|
1
|
"Between Us Now"
|
19
|
46%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
8
|
19%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
10
|
24%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
37
|
90%
|
0
|
0%
|
|
5
|
[Greek Title]
|
7
|
17%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
25
|
60%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
1
|
2%
|
0
|
0%
|
|
8
|
A Commonplace Day
|
1
|
2%
|
0
|
0%
|
|
9
|
A Confession To A Friend in Trouble
|
2
|
4%
|
0
|
0%
|
|
10
|
A Dream Or No
|
2
|
4%
|
0
|
0%
|
|
11
|
A Jog-Trot Pair
|
1
|
2%
|
0
|
0%
|
|
12
|
A King's Soliloquy [On the Night of His Funeral]
|
3
|
7%
|
0
|
0%
|
|
13
|
A Meeting With Despair
|
5
|
12%
|
0
|
0%
|
|
14
|
A Thunderstorm in Town
|
15
|
36%
|
0
|
0%
|
|
15
|
A Wasted Illness
|
4
|
9%
|
0
|
0%
|
|
16
|
A Week
|
3
|
7%
|
0
|
0%
|
|
17
|
A Wife in London (December, 1899)
|
1
|
2%
|
0
|
0%
|
|
18
|
A Woman's Fancy
|
3
|
7%
|
0
|
0%
|
|
19
|
After A Journey
|
3
|
7%
|
0
|
0%
|
|
20
|
After The Visit
|
2
|
4%
|
0
|
0%
|
|
21
|
Afterwards
|
22
|
53%
|
0
|
0%
|
|
22
|
Ah, Are You Digging on My Grave?
|
5
|
12%
|
0
|
0%
|
|
23
|
Amabel
|
3
|
7%
|
0
|
0%
|
|
24
|
An Ancient to Ancients
|
2
|
4%
|
0
|
0%
|
|
25
|
At a Lunar Eclipse
|
2
|
4%
|
0
|
0%
|
|
26
|
At An Inn
|
2
|
4%
|
0
|
0%
|
|
27
|
At Castle Boterel
|
12
|
29%
|
0
|
0%
|
|
28
|
At Moonrise And Onwards
|
1
|
2%
|
0
|
0%
|
|
29
|
At the Railway Station, Upways
|
3
|
7%
|
0
|
0%
|
|
30
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
2
|
4%
|
0
|
0%
|
|
31
|
At the War Office, London.
|
21
|
51%
|
0
|
0%
|
|
32
|
Beeny Cliff
|
2
|
4%
|
0
|
0%
|
|
33
|
By the Earth's Corpse
|
4
|
9%
|
0
|
0%
|
|
34
|
Cardinal Bembo's Epitaph on Raphael
|
2
|
4%
|
0
|
0%
|
|
35
|
Convergence Of The Twain
|
3
|
7%
|
0
|
0%
|
|
36
|
De Profundis
|
1
|
2%
|
0
|
0%
|
|
37
|
Departure.
|
3
|
7%
|
0
|
0%
|
|
38
|
Drummer Hodge
|
13
|
31%
|
0
|
0%
|
|
39
|
During Wind and Rain
|
9
|
21%
|
0
|
0%
|
|
40
|
Embarcation
|
1
|
2%
|
0
|
0%
|
|
41
|
Embarcation (Southampton Docks: October, 1899)
|
1
|
2%
|
0
|
0%
|
|
42
|
Epeisodia
|
1
|
2%
|
0
|
0%
|
|
43
|
Epitaph on a pessimist
|
3
|
7%
|
0
|
0%
|
|
44
|
Exeunt Omnes
|
1
|
2%
|
0
|
0%
|
|
45
|
Faintheart In A Railway Train
|
1
|
2%
|
0
|
0%
|
|
46
|
Fragment
|
1
|
2%
|
0
|
0%
|
|
47
|
Friends Beyond
|
6
|
14%
|
0
|
0%
|
|
48
|
From Victor Hugo
|
1
|
2%
|
0
|
0%
|
|
49
|
From: Men Who March Away
|
3
|
7%
|
0
|
0%
|
|
50
|
Genoa and the Mediterranean (March, 1887)
|
1
|
2%
|
0
|
0%
|
|
51
|
Genoa and the Mediterranean.
|
1
|
2%
|
0
|
0%
|
|
52
|
God's Funeral
|
3
|
7%
|
0
|
0%
|
|
53
|
Hap
|
40
|
97%
|
0
|
0%
|
|
54
|
He Never Expected Much
|
4
|
9%
|
0
|
0%
|
|
55
|
Her Death And After
|
2
|
4%
|
0
|
0%
|
|
56
|
Her Initials
|
9
|
21%
|
0
|
0%
|
|
57
|
Her Secret
|
1
|
2%
|
0
|
0%
|
|
58
|
Heredity
|
5
|
12%
|
0
|
0%
|
|
59
|
I Look Into My Glass
|
4
|
9%
|
0
|
0%
|
|
60
|
I Need Not Go
|
3
|
7%
|
0
|
0%
|
|
61
|
I Was Not He
|
2
|
4%
|
0
|
0%
|
|
62
|
In a Museum
|
2
|
4%
|
0
|
0%
|
|
63
|
In a Wood
|
2
|
4%
|
0
|
0%
|
|
64
|
In Tenebris
|
5
|
12%
|
0
|
0%
|
|
65
|
In The British Museum
|
1
|
2%
|
0
|
0%
|
|
66
|
In The Moonlight
|
4
|
9%
|
0
|
0%
|
|
67
|
In the Old Theatre, Fiesole (April, 1887)
|
1
|
2%
|
0
|
0%
|
|
68
|
In Time Of
|
2
|
4%
|
0
|
0%
|
|
69
|
In Time of 'The Breaking of Nations'
|
4
|
9%
|
0
|
0%
|
|
70
|
Let Me Enjoy
|
1
|
2%
|
0
|
0%
|
|
71
|
Lines
|
2
|
4%
|
0
|
0%
|
|
72
|
Lines On The Loss Of The "Titanic"
|
3
|
7%
|
0
|
0%
|
|
73
|
Men Who March Away
|
18
|
43%
|
0
|
0%
|
|
74
|
Moments of Vision
|
6
|
14%
|
0
|
0%
|
|
75
|
My spirit will not haunt the mound
|
1
|
2%
|
0
|
0%
|
|
76
|
Nature's Questioning
|
2
|
4%
|
0
|
0%
|
|
77
|
Near Lanivet 1872
|
2
|
4%
|
0
|
0%
|
|
78
|
Neutral Tones
|
2
|
4%
|
0
|
0%
|
|
79
|
Rom: On the Palatine (April, 1887)
|
1
|
2%
|
0
|
0%
|
|
80
|
Rome: On the Palatine.
|
3
|
7%
|
0
|
0%
|
|
81
|
Shelley's Skylark (The neighbourhood of Leghorn: March, 1887)
|
4
|
9%
|
0
|
0%
|
|
82
|
Shelley's Skylark.
|
14
|
34%
|
0
|
0%
|
|
83
|
Song of the Soldier's Wifes.
|
1
|
2%
|
0
|
0%
|
|
84
|
The Bridge of Lodi (Spring, 1887)
|
2
|
4%
|
0
|
0%
|
|
85
|
The Comet at Valbury or Yell'ham
|
3
|
7%
|
0
|
0%
|
|
86
|
The Convergence Of The Twain
|
5
|
12%
|
0
|
0%
|
|
87
|
The Darkling Thrush
|
11
|
26%
|
0
|
0%
|
|
88
|
The Dead Drummer
|
2
|
4%
|
0
|
0%
|
|
89
|
The Death Of Regret
|
2
|
4%
|
0
|
0%
|
|
90
|
The Garden Seat
|
2
|
4%
|
0
|
0%
|
|
91
|
The Going
|
4
|
9%
|
0
|
0%
|
|
92
|
The Haunter
|
2
|
4%
|
0
|
0%
|
|
93
|
The House of Hospitalities
|
5
|
12%
|
0
|
0%
|
|
94
|
The Inconsistent
|
1
|
2%
|
0
|
0%
|
|
95
|
The Ivy-Wife
|
2
|
4%
|
0
|
0%
|
|
96
|
The Man He Killed
|
41
|
100%
|
0
|
0%
|
|
97
|
The Masked Face
|
2
|
4%
|
0
|
0%
|
|
98
|
The Mother Mourns.
|
3
|
7%
|
0
|
0%
|
|
99
|
The Moth-Signal (On Egdon Heath)
|
4
|
9%
|
0
|
0%
|
|
100
|
The Oxen
|
7
|
17%
|
0
|
0%
|
|
101
|
The Ruined Maid
|
4
|
9%
|
0
|
0%
|
|
102
|
The Seasons of Her Year
|
3
|
7%
|
0
|
0%
|
|
103
|
The Self-Unseeing
|
10
|
24%
|
0
|
0%
|
|
104
|
The Sergeant's Song
|
3
|
7%
|
0
|
0%
|
|
105
|
The Shadow On The Stone
|
3
|
7%
|
0
|
0%
|
|
106
|
The Sun on the Bookcase
|
2
|
4%
|
0
|
0%
|
|
107
|
The Sun On The Bookcase
|
2
|
4%
|
0
|
0%
|
|
108
|
The Sweet Hussy
|
1
|
2%
|
0
|
0%
|
|
109
|
The Voice
|
1
|
2%
|
0
|
0%
|
|
110
|
The Voice
|
1
|
2%
|
0
|
0%
|
|
111
|
The Walk
|
5
|
12%
|
0
|
0%
|
|
112
|
The Wistful Lady
|
3
|
7%
|
0
|
0%
|
|
113
|
The Workbox
|
1
|
2%
|
0
|
0%
|
|
114
|
The Year's Awakening
|
2
|
4%
|
0
|
0%
|
|
115
|
Then and Now
|
1
|
2%
|
0
|
0%
|
|
116
|
Thought Of Ph---a At News Of Her Death
|
2
|
4%
|
0
|
0%
|
|
117
|
Thoughts of Phena
|
2
|
4%
|
0
|
0%
|
|
118
|
To an Unborn Pauper Child
|
10
|
24%
|
0
|
0%
|
|
119
|
Under the Waterfall
|
1
|
2%
|
0
|
0%
|
|
120
|
We Are Getting to the End
|
3
|
7%
|
0
|
0%
|
|
121
|
Weathers
|
9
|
21%
|
0
|
0%
|
|
122
|
Welcome Home
|
3
|
7%
|
0
|
0%
|