|
1
|
"Between Us Now"
|
33
|
47%
|
0
|
0%
|
|
2
|
"Between Us Now"
|
2
|
2%
|
0
|
0%
|
|
3
|
"Between Us Now"
|
2
|
2%
|
0
|
0%
|
|
4
|
"Between Us Now"
|
2
|
2%
|
0
|
0%
|
|
5
|
"Between Us Now"
|
2
|
2%
|
0
|
0%
|
|
6
|
"Between Us Now"
|
27
|
38%
|
0
|
0%
|
|
7
|
"How Great My Grief" (Triolet)
|
15
|
21%
|
0
|
0%
|
|
8
|
"How Great My Grief" (Triolet)
|
1
|
1%
|
0
|
0%
|
|
9
|
"How Great My Grief" (Triolet)
|
1
|
1%
|
0
|
0%
|
|
10
|
"How Great My Grief" (Triolet)
|
1
|
1%
|
0
|
0%
|
|
11
|
"How Great My Grief" (Triolet)
|
1
|
1%
|
0
|
0%
|
|
12
|
"How Great My Grief" (Triolet)
|
20
|
28%
|
0
|
0%
|
|
13
|
"I Have Lived With Shades"
|
12
|
17%
|
0
|
0%
|
|
14
|
"I Have Lived With Shades"
|
1
|
1%
|
0
|
0%
|
|
15
|
"I Have Lived With Shades"
|
1
|
1%
|
0
|
0%
|
|
16
|
"I Have Lived With Shades"
|
1
|
1%
|
0
|
0%
|
|
17
|
"I Have Lived With Shades"
|
1
|
1%
|
0
|
0%
|
|
18
|
"I Have Lived With Shades"
|
13
|
18%
|
0
|
0%
|
|
19
|
"I Said to Love"
|
19
|
27%
|
0
|
0%
|
|
20
|
"I Said to Love"
|
15
|
21%
|
0
|
0%
|
|
21
|
[Greek Title]
|
5
|
7%
|
0
|
0%
|
|
22
|
[Greek Title]
|
8
|
11%
|
0
|
0%
|
|
23
|
A Broken Appointment
|
17
|
24%
|
0
|
0%
|
|
24
|
A Broken Appointment
|
2
|
2%
|
0
|
0%
|
|
25
|
A Broken Appointment
|
2
|
2%
|
0
|
0%
|
|
26
|
A Broken Appointment
|
2
|
2%
|
0
|
0%
|
|
27
|
A Broken Appointment
|
2
|
2%
|
0
|
0%
|
|
28
|
A Broken Appointment
|
27
|
38%
|
0
|
0%
|
|
29
|
A Christmas Ghost Story.
|
8
|
11%
|
0
|
0%
|
|
30
|
A Christmas Ghost Story.
|
16
|
22%
|
0
|
0%
|
|
31
|
A Christmas Ghost-Story
|
4
|
5%
|
0
|
0%
|
|
32
|
A Christmas Ghost-Story
|
5
|
7%
|
0
|
0%
|
|
33
|
A Circular
|
8
|
11%
|
0
|
0%
|
|
34
|
A Circular
|
1
|
1%
|
0
|
0%
|
|
35
|
A Circular
|
4
|
5%
|
0
|
0%
|
|
36
|
A Circular
|
3
|
4%
|
0
|
0%
|
|
37
|
A Commonplace Day
|
2
|
2%
|
0
|
0%
|
|
38
|
A Commonplace Day
|
3
|
4%
|
0
|
0%
|
|
39
|
A Confession To A Friend in Trouble
|
8
|
11%
|
0
|
0%
|
|
40
|
A Confession To A Friend in Trouble
|
10
|
14%
|
0
|
0%
|
|
41
|
A Death-Day Recalled
|
8
|
11%
|
0
|
0%
|
|
42
|
A Death-Day Recalled
|
8
|
11%
|
0
|
0%
|
|
43
|
A Dream Or No
|
1
|
1%
|
0
|
0%
|
|
44
|
A Dream Or No
|
14
|
20%
|
0
|
0%
|
|
45
|
A Dream Or No
|
1
|
1%
|
0
|
0%
|
|
46
|
A Dream Or No
|
1
|
1%
|
0
|
0%
|
|
47
|
A Dream Or No
|
8
|
11%
|
0
|
0%
|
|
48
|
A Dream Or No
|
1
|
1%
|
0
|
0%
|
|
49
|
A Jog-Trot Pair
|
2
|
2%
|
0
|
0%
|
|
50
|
A King's Soliloquy [On the Night of His Funeral]
|
1
|
1%
|
0
|
0%
|
|
51
|
A King's Soliloquy [On the Night of His Funeral]
|
3
|
4%
|
0
|
0%
|
|
52
|
A King's Soliloquy [On the Night of His Funeral]
|
1
|
1%
|
0
|
0%
|
|
53
|
A King's Soliloquy [On the Night of His Funeral]
|
1
|
1%
|
0
|
0%
|
|
54
|
A King's Soliloquy [On the Night of His Funeral]
|
4
|
5%
|
0
|
0%
|
|
55
|
A King's Soliloquy [On the Night of His Funeral]
|
1
|
1%
|
0
|
0%
|
|
56
|
A Man (In Memory of H. of M.)
|
1
|
1%
|
0
|
0%
|
|
57
|
A Man (In Memory of H. of M.)
|
3
|
4%
|
0
|
0%
|
|
58
|
A Meeting With Despair
|
1
|
1%
|
0
|
0%
|
|
59
|
A Meeting With Despair
|
1
|
1%
|
0
|
0%
|
|
60
|
A Meeting With Despair
|
1
|
1%
|
0
|
0%
|
|
61
|
A Meeting With Despair
|
5
|
7%
|
0
|
0%
|
|
62
|
A Meeting With Despair
|
1
|
1%
|
0
|
0%
|
|
63
|
A Meeting With Despair
|
8
|
11%
|
0
|
0%
|
|
64
|
A Poet
|
8
|
11%
|
0
|
0%
|
|
65
|
A Poet
|
4
|
5%
|
0
|
0%
|
|
66
|
A Sign-Seeker
|
11
|
15%
|
0
|
0%
|
|
67
|
A Sign-Seeker
|
4
|
5%
|
0
|
0%
|
|
68
|
A Spot
|
1
|
1%
|
0
|
0%
|
|
69
|
A Spot
|
5
|
7%
|
0
|
0%
|
|
70
|
A Thunderstorm in Town
|
20
|
28%
|
0
|
0%
|
|
71
|
A Thunderstorm in Town
|
28
|
40%
|
0
|
0%
|
|
72
|
A Wasted Illness
|
1
|
1%
|
0
|
0%
|
|
73
|
A Wasted Illness
|
2
|
2%
|
0
|
0%
|
|
74
|
A Week
|
3
|
4%
|
0
|
0%
|
|
75
|
A Week
|
5
|
7%
|
0
|
0%
|
|
76
|
A Wife In London
|
3
|
4%
|
0
|
0%
|
|
77
|
A Wife In London
|
7
|
10%
|
0
|
0%
|
|
78
|
A Wife in London (December, 1899)
|
15
|
21%
|
0
|
0%
|
|
79
|
A Wife in London (December, 1899)
|
5
|
7%
|
0
|
0%
|
|
80
|
A Woman's Fancy
|
5
|
7%
|
0
|
0%
|
|
81
|
A Woman's Fancy
|
2
|
2%
|
0
|
0%
|
|
82
|
According to the Mighty Working
|
3
|
4%
|
0
|
0%
|
|
83
|
After A Journey
|
3
|
4%
|
0
|
0%
|
|
84
|
After A Journey
|
16
|
22%
|
0
|
0%
|
|
85
|
After Schiller
|
1
|
1%
|
0
|
0%
|
|
86
|
After Schiller
|
2
|
2%
|
0
|
0%
|
|
87
|
After The Visit
|
1
|
1%
|
0
|
0%
|
|
88
|
After The Visit
|
2
|
2%
|
0
|
0%
|
|
89
|
Afterwards
|
1
|
1%
|
0
|
0%
|
|
90
|
Afterwards
|
1
|
1%
|
0
|
0%
|
|
91
|
Afterwards
|
1
|
1%
|
0
|
0%
|
|
92
|
Afterwards
|
1
|
1%
|
0
|
0%
|
|
93
|
Afterwards
|
21
|
30%
|
0
|
0%
|
|
94
|
Afterwards
|
35
|
50%
|
0
|
0%
|
|
95
|
Ah, Are You Digging on My Grave?
|
10
|
14%
|
0
|
0%
|
|
96
|
Ah, Are You Digging on My Grave?
|
8
|
11%
|
0
|
0%
|
|
97
|
Amabel
|
1
|
1%
|
0
|
0%
|
|
98
|
An Ancient to Ancients
|
2
|
2%
|
0
|
0%
|
|
99
|
An August Midnight
|
2
|
2%
|
0
|
0%
|
|
100
|
An August Midnight
|
3
|
4%
|
0
|
0%
|
|
101
|
An Autumn Rain-Scene
|
5
|
7%
|
0
|
0%
|
|
102
|
Aquae Sulis
|
2
|
2%
|
0
|
0%
|
|
103
|
Aquae Sulis
|
3
|
4%
|
0
|
0%
|
|
104
|
At Day-Close In November
|
1
|
1%
|
0
|
0%
|
|
105
|
At A Bridal
|
1
|
1%
|
0
|
0%
|
|
106
|
At A Bridal
|
3
|
4%
|
0
|
0%
|
|
107
|
At a Hasty Wedding
|
4
|
5%
|
0
|
0%
|
|
108
|
At a Hasty Wedding
|
2
|
2%
|
0
|
0%
|
|
109
|
At a Lunar Eclipse
|
2
|
2%
|
0
|
0%
|
|
110
|
At a Lunar Eclipse
|
1
|
1%
|
0
|
0%
|
|
111
|
At An Inn
|
7
|
10%
|
0
|
0%
|
|
112
|
At An Inn
|
3
|
4%
|
0
|
0%
|
|
113
|
At Castle Boterel
|
19
|
27%
|
0
|
0%
|
|
114
|
At Castle Boterel
|
18
|
25%
|
0
|
0%
|
|
115
|
At Moonrise And Onwards
|
4
|
5%
|
0
|
0%
|
|
116
|
At the Railway Station, Upways
|
2
|
2%
|
0
|
0%
|
|
117
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
1
|
1%
|
0
|
0%
|
|
118
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
1
|
1%
|
0
|
0%
|
|
119
|
At the War Office, London.
|
4
|
5%
|
0
|
0%
|
|
120
|
At the War Office, London.
|
5
|
7%
|
0
|
0%
|
|
121
|
Beeny Cliff
|
10
|
14%
|
0
|
0%
|
|
122
|
Beeny Cliff
|
5
|
7%
|
0
|
0%
|
|
123
|
Before And After Summer
|
7
|
10%
|
0
|
0%
|
|
124
|
Bereft, She Thinks She Dreams
|
1
|
1%
|
0
|
0%
|
|
125
|
Bereft, She Thinks She Dreams
|
1
|
1%
|
0
|
0%
|
|
126
|
Bereft, She Thinks She Dreams
|
1
|
1%
|
0
|
0%
|
|
127
|
Bereft, She Thinks She Dreams
|
1
|
1%
|
0
|
0%
|
|
128
|
Bereft, She Thinks She Dreams
|
3
|
4%
|
0
|
0%
|
|
129
|
Bereft, She Thinks She Dreams
|
1
|
1%
|
0
|
0%
|
|
130
|
Between Us Now
|
2
|
2%
|
0
|
0%
|
|
131
|
Between Us Now
|
4
|
5%
|
0
|
0%
|
|
132
|
By the Earth's Corpse
|
4
|
5%
|
0
|
0%
|
|
133
|
By the Earth's Corpse
|
2
|
2%
|
0
|
0%
|
|
134
|
Cardinal Bembo's Epitaph on Raphael
|
3
|
4%
|
0
|
0%
|
|
135
|
Catullus: XXXI
|
3
|
4%
|
0
|
0%
|
|
136
|
Catullus: XXXI
|
1
|
1%
|
0
|
0%
|
|
137
|
Catullus: XXXI
|
1
|
1%
|
0
|
0%
|
|
138
|
Catullus: XXXI
|
1
|
1%
|
0
|
0%
|
|
139
|
Catullus: XXXI
|
1
|
1%
|
0
|
0%
|
|
140
|
Channel Firing
|
1
|
1%
|
0
|
0%
|
|
141
|
Channel Firing
|
1
|
1%
|
0
|
0%
|
|
142
|
Channel Firing
|
1
|
1%
|
0
|
0%
|
|
143
|
Channel Firing
|
1
|
1%
|
0
|
0%
|
|
144
|
Channel Firing
|
1
|
1%
|
0
|
0%
|
|
145
|
Channel Firing
|
8
|
11%
|
0
|
0%
|
|
146
|
Convergence Of The Twain
|
2
|
2%
|
0
|
0%
|
|
147
|
Convergence Of The Twain
|
3
|
4%
|
0
|
0%
|
|
148
|
De Profundis
|
3
|
4%
|
0
|
0%
|
|
149
|
Departure (Southampton Docks: October, 1899)
|
1
|
1%
|
0
|
0%
|
|
150
|
Departure (Southampton Docks: October, 1899)
|
1
|
1%
|
0
|
0%
|
|
151
|
Departure.
|
3
|
4%
|
0
|
0%
|
|
152
|
Departure.
|
4
|
5%
|
0
|
0%
|
|
153
|
Ditty
|
1
|
1%
|
0
|
0%
|
|
154
|
Domicilium
|
5
|
7%
|
0
|
0%
|
|
155
|
Doom and She
|
3
|
4%
|
0
|
0%
|
|
156
|
Doom and She
|
3
|
4%
|
0
|
0%
|
|
157
|
Drummer Hodge
|
2
|
2%
|
0
|
0%
|
|
158
|
Drummer Hodge
|
2
|
2%
|
0
|
0%
|
|
159
|
Drummer Hodge
|
2
|
2%
|
0
|
0%
|
|
160
|
Drummer Hodge
|
2
|
2%
|
0
|
0%
|
|
161
|
Drummer Hodge
|
30
|
42%
|
0
|
0%
|
|
162
|
Drummer Hodge
|
21
|
30%
|
0
|
0%
|
|
163
|
During Wind and Rain
|
6
|
8%
|
0
|
0%
|
|
164
|
During Wind and Rain
|
7
|
10%
|
0
|
0%
|
|
165
|
Embarcation
|
4
|
5%
|
0
|
0%
|
|
166
|
Epitaph on a pessimist
|
2
|
2%
|
0
|
0%
|
|
167
|
Epitaph on a pessimist
|
1
|
1%
|
0
|
0%
|
|
168
|
Exeunt Omnes
|
4
|
5%
|
0
|
0%
|
|
169
|
Faintheart In A Railway Train
|
1
|
1%
|
0
|
0%
|
|
170
|
Faintheart In A Railway Train
|
1
|
1%
|
0
|
0%
|
|
171
|
Fragment
|
1
|
1%
|
0
|
0%
|
|
172
|
Fragment
|
1
|
1%
|
0
|
0%
|
|
173
|
Friends Beyond
|
2
|
2%
|
0
|
0%
|
|
174
|
Friends Beyond
|
2
|
2%
|
0
|
0%
|
|
175
|
Friends Beyond
|
2
|
2%
|
0
|
0%
|
|
176
|
Friends Beyond
|
16
|
22%
|
0
|
0%
|
|
177
|
Friends Beyond
|
2
|
2%
|
0
|
0%
|
|
178
|
Friends Beyond
|
20
|
28%
|
0
|
0%
|
|
179
|
Genoa and the Mediterranean (March, 1887)
|
1
|
1%
|
0
|
0%
|
|
180
|
God-Forgotten
|
2
|
2%
|
0
|
0%
|
|
181
|
God-Forgotten
|
2
|
2%
|
0
|
0%
|
|
182
|
God's Funeral
|
12
|
17%
|
0
|
0%
|
|
183
|
God's Funeral
|
3
|
4%
|
0
|
0%
|
|
184
|
God's Funeral
|
3
|
4%
|
0
|
0%
|
|
185
|
God's Funeral
|
3
|
4%
|
0
|
0%
|
|
186
|
God's Funeral
|
1
|
1%
|
0
|
0%
|
|
187
|
God's Funeral
|
8
|
11%
|
0
|
0%
|
|
188
|
Going And Staying
|
2
|
2%
|
0
|
0%
|
|
189
|
Had You Wept
|
1
|
1%
|
0
|
0%
|
|
190
|
Had You Wept
|
1
|
1%
|
0
|
0%
|
|
191
|
Hap
|
1
|
1%
|
0
|
0%
|
|
192
|
Hap
|
1
|
1%
|
0
|
0%
|
|
193
|
Hap
|
1
|
1%
|
0
|
0%
|
|
194
|
Hap
|
36
|
51%
|
0
|
0%
|
|
195
|
Hap
|
1
|
1%
|
0
|
0%
|
|
196
|
Hap
|
27
|
38%
|
0
|
0%
|
|
197
|
He Never Expected Much
|
12
|
17%
|
0
|
0%
|
|
198
|
He Never Expected Much
|
3
|
4%
|
0
|
0%
|
|
199
|
Her Death And After
|
2
|
2%
|
0
|
0%
|
|
200
|
Her Death And After
|
1
|
1%
|
0
|
0%
|
|
201
|
Her Dilemma
|
2
|
2%
|
0
|
0%
|
|
202
|
Her Dilemma
|
2
|
2%
|
0
|
0%
|
|
203
|
Her Dilemma
|
2
|
2%
|
0
|
0%
|
|
204
|
Her Dilemma
|
2
|
2%
|
0
|
0%
|
|
205
|
Her Dilemma
|
5
|
7%
|
0
|
0%
|
|
206
|
Her Immortality
|
1
|
1%
|
0
|
0%
|
|
207
|
Her Initials
|
1
|
1%
|
0
|
0%
|
|
208
|
Her Initials
|
1
|
1%
|
0
|
0%
|
|
209
|
Her Initials
|
1
|
1%
|
0
|
0%
|
|
210
|
Her Initials
|
1
|
1%
|
0
|
0%
|
|
211
|
Her Initials
|
1
|
1%
|
0
|
0%
|
|
212
|
Her Initials
|
1
|
1%
|
0
|
0%
|
|
213
|
Her Late Husband (King's-Hintock, 182-.)
|
1
|
1%
|
0
|
0%
|
|
214
|
Her Secret
|
1
|
1%
|
0
|
0%
|
|
215
|
Her Secret
|
4
|
5%
|
0
|
0%
|
|
216
|
Her Song
|
2
|
2%
|
0
|
0%
|
|
217
|
Her Song
|
1
|
1%
|
0
|
0%
|
|
218
|
Heredity
|
4
|
5%
|
0
|
0%
|
|
219
|
His Immortality
|
2
|
2%
|
0
|
0%
|
|
220
|
How She Went To Ireland
|
2
|
2%
|
0
|
0%
|
|
221
|
I Found Her Out There
|
3
|
4%
|
0
|
0%
|
|
222
|
I Found Her Out There
|
1
|
1%
|
0
|
0%
|
|
223
|
I have lived with Shades
|
1
|
1%
|
0
|
0%
|
|
224
|
I Look Into My Glass
|
7
|
10%
|
0
|
0%
|
|
225
|
I Look Into My Glass
|
6
|
8%
|
0
|
0%
|
|
226
|
I Need Not Go
|
4
|
5%
|
0
|
0%
|
|
227
|
I Need Not Go
|
2
|
2%
|
0
|
0%
|
|
228
|
I Rose Up As My Custom Is
|
1
|
1%
|
0
|
0%
|
|
229
|
I Said to Love.
|
1
|
1%
|
0
|
0%
|
|
230
|
I Sometimes Think
|
5
|
7%
|
0
|
0%
|
|
231
|
I Sometimes Think
|
1
|
1%
|
0
|
0%
|
|
232
|
I Was Not He
|
1
|
1%
|
0
|
0%
|
|
233
|
I Was Not He
|
1
|
1%
|
0
|
0%
|
|
234
|
In a Museum
|
1
|
1%
|
0
|
0%
|
|
235
|
In a Museum
|
4
|
5%
|
0
|
0%
|
|
236
|
In a Wood
|
1
|
1%
|
0
|
0%
|
|
237
|
In a Wood
|
1
|
1%
|
0
|
0%
|
|
238
|
In a Wood
|
2
|
2%
|
0
|
0%
|
|
239
|
In Tenebris
|
30
|
42%
|
0
|
0%
|
|
240
|
In Tenebris
|
11
|
15%
|
0
|
0%
|
|
241
|
In The British Museum
|
4
|
5%
|
0
|
0%
|
|
242
|
In The Moonlight
|
1
|
1%
|
0
|
0%
|
|
243
|
In The Moonlight
|
1
|
1%
|
0
|
0%
|
|
244
|
In The Moonlight
|
1
|
1%
|
0
|
0%
|
|
245
|
In The Moonlight
|
1
|
1%
|
0
|
0%
|
|
246
|
In The Moonlight
|
3
|
4%
|
0
|
0%
|
|
247
|
In The Servants' Quarters
|
1
|
1%
|
0
|
0%
|
|
248
|
In The Vaulted Way
|
1
|
1%
|
0
|
0%
|
|
249
|
In Time of 'The Breaking of Nations'
|
16
|
22%
|
0
|
0%
|
|
250
|
In Time of 'The Breaking of Nations'
|
14
|
20%
|
0
|
0%
|
|
251
|
Lament
|
1
|
1%
|
0
|
0%
|
|
252
|
Lament
|
2
|
2%
|
0
|
0%
|
|
253
|
Last Words to a Dumb Friend
|
5
|
7%
|
0
|
0%
|
|
254
|
Leipzig
|
2
|
2%
|
0
|
0%
|
|
255
|
Lines On The Loss Of The "Titanic"
|
5
|
7%
|
0
|
0%
|
|
256
|
Lines On The Loss Of The "Titanic"
|
1
|
1%
|
0
|
0%
|
|
257
|
Mad Judy
|
1
|
1%
|
0
|
0%
|
|
258
|
Men Who March Away
|
4
|
5%
|
0
|
0%
|
|
259
|
Men Who March Away
|
4
|
5%
|
0
|
0%
|
|
260
|
Men Who March Away
|
4
|
5%
|
0
|
0%
|
|
261
|
Men Who March Away
|
4
|
5%
|
0
|
0%
|
|
262
|
Men Who March Away
|
13
|
18%
|
0
|
0%
|
|
263
|
Men Who March Away
|
14
|
20%
|
0
|
0%
|
|
264
|
Midnight on the Great Western
|
2
|
2%
|
0
|
0%
|
|
265
|
Midnight on the Great Western
|
1
|
1%
|
0
|
0%
|
|
266
|
Mismet
|
1
|
1%
|
0
|
0%
|
|
267
|
Moments of Vision
|
1
|
1%
|
0
|
0%
|
|
268
|
Moments of Vision
|
4
|
5%
|
0
|
0%
|
|
269
|
Mute Opinion
|
1
|
1%
|
0
|
0%
|
|
270
|
My Cicely
|
2
|
2%
|
0
|
0%
|
|
271
|
My Cicely
|
2
|
2%
|
0
|
0%
|
|
272
|
My spirit will not haunt the mound
|
1
|
1%
|
0
|
0%
|
|
273
|
Nature's Questioning
|
1
|
1%
|
0
|
0%
|
|
274
|
Nature's Questioning
|
1
|
1%
|
0
|
0%
|
|
275
|
Nature's Questioning
|
1
|
1%
|
0
|
0%
|
|
276
|
Nature's Questioning
|
13
|
18%
|
0
|
0%
|
|
277
|
Nature's Questioning
|
1
|
1%
|
0
|
0%
|
|
278
|
Nature's Questioning
|
11
|
15%
|
0
|
0%
|
|
279
|
Neutral Tones
|
9
|
12%
|
0
|
0%
|
|
280
|
Neutral Tones
|
8
|
11%
|
0
|
0%
|
|
281
|
Night in the Old Home
|
2
|
2%
|
0
|
0%
|
|
282
|
On a Fine Morning
|
1
|
1%
|
0
|
0%
|
|
283
|
On an Invitation to the United States.
|
1
|
1%
|
0
|
0%
|
|
284
|
Places
|
1
|
1%
|
0
|
0%
|
|
285
|
Places
|
2
|
2%
|
0
|
0%
|
|
286
|
Revulsion
|
1
|
1%
|
0
|
0%
|
|
287
|
Revulsion
|
3
|
4%
|
0
|
0%
|
|
288
|
Rome: Building a New Street in the Ancient Quarter.
|
1
|
1%
|
0
|
0%
|
|
289
|
San Sebastian
|
2
|
2%
|
0
|
0%
|
|
290
|
Sapphic Fragment
|
1
|
1%
|
0
|
0%
|
|
291
|
Seen By The Waits
|
1
|
1%
|
0
|
0%
|
|
292
|
Self- Unconscious
|
1
|
1%
|
0
|
0%
|
|
293
|
Self- Unconscious
|
2
|
2%
|
0
|
0%
|
|
294
|
She At His Funeral
|
3
|
4%
|
0
|
0%
|
|
295
|
She Hears The Storm
|
1
|
1%
|
0
|
0%
|
|
296
|
She, at His Funeral
|
1
|
1%
|
0
|
0%
|
|
297
|
She, To Him
|
5
|
7%
|
0
|
0%
|
|
298
|
She, to Him, II
|
1
|
1%
|
0
|
0%
|
|
299
|
Shelley's Skylark (The neighbourhood of Leghorn: March, 1887)
|
1
|
1%
|
0
|
0%
|
|
300
|
Shelley's Skylark.
|
4
|
5%
|
0
|
0%
|
|
301
|
Shelley's Skylark.
|
3
|
4%
|
0
|
0%
|
|
302
|
Song of the Soldier's Wifes.
|
1
|
1%
|
0
|
0%
|
|
303
|
Tess's Lament
|
3
|
4%
|
0
|
0%
|
|
304
|
The Bedridden Peasant to an Unknown God
|
1
|
1%
|
0
|
0%
|
|
305
|
The Bridge of Lodi (Spring, 1887)
|
1
|
1%
|
0
|
0%
|
|
306
|
The Bullfinches
|
1
|
1%
|
0
|
0%
|
|
307
|
The Caged Thrush Freed and Home Again (Villanelle)
|
1
|
1%
|
0
|
0%
|
|
308
|
The Cave of the Unborn
|
1
|
1%
|
0
|
0%
|
|
309
|
The Church-Builder
|
1
|
1%
|
0
|
0%
|
|
310
|
The Convergence Of The Twain
|
1
|
1%
|
0
|
0%
|
|
311
|
The Convergence Of The Twain
|
4
|
5%
|
0
|
0%
|
|
312
|
The Curtains Now Are Drawn
|
2
|
2%
|
0
|
0%
|
|
313
|
The Darkling Thrush
|
5
|
7%
|
0
|
0%
|
|
314
|
The Darkling Thrush
|
2
|
2%
|
0
|
0%
|
|
315
|
The Darkling Thrush
|
2
|
2%
|
0
|
0%
|
|
316
|
The Darkling Thrush
|
2
|
2%
|
0
|
0%
|
|
317
|
The Darkling Thrush
|
2
|
2%
|
0
|
0%
|
|
318
|
The Darkling Thrush
|
14
|
20%
|
0
|
0%
|
|
319
|
The Dead Drummer
|
2
|
2%
|
0
|
0%
|
|
320
|
The Dead Man Walking
|
2
|
2%
|
0
|
0%
|
|
321
|
The Death Of Regret
|
4
|
5%
|
0
|
0%
|
|
322
|
The Difference
|
1
|
1%
|
0
|
0%
|
|
323
|
The Discovery
|
1
|
1%
|
0
|
0%
|
|
324
|
The Dream-Follower
|
3
|
4%
|
0
|
0%
|
|
325
|
The Elopement
|
1
|
1%
|
0
|
0%
|
|
326
|
The Garden Seat
|
1
|
1%
|
0
|
0%
|
|
327
|
The Ghost of the Past
|
1
|
1%
|
0
|
0%
|
|
328
|
The Going
|
6
|
8%
|
0
|
0%
|
|
329
|
The Going
|
22
|
31%
|
0
|
0%
|
|
330
|
The Haunter
|
4
|
5%
|
0
|
0%
|
|
331
|
The Haunter
|
19
|
27%
|
0
|
0%
|
|
332
|
The House of Hospitalities
|
1
|
1%
|
0
|
0%
|
|
333
|
The House of Hospitalities
|
2
|
2%
|
0
|
0%
|
|
334
|
The Impercipient
|
1
|
1%
|
0
|
0%
|
|
335
|
The Impercipient
|
1
|
1%
|
0
|
0%
|
|
336
|
The Impercipient
|
1
|
1%
|
0
|
0%
|
|
337
|
The Impercipient
|
2
|
2%
|
0
|
0%
|
|
338
|
The Impercipient
|
1
|
1%
|
0
|
0%
|
|
339
|
The Impercipient
|
1
|
1%
|
0
|
0%
|
|
340
|
The Last Chrysanthemum
|
1
|
1%
|
0
|
0%
|
|
341
|
The Levelled Churchyard
|
1
|
1%
|
0
|
0%
|
|
342
|
The Man He Killed
|
70
|
100%
|
0
|
0%
|
|
343
|
The Man He Killed
|
5
|
7%
|
0
|
0%
|
|
344
|
The Man He Killed
|
6
|
8%
|
0
|
0%
|
|
345
|
The Man He Killed
|
5
|
7%
|
0
|
0%
|
|
346
|
The Man He Killed
|
5
|
7%
|
0
|
0%
|
|
347
|
The Man He Killed
|
62
|
88%
|
0
|
0%
|
|
348
|
The Mother Mourns
|
1
|
1%
|
0
|
0%
|
|
349
|
The Moth-Signal (On Egdon Heath)
|
2
|
2%
|
0
|
0%
|
|
350
|
The Oxen
|
1
|
1%
|
0
|
0%
|
|
351
|
The Oxen
|
2
|
2%
|
0
|
0%
|
|
352
|
The Peasent's Confession
|
1
|
1%
|
0
|
0%
|
|
353
|
The Phantom Horsewoman.
|
4
|
5%
|
0
|
0%
|
|
354
|
The Pity Of It
|
3
|
4%
|
0
|
0%
|
|
355
|
The Puzzled Game-Birds (Triolet)
|
1
|
1%
|
0
|
0%
|
|
356
|
The Puzzled Game-Birds (Triolet)
|
1
|
1%
|
0
|
0%
|
|
357
|
The Puzzled Game-Birds (Triolet)
|
1
|
1%
|
0
|
0%
|
|
358
|
The Puzzled Game-Birds (Triolet)
|
1
|
1%
|
0
|
0%
|
|
359
|
The Puzzled Game-Birds (Triolet)
|
1
|
1%
|
0
|
0%
|
|
360
|
The Recalcitrants
|
6
|
8%
|
0
|
0%
|
|
361
|
The Re-Enactment
|
1
|
1%
|
0
|
0%
|
|
362
|
The Roman Gravemounds
|
1
|
1%
|
0
|
0%
|
|
363
|
The Roman Road
|
3
|
4%
|
0
|
0%
|
|
364
|
The Ruined Maid
|
7
|
10%
|
0
|
0%
|
|
365
|
The Ruined Maid
|
10
|
14%
|
0
|
0%
|
|
366
|
The Sacrilege: (A Ballad-Tragedy)
|
1
|
1%
|
0
|
0%
|
|
367
|
The Seasons of Her Year
|
2
|
2%
|
0
|
0%
|
|
368
|
The Seasons of Her Year
|
1
|
1%
|
0
|
0%
|
|
369
|
The Selfsame Song
|
1
|
1%
|
0
|
0%
|
|
370
|
The Self-Unseeing
|
15
|
21%
|
0
|
0%
|
|
371
|
The Self-Unseeing
|
16
|
22%
|
0
|
0%
|
|
372
|
The Sergeant's Song
|
1
|
1%
|
0
|
0%
|
|
373
|
The Shadow On The Stone
|
6
|
8%
|
0
|
0%
|
|
374
|
The Sick God
|
1
|
1%
|
0
|
0%
|
|
375
|
The Sick God
|
1
|
1%
|
0
|
0%
|
|
376
|
The Sleep-Worker
|
1
|
1%
|
0
|
0%
|
|
377
|
The Slow Nature
|
1
|
1%
|
0
|
0%
|
|
378
|
The Souls of the Slain.
|
1
|
1%
|
0
|
0%
|
|
379
|
The Stranger's Song
|
1
|
1%
|
0
|
0%
|
|
380
|
The Subalterns
|
1
|
1%
|
0
|
0%
|
|
381
|
The Subalterns
|
6
|
8%
|
0
|
0%
|
|
382
|
The Subalterns
|
3
|
4%
|
0
|
0%
|
|
383
|
The Superseded
|
1
|
1%
|
0
|
0%
|
|
384
|
The Telegram
|
5
|
7%
|
0
|
0%
|
|
385
|
The Telegram
|
1
|
1%
|
0
|
0%
|
|
386
|
The Temporary The All
|
1
|
1%
|
0
|
0%
|
|
387
|
The Tree: An Old Man's Story
|
1
|
1%
|
0
|
0%
|
|
388
|
The Two Soldiers
|
1
|
1%
|
0
|
0%
|
|
389
|
The Voice
|
6
|
8%
|
0
|
0%
|
|
390
|
The Voice
|
7
|
10%
|
0
|
0%
|
|
391
|
The Voice
|
2
|
2%
|
0
|
0%
|
|
392
|
The Voice
|
2
|
2%
|
0
|
0%
|
|
393
|
The Walk
|
16
|
22%
|
0
|
0%
|
|
394
|
The Walk
|
6
|
8%
|
0
|
0%
|
|
395
|
The Well-Beloved
|
11
|
15%
|
0
|
0%
|
|
396
|
The West-Of-Wessex Girl
|
2
|
2%
|
0
|
0%
|
|
397
|
The Widow
|
2
|
2%
|
0
|
0%
|
|
398
|
The Wistful Lady
|
1
|
1%
|
0
|
0%
|
|
399
|
The Wistful Lady
|
1
|
1%
|
0
|
0%
|
|
400
|
The Woman In The Rye
|
4
|
5%
|
0
|
0%
|
|
401
|
The Woman In The Rye
|
2
|
2%
|
0
|
0%
|
|
402
|
The Woman In The Rye
|
4
|
5%
|
0
|
0%
|
|
403
|
The Woman In The Rye
|
4
|
5%
|
0
|
0%
|
|
404
|
The Woman In The Rye
|
4
|
5%
|
0
|
0%
|
|
405
|
The Woman In The Rye
|
4
|
5%
|
0
|
0%
|
|
406
|
The Workbox
|
2
|
2%
|
0
|
0%
|
|
407
|
The Workbox
|
1
|
1%
|
0
|
0%
|
|
408
|
The Year's Awakening
|
3
|
4%
|
0
|
0%
|
|
409
|
The Year's Awakening
|
6
|
8%
|
0
|
0%
|
|
410
|
Then and Now
|
2
|
2%
|
0
|
0%
|
|
411
|
Thought Of Ph---a At News Of Her Death
|
2
|
2%
|
0
|
0%
|
|
412
|
Thoughts of Phena
|
12
|
17%
|
0
|
0%
|
|
413
|
Thoughts of Phena
|
6
|
8%
|
0
|
0%
|
|
414
|
To A Lady
|
2
|
2%
|
0
|
0%
|
|
415
|
To A Lady
|
1
|
1%
|
0
|
0%
|
|
416
|
To An Orphan Child
|
1
|
1%
|
0
|
0%
|
|
417
|
To An Orphan Child
|
2
|
2%
|
0
|
0%
|
|
418
|
To An Orphan Child
|
3
|
4%
|
0
|
0%
|
|
419
|
To An Orphan Child
|
1
|
1%
|
0
|
0%
|
|
420
|
To an Unborn Pauper Child
|
1
|
1%
|
0
|
0%
|
|
421
|
To an Unborn Pauper Child
|
2
|
2%
|
0
|
0%
|
|
422
|
To Life
|
3
|
4%
|
0
|
0%
|
|
423
|
To Meet, Or Otherwise
|
1
|
1%
|
0
|
0%
|
|
424
|
Tolerance
|
1
|
1%
|
0
|
0%
|
|
425
|
Tolerance
|
2
|
2%
|
0
|
0%
|
|
426
|
Transformations
|
1
|
1%
|
0
|
0%
|
|
427
|
Under the Waterfall
|
8
|
11%
|
0
|
0%
|
|
428
|
Under the Waterfall
|
13
|
18%
|
0
|
0%
|
|
429
|
Unknowing
|
1
|
1%
|
0
|
0%
|
|
430
|
Unknowing
|
3
|
4%
|
0
|
0%
|
|
431
|
We Are Getting to the End
|
4
|
5%
|
0
|
0%
|
|
432
|
We Are Getting to the End
|
2
|
2%
|
0
|
0%
|
|
433
|
Weathers
|
4
|
5%
|
0
|
0%
|
|
434
|
Weathers
|
8
|
11%
|
0
|
0%
|
|
435
|
Welcome Home
|
5
|
7%
|
0
|
0%
|
|
436
|
Welcome Home
|
2
|
2%
|
0
|
0%
|
|
437
|
When I Set Out for Lyonnesse
|
3
|
4%
|
0
|
0%
|
|
438
|
When I Set Out for Lyonnesse
|
2
|
2%
|
0
|
0%
|
|
439
|
Without Ceremony
|
1
|
1%
|
0
|
0%
|
|
440
|
Without Ceremony
|
1
|
1%
|
0
|
0%
|
|
441
|
Wives in the Sere
|
1
|
1%
|
0
|
0%
|
|
442
|
Your Last Drive
|
17
|
24%
|
0
|
0%
|
|
443
|
Your Last Drive
|
16
|
22%
|
0
|
0%
|
|
444
|
Zermat: To the Matterhorn (June-July, 1897)
|
1
|
1%
|
0
|
0%
|
|
445
|
Zermatt to the Matterhorn.
|
1
|
1%
|
0
|
0%
|