|
1
|
"Between Us Now"
|
50
|
50%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
27
|
27%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
24
|
24%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
53
|
53%
|
0
|
0%
|
|
5
|
[Greek Title]
|
7
|
7%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
40
|
40%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
7
|
7%
|
0
|
0%
|
|
8
|
A Circular
|
3
|
3%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
3
|
3%
|
0
|
0%
|
|
10
|
A Confession To A Friend in Trouble
|
12
|
12%
|
0
|
0%
|
|
11
|
A Death-Day Recalled
|
5
|
5%
|
0
|
0%
|
|
12
|
A Dream Or No
|
5
|
5%
|
0
|
0%
|
|
13
|
A Jog-Trot Pair
|
1
|
1%
|
0
|
0%
|
|
14
|
A Man (In Memory of H. of M.)
|
2
|
2%
|
0
|
0%
|
|
15
|
A Meeting With Despair
|
5
|
5%
|
0
|
0%
|
|
16
|
A Poet
|
5
|
5%
|
0
|
0%
|
|
17
|
A Sign-Seeker
|
1
|
1%
|
0
|
0%
|
|
18
|
A Spot
|
4
|
4%
|
0
|
0%
|
|
19
|
A Thunderstorm in Town
|
14
|
14%
|
0
|
0%
|
|
20
|
A Wasted Illness
|
1
|
1%
|
0
|
0%
|
|
21
|
A Week
|
2
|
2%
|
0
|
0%
|
|
22
|
A Wife in London (December, 1899)
|
7
|
7%
|
0
|
0%
|
|
23
|
A Woman's Fancy
|
5
|
5%
|
0
|
0%
|
|
24
|
According to the Mighty Working
|
1
|
1%
|
0
|
0%
|
|
25
|
Additions
|
1
|
1%
|
0
|
0%
|
|
26
|
After A Journey
|
3
|
3%
|
0
|
0%
|
|
27
|
After Schiller
|
2
|
2%
|
0
|
0%
|
|
28
|
After The Visit
|
3
|
3%
|
0
|
0%
|
|
29
|
Afterwards
|
33
|
33%
|
0
|
0%
|
|
30
|
Ah, Are You Digging on My Grave?
|
2
|
2%
|
0
|
0%
|
|
31
|
Amabel
|
2
|
2%
|
0
|
0%
|
|
32
|
An Ancient to Ancients
|
1
|
1%
|
0
|
0%
|
|
33
|
An August Midnight
|
2
|
2%
|
0
|
0%
|
|
34
|
An Autumn Rain-Scene
|
2
|
2%
|
0
|
0%
|
|
35
|
Architectural Masks
|
1
|
1%
|
0
|
0%
|
|
36
|
At Day-Close In November
|
2
|
2%
|
0
|
0%
|
|
37
|
At A Bridal
|
3
|
3%
|
0
|
0%
|
|
38
|
At A House In Hampstead Sometime The Dwelling Of John Keats
|
1
|
1%
|
0
|
0%
|
|
39
|
At a Lunar Eclipse
|
1
|
1%
|
0
|
0%
|
|
40
|
At An Inn
|
2
|
2%
|
0
|
0%
|
|
41
|
At Castle Boterel
|
15
|
15%
|
0
|
0%
|
|
42
|
At Lulworth Cove a Century Back
|
1
|
1%
|
0
|
0%
|
|
43
|
At Moonrise And Onwards
|
2
|
2%
|
0
|
0%
|
|
44
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
2
|
2%
|
0
|
0%
|
|
45
|
At the War Office, London.
|
9
|
9%
|
0
|
0%
|
|
46
|
Beeny Cliff
|
2
|
2%
|
0
|
0%
|
|
47
|
Before And After Summer
|
3
|
3%
|
0
|
0%
|
|
48
|
Bereft, She Thinks She Dreams
|
1
|
1%
|
0
|
0%
|
|
49
|
Between Us Now
|
5
|
5%
|
0
|
0%
|
|
50
|
Cardinal Bembo's Epitaph on Raphael
|
1
|
1%
|
0
|
0%
|
|
51
|
Convergence Of The Twain
|
1
|
1%
|
0
|
0%
|
|
52
|
De Profundis
|
2
|
2%
|
0
|
0%
|
|
53
|
Departure.
|
1
|
1%
|
0
|
0%
|
|
54
|
Ditty
|
1
|
1%
|
0
|
0%
|
|
55
|
Domicilium
|
1
|
1%
|
0
|
0%
|
|
56
|
Drummer Hodge
|
80
|
80%
|
0
|
0%
|
|
57
|
During Wind and Rain
|
5
|
5%
|
0
|
0%
|
|
58
|
Embarcation
|
1
|
1%
|
0
|
0%
|
|
59
|
Embarcation (Southampton Docks: October, 1899)
|
1
|
1%
|
0
|
0%
|
|
60
|
Epeisodia
|
3
|
3%
|
0
|
0%
|
|
61
|
Epitaph on a pessimist
|
2
|
2%
|
0
|
0%
|
|
62
|
Exeunt Omnes
|
1
|
1%
|
0
|
0%
|
|
63
|
Faintheart In A Railway Train
|
6
|
6%
|
0
|
0%
|
|
64
|
Fragment
|
3
|
3%
|
0
|
0%
|
|
65
|
Friends Beyond
|
4
|
4%
|
0
|
0%
|
|
66
|
From Victor Hugo
|
1
|
1%
|
0
|
0%
|
|
67
|
God-Forgotten
|
2
|
2%
|
0
|
0%
|
|
68
|
God's Funeral
|
7
|
7%
|
0
|
0%
|
|
69
|
Had You Wept
|
4
|
4%
|
0
|
0%
|
|
70
|
Hap
|
39
|
39%
|
0
|
0%
|
|
71
|
He Never Expected Much
|
8
|
8%
|
0
|
0%
|
|
72
|
Her Death And After
|
3
|
3%
|
0
|
0%
|
|
73
|
Her Initals
|
1
|
1%
|
0
|
0%
|
|
74
|
Her Initials
|
2
|
2%
|
0
|
0%
|
|
75
|
Her Secret
|
4
|
4%
|
0
|
0%
|
|
76
|
Her Song
|
6
|
6%
|
0
|
0%
|
|
77
|
Heredity
|
1
|
1%
|
0
|
0%
|
|
78
|
His Immortality
|
1
|
1%
|
0
|
0%
|
|
79
|
His Visitor
|
1
|
1%
|
0
|
0%
|
|
80
|
How She Went To Ireland
|
1
|
1%
|
0
|
0%
|
|
81
|
I Found Her Out There
|
4
|
4%
|
0
|
0%
|
|
82
|
I Look Into My Glass
|
18
|
18%
|
0
|
0%
|
|
83
|
I Need Not Go
|
24
|
24%
|
0
|
0%
|
|
84
|
I Sometimes Think
|
1
|
1%
|
0
|
0%
|
|
85
|
I Was Not He
|
1
|
1%
|
0
|
0%
|
|
86
|
In a Museum
|
1
|
1%
|
0
|
0%
|
|
87
|
In a Wood
|
1
|
1%
|
0
|
0%
|
|
88
|
In Tenebris
|
2
|
2%
|
0
|
0%
|
|
89
|
In The Moonlight
|
3
|
3%
|
0
|
0%
|
|
90
|
In The Servants' Quarters
|
2
|
2%
|
0
|
0%
|
|
91
|
In Time of 'The Breaking of Nations'
|
9
|
9%
|
0
|
0%
|
|
92
|
Jezreel
|
1
|
1%
|
0
|
0%
|
|
93
|
Lament
|
1
|
1%
|
0
|
0%
|
|
94
|
Let Me Enjoy
|
2
|
2%
|
0
|
0%
|
|
95
|
Lines On The Loss Of The "Titanic"
|
1
|
1%
|
0
|
0%
|
|
96
|
Men Who March Away
|
9
|
9%
|
0
|
0%
|
|
97
|
Midnight on the Great Western
|
4
|
4%
|
0
|
0%
|
|
98
|
Moments of Vision
|
3
|
3%
|
0
|
0%
|
|
99
|
Nature's Questioning
|
15
|
15%
|
0
|
0%
|
|
100
|
Near Lanivet 1872
|
3
|
3%
|
0
|
0%
|
|
101
|
Neutral Tones
|
2
|
2%
|
0
|
0%
|
|
102
|
Places
|
2
|
2%
|
0
|
0%
|
|
103
|
Rome: At the Pyramid of Cestius. (Near the graves of Shelley & Keats)
|
1
|
1%
|
0
|
0%
|
|
104
|
San Sebastian
|
1
|
1%
|
0
|
0%
|
|
105
|
Sapphic Fragment
|
3
|
3%
|
0
|
0%
|
|
106
|
She At His Funeral
|
1
|
1%
|
0
|
0%
|
|
107
|
She, To Him
|
2
|
2%
|
0
|
0%
|
|
108
|
She, To Him III
|
1
|
1%
|
0
|
0%
|
|
109
|
She, To Him, II
|
2
|
2%
|
0
|
0%
|
|
110
|
She, to Him, III
|
1
|
1%
|
0
|
0%
|
|
111
|
Shelley's Skylark.
|
22
|
22%
|
0
|
0%
|
|
112
|
Song of Hope
|
7
|
7%
|
0
|
0%
|
|
113
|
Song of the Soldiers
|
1
|
1%
|
0
|
0%
|
|
114
|
Tess's Lament
|
3
|
3%
|
0
|
0%
|
|
115
|
The Alarm
|
2
|
2%
|
0
|
0%
|
|
116
|
The Cheval-Glass
|
1
|
1%
|
0
|
0%
|
|
117
|
The Church-Builder
|
1
|
1%
|
0
|
0%
|
|
118
|
The Colonel's Soliloquy (Southampton Docks: October, 1899)
|
1
|
1%
|
0
|
0%
|
|
119
|
The Convergence Of The Twain
|
4
|
4%
|
0
|
0%
|
|
120
|
The Coquette, and After (Triolets)
|
1
|
1%
|
0
|
0%
|
|
121
|
The Darkling Thrush
|
17
|
17%
|
0
|
0%
|
|
122
|
The Dead Drummer
|
2
|
2%
|
0
|
0%
|
|
123
|
The Death Of Regret
|
1
|
1%
|
0
|
0%
|
|
124
|
The Discovery
|
1
|
1%
|
0
|
0%
|
|
125
|
The Dream-Follower
|
1
|
1%
|
0
|
0%
|
|
126
|
The Farm Woman's Winter
|
1
|
1%
|
0
|
0%
|
|
127
|
The Going
|
5
|
5%
|
0
|
0%
|
|
128
|
The Haunter
|
2
|
2%
|
0
|
0%
|
|
129
|
The House of Hospitalities
|
2
|
2%
|
0
|
0%
|
|
130
|
The Last Chrysanthemum
|
1
|
1%
|
0
|
0%
|
|
131
|
The Levelled Churchyard
|
2
|
2%
|
0
|
0%
|
|
132
|
The Maid of Keinton Mandeville (A Tribute To Sir H. Bishop)
|
1
|
1%
|
0
|
0%
|
|
133
|
The Man He Killed
|
100
|
100%
|
0
|
0%
|
|
134
|
The Masked Face
|
1
|
1%
|
0
|
0%
|
|
135
|
The Milkmaid
|
1
|
1%
|
0
|
0%
|
|
136
|
The Missed Train
|
1
|
1%
|
0
|
0%
|
|
137
|
The Moon Looks In
|
2
|
2%
|
0
|
0%
|
|
138
|
The Mother Mourns
|
1
|
1%
|
0
|
0%
|
|
139
|
The Moth-Signal (On Egdon Heath)
|
9
|
9%
|
0
|
0%
|
|
140
|
The Obliterate Tomb
|
1
|
1%
|
0
|
0%
|
|
141
|
The Oxen
|
6
|
6%
|
0
|
0%
|
|
142
|
The Phantom Horsewoman.
|
2
|
2%
|
0
|
0%
|
|
143
|
The Pity Of It
|
1
|
1%
|
0
|
0%
|
|
144
|
The Problem
|
1
|
1%
|
0
|
0%
|
|
145
|
The Puzzled Game-Birds (Triolet)
|
1
|
1%
|
0
|
0%
|
|
146
|
The Rambler
|
2
|
2%
|
0
|
0%
|
|
147
|
The Recalcitrants
|
1
|
1%
|
0
|
0%
|
|
148
|
The Re-Enactment
|
1
|
1%
|
0
|
0%
|
|
149
|
The Ruined Maid
|
5
|
5%
|
0
|
0%
|
|
150
|
The Sacrilege: (A Ballad-Tragedy)
|
2
|
2%
|
0
|
0%
|
|
151
|
The Self-Unseeing
|
11
|
11%
|
0
|
0%
|
|
152
|
The Slow Nature
|
4
|
4%
|
0
|
0%
|
|
153
|
The Souls of the Slain
|
1
|
1%
|
0
|
0%
|
|
154
|
The Spell Of The Rose
|
3
|
3%
|
0
|
0%
|
|
155
|
The Subalterns
|
1
|
1%
|
0
|
0%
|
|
156
|
The Subalterns
|
1
|
1%
|
0
|
0%
|
|
157
|
The Voice
|
5
|
5%
|
0
|
0%
|
|
158
|
The Voice
|
2
|
2%
|
0
|
0%
|
|
159
|
The Walk
|
3
|
3%
|
0
|
0%
|
|
160
|
The Workbox
|
2
|
2%
|
0
|
0%
|
|
161
|
The Year's Awakening
|
2
|
2%
|
0
|
0%
|
|
162
|
Thoughts of Phena
|
1
|
1%
|
0
|
0%
|
|
163
|
To an Unborn Pauper Child
|
2
|
2%
|
0
|
0%
|
|
164
|
To Flowers From Italy in Winter
|
1
|
1%
|
0
|
0%
|
|
165
|
To Life
|
2
|
2%
|
0
|
0%
|
|
166
|
Tolerance
|
1
|
1%
|
0
|
0%
|
|
167
|
Under the Waterfall
|
5
|
5%
|
0
|
0%
|
|
168
|
We Are Getting to the End
|
1
|
1%
|
0
|
0%
|
|
169
|
Weathers
|
9
|
9%
|
0
|
0%
|
|
170
|
Welcome Home
|
1
|
1%
|
0
|
0%
|
|
171
|
When I Set Out for Lyonnesse
|
1
|
1%
|
0
|
0%
|
|
172
|
Without Ceremony
|
1
|
1%
|
0
|
0%
|
|
173
|
Wives in the Sere
|
1
|
1%
|
0
|
0%
|
|
174
|
Your Last Drive
|
4
|
4%
|
0
|
0%
|