|
1
|
"Between Us Now"
|
26
|
86%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
11
|
36%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
14
|
46%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
23
|
76%
|
0
|
0%
|
|
5
|
[Greek Title]
|
6
|
20%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
30
|
100%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
10
|
33%
|
0
|
0%
|
|
8
|
A Christmas Ghost-Story
|
13
|
43%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
5
|
16%
|
0
|
0%
|
|
10
|
A Commonplace Day.
|
8
|
26%
|
0
|
0%
|
|
11
|
A Confession To A Friend in Trouble
|
7
|
23%
|
0
|
0%
|
|
12
|
A Man (In Memory of H. of M.)
|
6
|
20%
|
0
|
0%
|
|
13
|
A Meeting With Despair
|
22
|
73%
|
0
|
0%
|
|
14
|
A Sign-Seeker
|
8
|
26%
|
0
|
0%
|
|
15
|
A Spot
|
8
|
26%
|
0
|
0%
|
|
16
|
A Thunderstorm in Town
|
12
|
40%
|
0
|
0%
|
|
17
|
A Wasted Illness
|
12
|
40%
|
0
|
0%
|
|
18
|
A Wife in London (December, 1899)
|
11
|
36%
|
0
|
0%
|
|
19
|
Additions
|
6
|
20%
|
0
|
0%
|
|
20
|
After Schiller
|
2
|
6%
|
0
|
0%
|
|
21
|
Afterwards
|
9
|
30%
|
0
|
0%
|
|
22
|
Ah, Are You Digging on My Grave?
|
9
|
30%
|
0
|
0%
|
|
23
|
Amabel
|
2
|
6%
|
0
|
0%
|
|
24
|
An Ancient to Ancients
|
3
|
10%
|
0
|
0%
|
|
25
|
An August Midnight
|
7
|
23%
|
0
|
0%
|
|
26
|
An Autumn Rain-Scene
|
7
|
23%
|
0
|
0%
|
|
27
|
Architectural Masks
|
1
|
3%
|
0
|
0%
|
|
28
|
At A Bridal
|
4
|
13%
|
0
|
0%
|
|
29
|
At a Lunar Eclipse
|
6
|
20%
|
0
|
0%
|
|
30
|
At An Inn
|
8
|
26%
|
0
|
0%
|
|
31
|
At Castle Boterel
|
6
|
20%
|
0
|
0%
|
|
32
|
At Lulworth Cove a Century Back
|
3
|
10%
|
0
|
0%
|
|
33
|
At the Railway Station, Upways
|
2
|
6%
|
0
|
0%
|
|
34
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
4
|
13%
|
0
|
0%
|
|
35
|
At the War Office, London.
|
3
|
10%
|
0
|
0%
|
|
36
|
Beeny Cliff
|
3
|
10%
|
0
|
0%
|
|
37
|
Between Us Now
|
2
|
6%
|
0
|
0%
|
|
38
|
Birds at Winter Nightfall (Triolet)
|
6
|
20%
|
0
|
0%
|
|
39
|
By the Earth's Corpse
|
5
|
16%
|
0
|
0%
|
|
40
|
Catullus: XXXI
|
1
|
3%
|
0
|
0%
|
|
41
|
Channel Firing
|
4
|
13%
|
0
|
0%
|
|
42
|
De Profundis
|
2
|
6%
|
0
|
0%
|
|
43
|
Departure (Southampton Docks: October, 1899)
|
3
|
10%
|
0
|
0%
|
|
44
|
Departure.
|
4
|
13%
|
0
|
0%
|
|
45
|
Domicilium
|
1
|
3%
|
0
|
0%
|
|
46
|
Drummer Hodge
|
8
|
26%
|
0
|
0%
|
|
47
|
During Wind and Rain
|
6
|
20%
|
0
|
0%
|
|
48
|
Embarcation (Southampton Docks: October, 1899)
|
4
|
13%
|
0
|
0%
|
|
49
|
Epitaph on a pessimist
|
2
|
6%
|
0
|
0%
|
|
50
|
Fragment
|
4
|
13%
|
0
|
0%
|
|
51
|
Friends Beyond
|
5
|
16%
|
0
|
0%
|
|
52
|
From Victor Hugo
|
1
|
3%
|
0
|
0%
|
|
53
|
Genoa and the Mediterranean.
|
1
|
3%
|
0
|
0%
|
|
54
|
God's Funeral
|
5
|
16%
|
0
|
0%
|
|
55
|
Hap
|
6
|
20%
|
0
|
0%
|
|
56
|
He Never Expected Much
|
4
|
13%
|
0
|
0%
|
|
57
|
Her Death And After
|
1
|
3%
|
0
|
0%
|
|
58
|
Her Immortality
|
1
|
3%
|
0
|
0%
|
|
59
|
Heredity
|
2
|
6%
|
0
|
0%
|
|
60
|
I have lived with Shades
|
2
|
6%
|
0
|
0%
|
|
61
|
I Look Into My Glass
|
3
|
10%
|
0
|
0%
|
|
62
|
I Need Not Go
|
15
|
50%
|
0
|
0%
|
|
63
|
I said to Love
|
5
|
16%
|
0
|
0%
|
|
64
|
I Said to Love.
|
4
|
13%
|
0
|
0%
|
|
65
|
In A Eweleaze Near Weatherbury
|
2
|
6%
|
0
|
0%
|
|
66
|
In a Museum
|
1
|
3%
|
0
|
0%
|
|
67
|
In a Wood
|
5
|
16%
|
0
|
0%
|
|
68
|
In A Wook
|
1
|
3%
|
0
|
0%
|
|
69
|
In Tenebris
|
2
|
6%
|
0
|
0%
|
|
70
|
In the Old Theatre, Fiesole (April, 1887)
|
1
|
3%
|
0
|
0%
|
|
71
|
In The Vaulted Way
|
1
|
3%
|
0
|
0%
|
|
72
|
In Time of 'The Breaking of Nations'
|
5
|
16%
|
0
|
0%
|
|
73
|
Leipzig
|
3
|
10%
|
0
|
0%
|
|
74
|
Lines
|
2
|
6%
|
0
|
0%
|
|
75
|
Lines On The Loss Of The "Titanic"
|
2
|
6%
|
0
|
0%
|
|
76
|
Mad Judy
|
1
|
3%
|
0
|
0%
|
|
77
|
Men Who March Away
|
4
|
13%
|
0
|
0%
|
|
78
|
Middle-Age Enthusiasms
|
2
|
6%
|
0
|
0%
|
|
79
|
Midnight on the Great Western
|
2
|
6%
|
0
|
0%
|
|
80
|
Moments of Vision
|
2
|
6%
|
0
|
0%
|
|
81
|
Nature's Questioning
|
7
|
23%
|
0
|
0%
|
|
82
|
No Buyers
|
1
|
3%
|
0
|
0%
|
|
83
|
Revulsion
|
1
|
3%
|
0
|
0%
|
|
84
|
Rome: Building a New Street in the Ancient Quarter.
|
1
|
3%
|
0
|
0%
|
|
85
|
Rome: On the Palatine.
|
1
|
3%
|
0
|
0%
|
|
86
|
Rome: The Vatican--Sala Delle Muse (1887)
|
3
|
10%
|
0
|
0%
|
|
87
|
She At His Funeral
|
1
|
3%
|
0
|
0%
|
|
88
|
She Hears the Storm
|
4
|
13%
|
0
|
0%
|
|
89
|
She, at His Funeral
|
1
|
3%
|
0
|
0%
|
|
90
|
She, To Him
|
1
|
3%
|
0
|
0%
|
|
91
|
She, to Him, II
|
2
|
6%
|
0
|
0%
|
|
92
|
She, to Him, III
|
1
|
3%
|
0
|
0%
|
|
93
|
Shelley's Skylark.
|
2
|
6%
|
0
|
0%
|
|
94
|
Song From Heine
|
1
|
3%
|
0
|
0%
|
|
95
|
Song of Hope
|
1
|
3%
|
0
|
0%
|
|
96
|
Song of the Soldier's Wifes.
|
1
|
3%
|
0
|
0%
|
|
97
|
Tess's Lament
|
1
|
3%
|
0
|
0%
|
|
98
|
The Alarm
|
1
|
3%
|
0
|
0%
|
|
99
|
The Caged Thrush Freed and Home Again (Villanelle)
|
1
|
3%
|
0
|
0%
|
|
100
|
The Casterbridge Captains
|
1
|
3%
|
0
|
0%
|
|
101
|
The Cave of the Unborn
|
1
|
3%
|
0
|
0%
|
|
102
|
The Colonel's Soliloquy (Southampton Docks: October, 1899)
|
2
|
6%
|
0
|
0%
|
|
103
|
The Colonel's Solilquy.
|
1
|
3%
|
0
|
0%
|
|
104
|
The Comet at Valbury or Yell'ham
|
2
|
6%
|
0
|
0%
|
|
105
|
The Convergence Of The Twain
|
6
|
20%
|
0
|
0%
|
|
106
|
The Darkling Thrush
|
10
|
33%
|
0
|
0%
|
|
107
|
The Dead Drummer
|
2
|
6%
|
0
|
0%
|
|
108
|
The Dead Man Walking
|
1
|
3%
|
0
|
0%
|
|
109
|
The Dream-Follower
|
3
|
10%
|
0
|
0%
|
|
110
|
The Going
|
1
|
3%
|
0
|
0%
|
|
111
|
The House of Hospitalities
|
7
|
23%
|
0
|
0%
|
|
112
|
The Impercipient
|
4
|
13%
|
0
|
0%
|
|
113
|
The Last Chrysanthemum
|
1
|
3%
|
0
|
0%
|
|
114
|
The Lost Pyx: A Mediaeval Legend
|
1
|
3%
|
0
|
0%
|
|
115
|
The Man He Killed
|
4
|
13%
|
0
|
0%
|
|
116
|
The Oxen
|
5
|
16%
|
0
|
0%
|
|
117
|
The Peasent's Confession
|
2
|
6%
|
0
|
0%
|
|
118
|
The Phantom Horsewoman.
|
3
|
10%
|
0
|
0%
|
|
119
|
The Pity Of It
|
1
|
3%
|
0
|
0%
|
|
120
|
The Ruined Maid
|
4
|
13%
|
0
|
0%
|
|
121
|
The Selfsame Song
|
1
|
3%
|
0
|
0%
|
|
122
|
The Self-Unseeing
|
2
|
6%
|
0
|
0%
|
|
123
|
The Sergeant's Song
|
5
|
16%
|
0
|
0%
|
|
124
|
The Sick God
|
1
|
3%
|
0
|
0%
|
|
125
|
The Souls of the Slain
|
1
|
3%
|
0
|
0%
|
|
126
|
The Souls of the Slain.
|
1
|
3%
|
0
|
0%
|
|
127
|
The Sun on the Bookcase
|
3
|
10%
|
0
|
0%
|
|
128
|
The Supplanter: A Tale
|
1
|
3%
|
0
|
0%
|
|
129
|
The Temporary The All
|
1
|
3%
|
0
|
0%
|
|
130
|
The Two Men
|
2
|
6%
|
0
|
0%
|
|
131
|
The Voice
|
4
|
13%
|
0
|
0%
|
|
132
|
The Well-Beloved
|
3
|
10%
|
0
|
0%
|
|
133
|
The Widow
|
1
|
3%
|
0
|
0%
|
|
134
|
To A Lady
|
1
|
3%
|
0
|
0%
|
|
135
|
To an Unborn Pauper Child
|
4
|
13%
|
0
|
0%
|
|
136
|
To Flowers From Italy in Winter
|
1
|
3%
|
0
|
0%
|
|
137
|
To Life
|
4
|
13%
|
0
|
0%
|
|
138
|
Transformations
|
2
|
6%
|
0
|
0%
|
|
139
|
Under the Waterfall
|
9
|
30%
|
0
|
0%
|
|
140
|
Unknowing
|
3
|
10%
|
0
|
0%
|
|
141
|
Valenciennes
|
1
|
3%
|
0
|
0%
|
|
142
|
Weathers
|
3
|
10%
|
0
|
0%
|
|
143
|
When I Set Out for Lyonnesse
|
2
|
6%
|
0
|
0%
|
|
144
|
Winter in Durnover Field
|
1
|
3%
|
0
|
0%
|
|
145
|
Wives in the Sere
|
1
|
3%
|
0
|
0%
|
|
146
|
Zermat: To the Matterhorn (June-July, 1897)
|
1
|
3%
|
0
|
0%
|