
|
13
|
A Meeting With Despair
|
4
|
15%
|
0
|
0%
|
|
14
|
A Poet
|
2
|
7%
|
0
|
0%
|
|
15
|
A Sign-Seeker
|
3
|
11%
|
0
|
0%
|
|
16
|
A Thunderstorm in Town
|
16
|
61%
|
0
|
0%
|
|
17
|
A Week
|
3
|
11%
|
0
|
0%
|
|
18
|
A Wife in London (December, 1899)
|
2
|
7%
|
0
|
0%
|
|
19
|
According to the Mighty Working
|
3
|
11%
|
0
|
0%
|
|
20
|
Additions
|
1
|
3%
|
0
|
0%
|
|
21
|
After A Journey
|
3
|
11%
|
0
|
0%
|
|
22
|
Afterwards
|
20
|
76%
|
0
|
0%
|
|
23
|
Ah, Are You Digging on My Grave?
|
1
|
3%
|
0
|
0%
|
|
24
|
Amabel
|
1
|
3%
|
0
|
0%
|
|
25
|
An Ancient to Ancients
|
1
|
3%
|
0
|
0%
|
|
26
|
An August Midnight
|
2
|
7%
|
0
|
0%
|
|
27
|
At A Bridal
|
2
|
7%
|
0
|
0%
|
|
28
|
At a Hasty Wedding
|
1
|
3%
|
0
|
0%
|
|
29
|
At An Inn
|
1
|
3%
|
0
|
0%
|
|
30
|
Barthelemon At Vauxhall
|
1
|
3%
|
0
|
0%
|
|
31
|
Before And After Summer
|
1
|
3%
|
0
|
0%
|
|
32
|
Bereft, She Thinks She Dreams
|
1
|
3%
|
0
|
0%
|
|
33
|
Channel Firing
|
2
|
7%
|
0
|
0%
|
|
34
|
De Profundis
|
1
|
3%
|
0
|
0%
|
|
35
|
Ditty
|
1
|
3%
|
0
|
0%
|
|
36
|
Drummer Hodge
|
13
|
50%
|
0
|
0%
|
|
37
|
During Wind and Rain
|
2
|
7%
|
0
|
0%
|
|
38
|
Epeisodia
|
1
|
3%
|
0
|
0%
|
|
39
|
Epitaph on a pessimist
|
2
|
7%
|
0
|
0%
|
|
40
|
Exeunt Omnes
|
1
|
3%
|
0
|
0%
|
|
41
|
Friends Beyond
|
6
|
23%
|
0
|
0%
|
|
42
|
From Victor Hugo
|
2
|
7%
|
0
|
0%
|
|
43
|
From: Men Who March Away
|
3
|
11%
|
0
|
0%
|
|
44
|
Genoa and the Mediterranean (March, 1887)
|
1
|
3%
|
0
|
0%
|
|
45
|
Genoa and the Mediterranean.
|
3
|
11%
|
0
|
0%
|
|
46
|
George Meredith
|
2
|
7%
|
0
|
0%
|
|
47
|
God-Forgotten
|
2
|
7%
|
0
|
0%
|
|
48
|
God's Funeral
|
12
|
46%
|
0
|
0%
|
|
49
|
Going And Staying
|
2
|
7%
|
0
|
0%
|
|
50
|
Had You Wept
|
2
|
7%
|
0
|
0%
|
|
51
|
Hap
|
11
|
42%
|
0
|
0%
|
|
52
|
Her Immortality
|
1
|
3%
|
0
|
0%
|
|
53
|
Her Initials
|
3
|
11%
|
0
|
0%
|
|
54
|
Her Secret
|
1
|
3%
|
0
|
0%
|
|
55
|
Heredity
|
4
|
15%
|
0
|
0%
|
|
56
|
How She Went To Ireland
|
1
|
3%
|
0
|
0%
|
|
57
|
I Found Her Out There
|
3
|
11%
|
0
|
0%
|
|
58
|
In a Wood
|
1
|
3%
|
0
|
0%
|
|
59
|
In Tenebris
|
4
|
15%
|
0
|
0%
|
|
60
|
In The British Museum
|
1
|
3%
|
0
|
0%
|
|
61
|
In The Days Of Crinoline
|
1
|
3%
|
0
|
0%
|
|
62
|
In The Moonlight
|
1
|
3%
|
0
|
0%
|
|
63
|
In the Old Theatre, Fiesole (April, 1887)
|
1
|
3%
|
0
|
0%
|
|
64
|
In The Old Theatre, Fiesole.
|
1
|
3%
|
0
|
0%
|
|
65
|
In The Servants' Quarters
|
1
|
3%
|
0
|
0%
|
|
66
|
In The Vaulted Way
|
1
|
3%
|
0
|
0%
|
|
67
|
In Time Of
|
1
|
3%
|
0
|
0%
|
|
68
|
In Time of 'The Breaking of Nations'
|
10
|
38%
|
0
|
0%
|
|
69
|
In Vision I Roamed
|
1
|
3%
|
0
|
0%
|
|
70
|
Jezreel
|
1
|
3%
|
0
|
0%
|
|
71
|
Last Words to a Dumb Friend
|
2
|
7%
|
0
|
0%
|
|
72
|
Leipzig
|
1
|
3%
|
0
|
0%
|
|
73
|
Let Me Enjoy
|
1
|
3%
|
0
|
0%
|
|
74
|
Men Who March Away
|
2
|
7%
|
0
|
0%
|
|
75
|
Midnight on the Great Western
|
1
|
3%
|
0
|
0%
|
|
76
|
Mismet
|
3
|
11%
|
0
|
0%
|
|
77
|
Moments of Vision
|
1
|
3%
|
0
|
0%
|
|
78
|
Nature's Questioning
|
4
|
15%
|
0
|
0%
|
|
79
|
Neutral Tones
|
1
|
3%
|
0
|
0%
|
|
80
|
Places
|
1
|
3%
|
0
|
0%
|
|
81
|
Revulsion
|
2
|
7%
|
0
|
0%
|
|
82
|
Rom: On the Palatine (April, 1887)
|
1
|
3%
|
0
|
0%
|
|
83
|
Rome: At the Pyramid of Cestius. (Near the graves of Shelley & Keats)
|
4
|
15%
|
0
|
0%
|
|
84
|
Sapphic Fragment
|
1
|
3%
|
0
|
0%
|
|
85
|
Satires of Circumstance in Fifteen Glimpses VIII: In the St
|
1
|
3%
|
0
|
0%
|
|
86
|
She, To Him
|
1
|
3%
|
0
|
0%
|
|
87
|
She, to Him, II
|
1
|
3%
|
0
|
0%
|
|
88
|
She, To Him, II
|
1
|
3%
|
0
|
0%
|
|
89
|
She, to Him, III
|
1
|
3%
|
0
|
0%
|
|
90
|
She, to Him, IV
|
2
|
7%
|
0
|
0%
|
|
91
|
Shelley's Skylark (The neighbourhood of Leghorn: March, 1887)
|
1
|
3%
|
0
|
0%
|
|
92
|
Shelley's Skylark.
|
1
|
3%
|
0
|
0%
|
|
93
|
Song From Heine
|
1
|
3%
|
0
|
0%
|
|
94
|
Song of Hope
|
1
|
3%
|
0
|
0%
|
|
95
|
Song of the Soldiers
|
1
|
3%
|
0
|
0%
|
|
96
|
Song of the Soldier's Wifes.
|
1
|
3%
|
0
|
0%
|
|
97
|
Tess's Lament
|
4
|
15%
|
0
|
0%
|
|
98
|
The Alarm
|
1
|
3%
|
0
|
0%
|
|
99
|
The Bedridden Peasant to an Unknown God
|
1
|
3%
|
0
|
0%
|
|
100
|
The Bridge of Lodi (Spring, 1887)
|
1
|
3%
|
0
|
0%
|
|
101
|
The Bridge of Lodi.
|
1
|
3%
|
0
|
0%
|
|
102
|
The Bullfinches
|
1
|
3%
|
0
|
0%
|
|
103
|
The Burghers
|
1
|
3%
|
0
|
0%
|
|
104
|
The Caged Thrush Freed and Home Again (Villanelle)
|
1
|
3%
|
0
|
0%
|
|
105
|
The Casterbridge Captains
|
1
|
3%
|
0
|
0%
|
|
106
|
The Cave of the Unborn
|
2
|
7%
|
0
|
0%
|
|
107
|
The Convergence Of The Twain
|
3
|
11%
|
0
|
0%
|
|
108
|
The Darkling Thrush
|
1
|
3%
|
0
|
0%
|
|
109
|
The Man He Killed
|
11
|
42%
|
0
|
0%
|
|
110
|
The Masked Face
|
2
|
7%
|
0
|
0%
|
|
111
|
The Master And The Leaves
|
1
|
3%
|
0
|
0%
|
|
112
|
The Milkmaid
|
12
|
46%
|
0
|
0%
|
|
113
|
The Obliterate Tomb
|
1
|
3%
|
0
|
0%
|
|
114
|
The Oxen
|
1
|
3%
|
0
|
0%
|
|
115
|
The Phantom Horsewoman.
|
4
|
15%
|
0
|
0%
|
|
116
|
The Problem
|
1
|
3%
|
0
|
0%
|
|
117
|
The Puzzled Game-Birds (Triolet)
|
1
|
3%
|
0
|
0%
|
|
118
|
The Self-Unseeing
|
1
|
3%
|
0
|
0%
|
|
119
|
The Sergeant's Song
|
1
|
3%
|
0
|
0%
|
|
120
|
The Subalterns
|
1
|
3%
|
0
|
0%
|
|
121
|
The Temporary The All
|
1
|
3%
|
0
|
0%
|
|
122
|
The Walk
|
1
|
3%
|
0
|
0%
|
|
123
|
To An Orphan Child
|
1
|
3%
|
0
|
0%
|
|
124
|
To Life
|
1
|
3%
|
0
|
0%
|
|
125
|
To Meet, Or Otherwise
|
1
|
3%
|
0
|
0%
|
|
126
|
Under the Waterfall
|
2
|
7%
|
0
|
0%
|
|
127
|
Valenciennes
|
1
|
3%
|
0
|
0%
|
|
128
|
Weathers
|
2
|
7%
|
0
|
0%
|