|
1
|
"Between Us Now"
|
11
|
91%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
9
|
75%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
7
|
58%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
5
|
41%
|
0
|
0%
|
|
5
|
[Greek Title]
|
8
|
66%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
11
|
91%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
12
|
100%
|
0
|
0%
|
|
8
|
A Christmas Ghost-Story
|
7
|
58%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
9
|
75%
|
0
|
0%
|
|
10
|
A Commonplace Day.
|
3
|
25%
|
0
|
0%
|
|
11
|
A Confession To A Friend in Trouble
|
7
|
58%
|
0
|
0%
|
|
12
|
A Man (In Memory of H. of M.)
|
4
|
33%
|
0
|
0%
|
|
13
|
A Meeting With Despair
|
9
|
75%
|
0
|
0%
|
|
14
|
A Sign-Seeker
|
5
|
41%
|
0
|
0%
|
|
15
|
A Spot
|
6
|
50%
|
0
|
0%
|
|
16
|
A Thunderstorm in Town
|
9
|
75%
|
0
|
0%
|
|
17
|
A Wasted Illness
|
5
|
41%
|
0
|
0%
|
|
18
|
A Wife in London (December, 1899)
|
7
|
58%
|
0
|
0%
|
|
19
|
Additions
|
6
|
50%
|
0
|
0%
|
|
20
|
After Schiller
|
2
|
16%
|
0
|
0%
|
|
21
|
Afterwards
|
3
|
25%
|
0
|
0%
|
|
22
|
Ah, Are You Digging on My Grave?
|
3
|
25%
|
0
|
0%
|
|
23
|
Amabel
|
2
|
16%
|
0
|
0%
|
|
24
|
An Ancient to Ancients
|
2
|
16%
|
0
|
0%
|
|
25
|
An August Midnight
|
7
|
58%
|
0
|
0%
|
|
26
|
An Autumn Rain-Scene
|
3
|
25%
|
0
|
0%
|
|
27
|
Architectural Masks
|
1
|
8%
|
0
|
0%
|
|
28
|
At A Bridal
|
3
|
25%
|
0
|
0%
|
|
29
|
At a Hasty Wedding
|
4
|
33%
|
0
|
0%
|
|
30
|
At a Lunar Eclipse
|
3
|
25%
|
0
|
0%
|
|
31
|
At An Inn
|
1
|
8%
|
0
|
0%
|
|
32
|
At Castle Boterel
|
1
|
8%
|
0
|
0%
|
|
33
|
At the Railway Station, Upways
|
2
|
16%
|
0
|
0%
|
|
34
|
At the War Office, London.
|
2
|
16%
|
0
|
0%
|
|
35
|
Beeny Cliff
|
3
|
25%
|
0
|
0%
|
|
36
|
Between Us Now
|
2
|
16%
|
0
|
0%
|
|
37
|
Birds at Winter Nightfall (Triolet)
|
1
|
8%
|
0
|
0%
|
|
38
|
Departure (Southampton Docks: October, 1899)
|
1
|
8%
|
0
|
0%
|
|
39
|
Departure.
|
1
|
8%
|
0
|
0%
|
|
40
|
Ditty
|
2
|
16%
|
0
|
0%
|
|
41
|
Domicilium
|
2
|
16%
|
0
|
0%
|
|
42
|
Doom and She
|
1
|
8%
|
0
|
0%
|
|
43
|
Drummer Hodge
|
2
|
16%
|
0
|
0%
|
|
44
|
During Wind and Rain
|
3
|
25%
|
0
|
0%
|
|
45
|
Embarcation
|
1
|
8%
|
0
|
0%
|
|
46
|
Friends Beyond
|
5
|
41%
|
0
|
0%
|
|
47
|
From Victor Hugo
|
4
|
33%
|
0
|
0%
|
|
48
|
Genoa and the Mediterranean (March, 1887)
|
1
|
8%
|
0
|
0%
|
|
49
|
Genoa and the Mediterranean.
|
1
|
8%
|
0
|
0%
|
|
50
|
God-Forgotten
|
1
|
8%
|
0
|
0%
|
|
51
|
God's Funeral
|
1
|
8%
|
0
|
0%
|
|
52
|
Hap
|
5
|
41%
|
0
|
0%
|
|
53
|
He Never Expected Much
|
2
|
16%
|
0
|
0%
|
|
54
|
Heiress And Architect
|
2
|
16%
|
0
|
0%
|
|
55
|
Her Death And After
|
3
|
25%
|
0
|
0%
|
|
56
|
Her Dilemma
|
1
|
8%
|
0
|
0%
|
|
57
|
Her Late Husband (King's-Hintock, 182-.)
|
2
|
16%
|
0
|
0%
|
|
58
|
Heredity
|
1
|
8%
|
0
|
0%
|
|
59
|
I Look Into My Glass
|
2
|
16%
|
0
|
0%
|
|
60
|
I Need Not Go
|
11
|
91%
|
0
|
0%
|
|
61
|
I said to Love
|
2
|
16%
|
0
|
0%
|
|
62
|
I Said to Love.
|
1
|
8%
|
0
|
0%
|
|
63
|
In A Eweleaze Near Weatherbury
|
2
|
16%
|
0
|
0%
|
|
64
|
In a Museum
|
3
|
25%
|
0
|
0%
|
|
65
|
In a Wood
|
6
|
50%
|
0
|
0%
|
|
66
|
In A Wook
|
1
|
8%
|
0
|
0%
|
|
67
|
In Tenebris
|
2
|
16%
|
0
|
0%
|
|
68
|
In The Moonlight
|
1
|
8%
|
0
|
0%
|
|
69
|
In The Old Theatre, Fiesole.
|
2
|
16%
|
0
|
0%
|
|
70
|
In Time Of
|
1
|
8%
|
0
|
0%
|
|
71
|
In Time of 'The Breaking of Nations'
|
1
|
8%
|
0
|
0%
|
|
72
|
In Vision I Roamed
|
2
|
16%
|
0
|
0%
|
|
73
|
Last Words to a Dumb Friend
|
3
|
25%
|
0
|
0%
|
|
74
|
Leipzig
|
1
|
8%
|
0
|
0%
|
|
75
|
Let Me Enjoy
|
1
|
8%
|
0
|
0%
|
|
76
|
Lines On The Loss Of The "Titanic"
|
7
|
58%
|
0
|
0%
|
|
77
|
Men Who March Away
|
3
|
25%
|
0
|
0%
|
|
78
|
Middle-Age Enthusiasms
|
3
|
25%
|
0
|
0%
|
|
79
|
Midnight on the Great Western
|
1
|
8%
|
0
|
0%
|
|
80
|
Moments of Vision
|
4
|
33%
|
0
|
0%
|
|
81
|
Mute Opinion
|
2
|
16%
|
0
|
0%
|
|
82
|
My Cicely
|
1
|
8%
|
0
|
0%
|
|
83
|
My spirit will not haunt the mound
|
1
|
8%
|
0
|
0%
|
|
84
|
Nature's Questioning
|
3
|
25%
|
0
|
0%
|
|
85
|
Neutral Tones
|
3
|
25%
|
0
|
0%
|
|
86
|
Night in the Old Home
|
1
|
8%
|
0
|
0%
|
|
87
|
No Buyers
|
2
|
16%
|
0
|
0%
|
|
88
|
On a Fine Morning
|
3
|
25%
|
0
|
0%
|
|
89
|
On an Invitation to the United States.
|
1
|
8%
|
0
|
0%
|
|
90
|
Postponement
|
2
|
16%
|
0
|
0%
|
|
91
|
Rome at the Pyramid of Cestius Near the Graves of Shelley and Keats (1887)
|
1
|
8%
|
0
|
0%
|
|
92
|
Rome: Building a New Street in the Ancient Quarter (April, 1887)
|
1
|
8%
|
0
|
0%
|
|
93
|
Sapphic Fragment
|
1
|
8%
|
0
|
0%
|
|
94
|
Satires of Circumstance in Fifteen Glimpses VIII: In the St
|
1
|
8%
|
0
|
0%
|
|
95
|
She, to Him, IV
|
1
|
8%
|
0
|
0%
|
|
96
|
Song of the Soldier's Wifes.
|
1
|
8%
|
0
|
0%
|
|
97
|
The Bridge of Lodi (Spring, 1887)
|
2
|
16%
|
0
|
0%
|
|
98
|
The Bridge of Lodi.
|
2
|
16%
|
0
|
0%
|
|
99
|
The Burghers
|
1
|
8%
|
0
|
0%
|
|
100
|
The Convergence Of The Twain
|
1
|
8%
|
0
|
0%
|
|
101
|
The Dame of Athelhall
|
2
|
16%
|
0
|
0%
|
|
102
|
The Darkling Thrush
|
10
|
83%
|
0
|
0%
|
|
103
|
The Dead Drummer
|
1
|
8%
|
0
|
0%
|
|
104
|
The Ghost of the Past
|
1
|
8%
|
0
|
0%
|
|
105
|
The Going
|
4
|
33%
|
0
|
0%
|
|
106
|
The Impercipient
|
1
|
8%
|
0
|
0%
|
|
107
|
The Man He Killed
|
11
|
91%
|
0
|
0%
|
|
108
|
The Oxen
|
2
|
16%
|
0
|
0%
|
|
109
|
The Phantom Horsewoman.
|
2
|
16%
|
0
|
0%
|
|
110
|
The Pity Of It
|
1
|
8%
|
0
|
0%
|
|
111
|
The Problem
|
1
|
8%
|
0
|
0%
|
|
112
|
The Rambler
|
1
|
8%
|
0
|
0%
|
|
113
|
The Ruined Maid
|
6
|
50%
|
0
|
0%
|
|
114
|
The Selfsame Song
|
1
|
8%
|
0
|
0%
|
|
115
|
The Self-Unseeing
|
2
|
16%
|
0
|
0%
|
|
116
|
The Sergeant's Song
|
9
|
75%
|
0
|
0%
|
|
117
|
The Sick God
|
2
|
16%
|
0
|
0%
|
|
118
|
The Souls of the Slain
|
1
|
8%
|
0
|
0%
|
|
119
|
The Superseded
|
1
|
8%
|
0
|
0%
|
|
120
|
The Voice
|
1
|
8%
|
0
|
0%
|
|
121
|
To an Unborn Pauper Child
|
1
|
8%
|
0
|
0%
|
|
122
|
To Lizbie Browne
|
1
|
8%
|
0
|
0%
|
|
123
|
To Outer Nature
|
3
|
25%
|
0
|
0%
|
|
124
|
Under the Waterfall
|
8
|
66%
|
0
|
0%
|
|
125
|
Unknowing
|
2
|
16%
|
0
|
0%
|
|
126
|
Weathers
|
5
|
41%
|
0
|
0%
|
|
127
|
When I Set Out for Lyonnesse
|
2
|
16%
|
0
|
0%
|
|
128
|
Wives in the Sere
|
1
|
8%
|
0
|
0%
|