|
1
|
"Between Us Now"
|
25
|
51%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
27
|
55%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
19
|
38%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
33
|
67%
|
0
|
0%
|
|
5
|
[Greek Title]
|
4
|
8%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
49
|
100%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
33
|
67%
|
0
|
0%
|
|
8
|
A Christmas Ghost-Story
|
14
|
28%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
10
|
20%
|
0
|
0%
|
|
10
|
A Commonplace Day.
|
3
|
6%
|
0
|
0%
|
|
11
|
A Confession To A Friend in Trouble
|
16
|
32%
|
0
|
0%
|
|
12
|
A Man (In Memory of H. of M.)
|
4
|
8%
|
0
|
0%
|
|
13
|
A Meeting With Despair
|
12
|
24%
|
0
|
0%
|
|
14
|
A Sign-Seeker
|
10
|
20%
|
0
|
0%
|
|
15
|
A Spot
|
8
|
16%
|
0
|
0%
|
|
16
|
A Thunderstorm in Town
|
14
|
28%
|
0
|
0%
|
|
17
|
A Wasted Illness
|
8
|
16%
|
0
|
0%
|
|
18
|
A Wife in London (December, 1899)
|
9
|
18%
|
0
|
0%
|
|
19
|
Additions
|
12
|
24%
|
0
|
0%
|
|
20
|
After Schiller
|
4
|
8%
|
0
|
0%
|
|
21
|
Afterwards
|
14
|
28%
|
0
|
0%
|
|
22
|
Ah, Are You Digging on My Grave?
|
7
|
14%
|
0
|
0%
|
|
23
|
Amabel
|
4
|
8%
|
0
|
0%
|
|
24
|
An Ancient to Ancients
|
6
|
12%
|
0
|
0%
|
|
25
|
An August Midnight
|
5
|
10%
|
0
|
0%
|
|
26
|
Architectural Masks
|
3
|
6%
|
0
|
0%
|
|
27
|
At A Bridal
|
1
|
2%
|
0
|
0%
|
|
28
|
At a Hasty Wedding
|
1
|
2%
|
0
|
0%
|
|
29
|
At a Lunar Eclipse
|
3
|
6%
|
0
|
0%
|
|
30
|
At An Inn
|
6
|
12%
|
0
|
0%
|
|
31
|
At Castle Boterel
|
4
|
8%
|
0
|
0%
|
|
32
|
At Lulworth Cove a Century Back
|
2
|
4%
|
0
|
0%
|
|
33
|
At the Railway Station, Upways
|
3
|
6%
|
0
|
0%
|
|
34
|
At the War Office, London (Affixing the Lists of Killed and Wounded: December, 1899)
|
3
|
6%
|
0
|
0%
|
|
35
|
At the War Office, London.
|
1
|
2%
|
0
|
0%
|
|
36
|
Beeny Cliff
|
2
|
4%
|
0
|
0%
|
|
37
|
Between Us Now
|
12
|
24%
|
0
|
0%
|
|
38
|
Birds at Winter Nightfall (Triolet)
|
6
|
12%
|
0
|
0%
|
|
39
|
By the Earth's Corpse
|
2
|
4%
|
0
|
0%
|
|
40
|
Cardinal Bembo's Epitaph on Raphael
|
2
|
4%
|
0
|
0%
|
|
41
|
Channel Firing
|
3
|
6%
|
0
|
0%
|
|
42
|
Departure (Southampton Docks: October, 1899)
|
4
|
8%
|
0
|
0%
|
|
43
|
Departure.
|
7
|
14%
|
0
|
0%
|
|
44
|
Ditty
|
3
|
6%
|
0
|
0%
|
|
45
|
Domicilium
|
2
|
4%
|
0
|
0%
|
|
46
|
Drummer Hodge
|
27
|
55%
|
0
|
0%
|
|
47
|
During Wind and Rain
|
14
|
28%
|
0
|
0%
|
|
48
|
Embarcation
|
1
|
2%
|
0
|
0%
|
|
49
|
Embarcation (Southampton Docks: October, 1899)
|
2
|
4%
|
0
|
0%
|
|
50
|
Epitaph on a pessimist
|
6
|
12%
|
0
|
0%
|
|
51
|
Friends Beyond
|
8
|
16%
|
0
|
0%
|
|
52
|
From Victor Hugo
|
2
|
4%
|
0
|
0%
|
|
53
|
Genoa and the Mediterranean (March, 1887)
|
2
|
4%
|
0
|
0%
|
|
54
|
Genoa and the Mediterranean.
|
2
|
4%
|
0
|
0%
|
|
55
|
God-Forgotten
|
9
|
18%
|
0
|
0%
|
|
56
|
God's Funeral
|
14
|
28%
|
0
|
0%
|
|
57
|
Hap
|
40
|
81%
|
0
|
0%
|
|
58
|
He Never Expected Much
|
13
|
26%
|
0
|
0%
|
|
59
|
Heiress And Architect
|
3
|
6%
|
0
|
0%
|
|
60
|
Her Death And After
|
7
|
14%
|
0
|
0%
|
|
61
|
Her Dilemma
|
4
|
8%
|
0
|
0%
|
|
62
|
Her Immortality
|
2
|
4%
|
0
|
0%
|
|
63
|
Her Initals
|
2
|
4%
|
0
|
0%
|
|
64
|
Her Initials
|
3
|
6%
|
0
|
0%
|
|
65
|
Her Late Husband (King's-Hintock, 182-.)
|
2
|
4%
|
0
|
0%
|
|
66
|
Heredity
|
6
|
12%
|
0
|
0%
|
|
67
|
His Immortality
|
1
|
2%
|
0
|
0%
|
|
68
|
I have lived with Shades
|
3
|
6%
|
0
|
0%
|
|
69
|
I Look Into My Glass
|
7
|
14%
|
0
|
0%
|
|
70
|
I Need Not Go
|
15
|
30%
|
0
|
0%
|
|
71
|
I said to Love
|
4
|
8%
|
0
|
0%
|
|
72
|
I Said to Love.
|
4
|
8%
|
0
|
0%
|
|
73
|
In A Eweleaze Near Weatherbury
|
5
|
10%
|
0
|
0%
|
|
74
|
In a Museum
|
1
|
2%
|
0
|
0%
|
|
75
|
In a Wood
|
8
|
16%
|
0
|
0%
|
|
76
|
In A Wook
|
1
|
2%
|
0
|
0%
|
|
77
|
In Tenebris
|
5
|
10%
|
0
|
0%
|
|
78
|
In The Moonlight
|
3
|
6%
|
0
|
0%
|
|
79
|
In The Old Theatre, Fiesole.
|
1
|
2%
|
0
|
0%
|
|
80
|
In Time of 'The Breaking of Nations'
|
13
|
26%
|
0
|
0%
|
|
81
|
In Vision I Roamed
|
5
|
10%
|
0
|
0%
|
|
82
|
Last Words to a Dumb Friend
|
3
|
6%
|
0
|
0%
|
|
83
|
Leipzig
|
1
|
2%
|
0
|
0%
|
|
84
|
Let Me Enjoy
|
6
|
12%
|
0
|
0%
|
|
85
|
Lines
|
1
|
2%
|
0
|
0%
|
|
86
|
Lines On The Loss Of The "Titanic"
|
3
|
6%
|
0
|
0%
|
|
87
|
Mad Judy
|
1
|
2%
|
0
|
0%
|
|
88
|
Men Who March Away
|
15
|
30%
|
0
|
0%
|
|
89
|
Middle-Age Enthusiasms
|
2
|
4%
|
0
|
0%
|
|
90
|
Midnight on the Great Western
|
7
|
14%
|
0
|
0%
|
|
91
|
Mismet
|
1
|
2%
|
0
|
0%
|
|
92
|
Moments of Vision
|
10
|
20%
|
0
|
0%
|
|
93
|
My Cicely
|
2
|
4%
|
0
|
0%
|
|
94
|
My spirit will not haunt the mound
|
2
|
4%
|
0
|
0%
|
|
95
|
Nature's Questioning
|
12
|
24%
|
0
|
0%
|
|
96
|
Neutral Tones
|
10
|
20%
|
0
|
0%
|
|
97
|
Night in the Old Home
|
1
|
2%
|
0
|
0%
|
|
98
|
No Buyers
|
7
|
14%
|
0
|
0%
|
|
99
|
On a Fine Morning
|
5
|
10%
|
0
|
0%
|
|
100
|
On an Invitation to the United States.
|
3
|
6%
|
0
|
0%
|
|
101
|
Postponement
|
2
|
4%
|
0
|
0%
|
|
102
|
Revulsion
|
1
|
2%
|
0
|
0%
|
|
103
|
Rom: On the Palatine (April, 1887)
|
3
|
6%
|
0
|
0%
|
|
104
|
Rome at the Pyramid of Cestius Near the Graves of Shelley and Keats (1887)
|
3
|
6%
|
0
|
0%
|
|
105
|
Rome: At the Pyramid of Cestius. (Near the graves of Shelley & Keats)
|
3
|
6%
|
0
|
0%
|
|
106
|
Rome: Building a New Street in the Ancient Quarter (April, 1887)
|
3
|
6%
|
0
|
0%
|
|
107
|
Rome: Building a New Street in the Ancient Quarter.
|
3
|
6%
|
0
|
0%
|
|
108
|
Rome: On the Palatine.
|
1
|
2%
|
0
|
0%
|
|
109
|
Rome: The Vatican--Sala Delle Muse (1887)
|
3
|
6%
|
0
|
0%
|
|
110
|
San Sebastian
|
1
|
2%
|
0
|
0%
|
|
111
|
Sapphic Fragment
|
1
|
2%
|
0
|
0%
|
|
112
|
Satires of Circumstance in Fifteen Glimpses VIII: In the St
|
4
|
8%
|
0
|
0%
|
|
113
|
She At His Funeral
|
3
|
6%
|
0
|
0%
|
|
114
|
She Hears the Storm
|
1
|
2%
|
0
|
0%
|
|
115
|
She, at His Funeral
|
7
|
14%
|
0
|
0%
|
|
116
|
She, to Him, IV
|
1
|
2%
|
0
|
0%
|
|
117
|
Shelley's Skylark (The neighbourhood of Leghorn: March, 1887)
|
3
|
6%
|
0
|
0%
|
|
118
|
Shelley's Skylark.
|
5
|
10%
|
0
|
0%
|
|
119
|
Song of Hope
|
3
|
6%
|
0
|
0%
|
|
120
|
Song of the Soldier's Wifes.
|
2
|
4%
|
0
|
0%
|
|
121
|
Tess's Lament
|
2
|
4%
|
0
|
0%
|
|
122
|
The Alarm
|
4
|
8%
|
0
|
0%
|
|
123
|
The Bedridden Peasant to an Unknown God
|
2
|
4%
|
0
|
0%
|
|
124
|
The Bridge of Lodi (Spring, 1887)
|
2
|
4%
|
0
|
0%
|
|
125
|
The Bridge of Lodi.
|
2
|
4%
|
0
|
0%
|
|
126
|
The Bullfinches
|
2
|
4%
|
0
|
0%
|
|
127
|
The Caged Thrush Freed and Home Again (Villanelle)
|
2
|
4%
|
0
|
0%
|
|
128
|
The Casterbridge Captains
|
2
|
4%
|
0
|
0%
|
|
129
|
The Cave of the Unborn
|
2
|
4%
|
0
|
0%
|
|
130
|
The Church-Builder
|
7
|
14%
|
0
|
0%
|
|
131
|
The Colonel's Soliloquy (Southampton Docks: October, 1899)
|
3
|
6%
|
0
|
0%
|
|
132
|
The Colonel's Solilquy.
|
2
|
4%
|
0
|
0%
|
|
133
|
The Comet at Valbury or Yell'ham
|
3
|
6%
|
0
|
0%
|
|
134
|
The Contretemps
|
1
|
2%
|
0
|
0%
|
|
135
|
The Convergence Of The Twain
|
6
|
12%
|
0
|
0%
|
|
136
|
The Coquette, and After (Triolets)
|
2
|
4%
|
0
|
0%
|
|
137
|
The Dame of Athelhall
|
3
|
6%
|
0
|
0%
|
|
138
|
The Dance At The Phoenix
|
2
|
4%
|
0
|
0%
|
|
139
|
The Darkling Thrush
|
17
|
34%
|
0
|
0%
|
|
140
|
The Dead Drummer
|
3
|
6%
|
0
|
0%
|
|
141
|
The Dead Man Walking
|
4
|
8%
|
0
|
0%
|
|
142
|
The Dream-Follower
|
3
|
6%
|
0
|
0%
|
|
143
|
The Farm Woman's Winter
|
6
|
12%
|
0
|
0%
|
|
144
|
The Fire at Tranter Sweatley's
|
3
|
6%
|
0
|
0%
|
|
145
|
The Ghost of the Past
|
5
|
10%
|
0
|
0%
|
|
146
|
The Going
|
10
|
20%
|
0
|
0%
|
|
147
|
The Going of the Battery Wives. (Lament)
|
3
|
6%
|
0
|
0%
|
|
148
|
The House of Hospitalities
|
3
|
6%
|
0
|
0%
|
|
149
|
The Impercipient
|
6
|
12%
|
0
|
0%
|
|
150
|
The Inconsistent
|
1
|
2%
|
0
|
0%
|
|
151
|
The King's Experiment
|
3
|
6%
|
0
|
0%
|
|
152
|
The Lacking Sense Scene.--A sad-coloured landscape, Waddon Vale
|
3
|
6%
|
0
|
0%
|
|
153
|
The Last Chrysanthemum
|
2
|
4%
|
0
|
0%
|
|
154
|
The Levelled Churchyard
|
3
|
6%
|
0
|
0%
|
|
155
|
The Lost Pyx: A Mediaeval Legend
|
3
|
6%
|
0
|
0%
|
|
156
|
The Man He Killed
|
33
|
67%
|
0
|
0%
|
|
157
|
The Masked Face
|
4
|
8%
|
0
|
0%
|
|
158
|
The Milkmaid
|
3
|
6%
|
0
|
0%
|
|
159
|
The Mother Mourns
|
4
|
8%
|
0
|
0%
|
|
160
|
The Mother Mourns.
|
2
|
4%
|
0
|
0%
|
|
161
|
The Oxen
|
8
|
16%
|
0
|
0%
|
|
162
|
The Peasent's Confession
|
2
|
4%
|
0
|
0%
|
|
163
|
The Phantom Horsewoman.
|
2
|
4%
|
0
|
0%
|
|
164
|
The Puzzled Game-Birds (Triolet)
|
3
|
6%
|
0
|
0%
|
|
165
|
The Rambler
|
2
|
4%
|
0
|
0%
|
|
166
|
The Respectable Burgher on "The Higher Criticism"
|
3
|
6%
|
0
|
0%
|
|
167
|
The Ruined Maid
|
9
|
18%
|
0
|
0%
|
|
168
|
The Seasons of Her Year
|
1
|
2%
|
0
|
0%
|
|
169
|
The Selfsame Song
|
1
|
2%
|
0
|
0%
|
|
170
|
The Self-Unseeing
|
2
|
4%
|
0
|
0%
|
|
171
|
The Sergeant's Song
|
5
|
10%
|
0
|
0%
|
|
172
|
The Sick God
|
5
|
10%
|
0
|
0%
|
|
173
|
The Sleep-Worker
|
1
|
2%
|
0
|
0%
|
|
174
|
The Souls of the Slain
|
5
|
10%
|
0
|
0%
|
|
175
|
The Subalterns
|
1
|
2%
|
0
|
0%
|
|
176
|
The Sun on the Bookcase
|
1
|
2%
|
0
|
0%
|
|
177
|
The To-Be-Forgotten
|
1
|
2%
|
0
|
0%
|
|
178
|
To An Orphan Child
|
1
|
2%
|
0
|
0%
|
|
179
|
To an Unborn Pauper Child
|
2
|
4%
|
0
|
0%
|
|
180
|
To Flowers From Italy in Winter
|
5
|
10%
|
0
|
0%
|
|
181
|
To Life
|
4
|
8%
|
0
|
0%
|
|
182
|
To Outer Nature
|
1
|
2%
|
0
|
0%
|
|
183
|
Under the Waterfall
|
3
|
6%
|
0
|
0%
|
|
184
|
Valenciennes
|
1
|
2%
|
0
|
0%
|
|
185
|
Weathers
|
4
|
8%
|
0
|
0%
|
|
186
|
When I Set Out for Lyonnesse
|
2
|
4%
|
0
|
0%
|
|
187
|
Winter in Durnover Field
|
1
|
2%
|
0
|
0%
|