|
1
|
"Between Us Now"
|
26
|
59%
|
0
|
0%
|
|
2
|
"How Great My Grief" (Triolet)
|
20
|
45%
|
0
|
0%
|
|
3
|
"I Have Lived With Shades"
|
18
|
40%
|
0
|
0%
|
|
4
|
"I Said to Love"
|
30
|
68%
|
0
|
0%
|
|
5
|
[Greek Title]
|
7
|
15%
|
0
|
0%
|
|
6
|
A Broken Appointment
|
24
|
54%
|
0
|
0%
|
|
7
|
A Christmas Ghost Story.
|
7
|
15%
|
0
|
0%
|
|
8
|
A Circular
|
3
|
6%
|
0
|
0%
|
|
9
|
A Commonplace Day
|
4
|
9%
|
0
|
0%
|
|
10
|
A Confession To A Friend in Trouble
|
3
|
6%
|
0
|
0%
|
|
11
|
A Death-Day Recalled
|
7
|
15%
|
0
|
0%
|
|
12
|
A Dream Or No
|
2
|
4%
|
0
|
0%
|
|
13
|
A Jog-Trot Pair
|
2
|
4%
|
0
|
0%
|
|
14
|
A Man (In Memory of H. of M.)
|
4
|
9%
|
0
|
0%
|
|
15
|
A Meeting With Despair
|
11
|
25%
|
0
|
0%
|
|
16
|
A Poet
|
6
|
13%
|
0
|
0%
|
|
17
|
A Sign-Seeker
|
5
|
11%
|
0
|
0%
|
|
18
|
A Spot
|
3
|
6%
|
0
|
0%
|
|
19
|
A Thunderstorm in Town
|
6
|
13%
|
0
|
0%
|
|
20
|
A Wasted Illness
|
6
|
13%
|
0
|
0%
|
|
21
|
A Week
|
3
|
6%
|
0
|
0%
|
|
22
|
A Wife in London (December, 1899)
|
1
|
2%
|
0
|
0%
|
|
23
|
A Woman's Fancy
|
11
|
25%
|
0
|
0%
|
|
24
|
According to the Mighty Working
|
1
|
2%
|
0
|
0%
|
|
25
|
Additions
|
1
|
2%
|
0
|
0%
|
|
26
|
After A Journey
|
8
|
18%
|
0
|
0%
|
|
27
|
After Schiller
|
1
|
2%
|
0
|
0%
|
|
28
|
After The Visit
|
1
|
2%
|
0
|
0%
|
|
29
|
Afterwards
|
24
|
54%
|
0
|
0%
|
|
30
|
Ah, Are You Digging on My Grave?
|
4
|
9%
|
0
|
0%
|
|
31
|
Amabel
|
1
|
2%
|
0
|
0%
|
|
32
|
An Ancient to Ancients
|
2
|
4%
|
0
|
0%
|
|
33
|
An August Midnight
|
1
|
2%
|
0
|
0%
|
|
34
|
An Autumn Rain-Scene
|
3
|
6%
|
0
|
0%
|
|
35
|
Aquae Sulis
|
1
|
2%
|
0
|
0%
|
|
36
|
Architectural Masks
|
4
|
9%
|
0
|
0%
|
|
37
|
At Day-Close In November
|
1
|
2%
|
0
|
0%
|
|
38
|
At A Bridal
|
3
|
6%
|
0
|
0%
|
|
39
|
At a Hasty Wedding
|
2
|
4%
|
0
|
0%
|
|
40
|
At A House In Hampstead Sometime The Dwelling Of John Keats
|
1
|
2%
|
0
|
0%
|
|
41
|
At a Lunar Eclipse
|
1
|
2%
|
0
|
0%
|
|
42
|
At An Inn
|
1
|
2%
|
0
|
0%
|
|
43
|
At Castle Boterel
|
9
|
20%
|
0
|
0%
|
|
44
|
At Lulworth Cove a Century Back
|
4
|
9%
|
0
|
0%
|
|
45
|
At Moonrise And Onwards
|
1
|
2%
|
0
|
0%
|
|
46
|
At the Railway Station, Upways
|
5
|
11%
|
0
|
0%
|
|
47
|
At the War Office, London.
|
6
|
13%
|
0
|
0%
|
|
48
|
Barthelemon At Vauxhall
|
1
|
2%
|
0
|
0%
|
|
49
|
Beeny Cliff
|
4
|
9%
|
0
|
0%
|
|
50
|
Before And After Summer
|
1
|
2%
|
0
|
0%
|
|
51
|
Bereft, She Thinks She Dreams
|
6
|
13%
|
0
|
0%
|
|
52
|
Between Us Now
|
4
|
9%
|
0
|
0%
|
|
53
|
Birds at Winter Nightfall (Triolet)
|
5
|
11%
|
0
|
0%
|
|
54
|
By the Earth's Corpse
|
4
|
9%
|
0
|
0%
|
|
55
|
Catullus: XXXI
|
1
|
2%
|
0
|
0%
|
|
56
|
Channel Firing
|
4
|
9%
|
0
|
0%
|
|
57
|
Convergence Of The Twain
|
2
|
4%
|
0
|
0%
|
|
58
|
De Profundis
|
3
|
6%
|
0
|
0%
|
|
59
|
Departure (Southampton Docks: October, 1899)
|
1
|
2%
|
0
|
0%
|
|
60
|
Departure.
|
2
|
4%
|
0
|
0%
|
|
61
|
Ditty
|
1
|
2%
|
0
|
0%
|
|
62
|
Drummer Hodge
|
21
|
47%
|
0
|
0%
|
|
63
|
During Wind and Rain
|
1
|
2%
|
0
|
0%
|
|
64
|
Embarcation
|
2
|
4%
|
0
|
0%
|
|
65
|
Embarcation (Southampton Docks: October, 1899)
|
1
|
2%
|
0
|
0%
|
|
66
|
Epitaph on a pessimist
|
3
|
6%
|
0
|
0%
|
|
67
|
Faintheart In A Railway Train
|
2
|
4%
|
0
|
0%
|
|
68
|
Friends Beyond
|
4
|
9%
|
0
|
0%
|
|
69
|
From Victor Hugo
|
1
|
2%
|
0
|
0%
|
|
70
|
From: Men Who March Away
|
2
|
4%
|
0
|
0%
|
|
71
|
God's Funeral
|
8
|
18%
|
0
|
0%
|
|
72
|
Going And Staying
|
2
|
4%
|
0
|
0%
|
|
73
|
Had You Wept
|
2
|
4%
|
0
|
0%
|
|
74
|
Hap
|
43
|
97%
|
0
|
0%
|
|
75
|
He Never Expected Much
|
3
|
6%
|
0
|
0%
|
|
76
|
Heiress And Architect
|
1
|
2%
|
0
|
0%
|
|
77
|
Her Death And After
|
2
|
4%
|
0
|
0%
|
|
78
|
Her Dilemma
|
5
|
11%
|
0
|
0%
|
|
79
|
Her Immortality
|
5
|
11%
|
0
|
0%
|
|
80
|
Her Initials
|
4
|
9%
|
0
|
0%
|
|
81
|
Her Late Husband (King's-Hintock, 182-.)
|
3
|
6%
|
0
|
0%
|
|
82
|
Her Reproach
|
5
|
11%
|
0
|
0%
|
|
83
|
Her Secret
|
5
|
11%
|
0
|
0%
|
|
84
|
Her Song
|
6
|
13%
|
0
|
0%
|
|
85
|
Heredity
|
5
|
11%
|
0
|
0%
|
|
86
|
His Immortality
|
7
|
15%
|
0
|
0%
|
|
87
|
I Found Her Out There
|
4
|
9%
|
0
|
0%
|
|
88
|
I have lived with Shades
|
4
|
9%
|
0
|
0%
|
|
89
|
I Look Into My Glass
|
8
|
18%
|
0
|
0%
|
|
90
|
I Need Not Go
|
9
|
20%
|
0
|
0%
|
|
91
|
I Rose Up As My Custom Is
|
3
|
6%
|
0
|
0%
|
|
92
|
I said to Love
|
4
|
9%
|
0
|
0%
|
|
93
|
I Said to Love.
|
2
|
4%
|
0
|
0%
|
|
94
|
I Sometimes Think
|
5
|
11%
|
0
|
0%
|
|
95
|
I Was Not He
|
7
|
15%
|
0
|
0%
|
|
96
|
In a Museum
|
2
|
4%
|
0
|
0%
|
|
97
|
In a Wood
|
2
|
4%
|
0
|
0%
|
|
98
|
In A Wook
|
1
|
2%
|
0
|
0%
|
|
99
|
In Tenebris
|
4
|
9%
|
0
|
0%
|
|
100
|
In The British Museum
|
3
|
6%
|
0
|
0%
|
|
101
|
In The Moonlight
|
3
|
6%
|
0
|
0%
|
|
102
|
In The Servants' Quarters
|
3
|
6%
|
0
|
0%
|
|
103
|
In Time Of
|
3
|
6%
|
0
|
0%
|
|
104
|
In Time of 'The Breaking of Nations'
|
7
|
15%
|
0
|
0%
|
|
105
|
Last Words to a Dumb Friend
|
4
|
9%
|
0
|
0%
|
|
106
|
Let Me Enjoy
|
2
|
4%
|
0
|
0%
|
|
107
|
Lines
|
2
|
4%
|
0
|
0%
|
|
108
|
Lines On The Loss Of The "Titanic"
|
5
|
11%
|
0
|
0%
|
|
109
|
Men Who March Away
|
6
|
13%
|
0
|
0%
|
|
110
|
Moments of Vision
|
2
|
4%
|
0
|
0%
|
|
111
|
Mute Opinion
|
2
|
4%
|
0
|
0%
|
|
112
|
Nature's Questioning
|
7
|
15%
|
0
|
0%
|
|
113
|
Neutral Tones
|
6
|
13%
|
0
|
0%
|
|
114
|
Night in the Old Home
|
2
|
4%
|
0
|
0%
|
|
115
|
No Buyers
|
2
|
4%
|
0
|
0%
|
|
116
|
On a Fine Morning
|
3
|
6%
|
0
|
0%
|
|
117
|
On an Invitation to the United States.
|
2
|
4%
|
0
|
0%
|
|
118
|
Postponement
|
1
|
2%
|
0
|
0%
|
|
119
|
Rome: At the Pyramid of Cestius. (Near the graves of Shelley & Keats)
|
1
|
2%
|
0
|
0%
|
|
120
|
Rome: The Vatican--Sala Delle Muse (1887)
|
1
|
2%
|
0
|
0%
|
|
121
|
San Sebastian
|
2
|
4%
|
0
|
0%
|
|
122
|
Sapphic Fragment
|
2
|
4%
|
0
|
0%
|
|
123
|
Satires of Circumstance in Fifteen Glimpses VIII: In the St
|
2
|
4%
|
0
|
0%
|
|
124
|
Self- Unconscious
|
2
|
4%
|
0
|
0%
|
|
125
|
Seventy-Four And Twenty
|
2
|
4%
|
0
|
0%
|
|
126
|
She At His Funeral
|
4
|
9%
|
0
|
0%
|
|
127
|
She Charged Me
|
5
|
11%
|
0
|
0%
|
|
128
|
She, To Him
|
3
|
6%
|
0
|
0%
|
|
129
|
She, To Him IV
|
1
|
2%
|
0
|
0%
|
|
130
|
She, to Him, I
|
2
|
4%
|
0
|
0%
|
|
131
|
Shelley's Skylark (The neighbourhood of Leghorn: March, 1887)
|
1
|
2%
|
0
|
0%
|
|
132
|
Shelley's Skylark.
|
9
|
20%
|
0
|
0%
|
|
133
|
Song of Hope
|
4
|
9%
|
0
|
0%
|
|
134
|
Song of the Soldiers
|
2
|
4%
|
0
|
0%
|
|
135
|
Song of the Soldier's Wifes.
|
2
|
4%
|
0
|
0%
|
|
136
|
The Alarm
|
2
|
4%
|
0
|
0%
|
|
137
|
The Bedridden Peasant to an Unknown God
|
3
|
6%
|
0
|
0%
|
|
138
|
The Cave of the Unborn
|
4
|
9%
|
0
|
0%
|
|
139
|
The Colonel's Solilquy.
|
3
|
6%
|
0
|
0%
|
|
140
|
The Convergence Of The Twain
|
3
|
6%
|
0
|
0%
|
|
141
|
The Darkling Thrush
|
5
|
11%
|
0
|
0%
|
|
142
|
The Dead Drummer
|
4
|
9%
|
0
|
0%
|
|
143
|
The Dead Man Walking
|
4
|
9%
|
0
|
0%
|
|
144
|
The Death Of Regret
|
4
|
9%
|
0
|
0%
|
|
145
|
The Elopement
|
3
|
6%
|
0
|
0%
|
|
146
|
The Farm Woman's Winter
|
4
|
9%
|
0
|
0%
|
|
147
|
The Fire at Tranter Sweatley's
|
1
|
2%
|
0
|
0%
|
|
148
|
The Garden Seat
|
5
|
11%
|
0
|
0%
|
|
149
|
The Ghost of the Past
|
2
|
4%
|
0
|
0%
|
|
150
|
The Going
|
2
|
4%
|
0
|
0%
|
|
151
|
The Haunter
|
2
|
4%
|
0
|
0%
|
|
152
|
The Lacking Sense Scene.--A sad-coloured landscape, Waddon Vale
|
1
|
2%
|
0
|
0%
|
|
153
|
The Man He Killed
|
44
|
100%
|
0
|
0%
|
|
154
|
The Masked Face
|
3
|
6%
|
0
|
0%
|
|
155
|
The Moth-Signal (On Egdon Heath)
|
4
|
9%
|
0
|
0%
|
|
156
|
The Oxen
|
6
|
13%
|
0
|
0%
|
|
157
|
The Phantom Horsewoman.
|
2
|
4%
|
0
|
0%
|
|
158
|
The Pity Of It
|
8
|
18%
|
0
|
0%
|
|
159
|
The Problem
|
4
|
9%
|
0
|
0%
|
|
160
|
The Self-Unseeing
|
5
|
11%
|
0
|
0%
|
|
161
|
The Sergeant's Song
|
1
|
2%
|
0
|
0%
|
|
162
|
The Sick God
|
3
|
6%
|
0
|
0%
|
|
163
|
The Subalterns
|
2
|
4%
|
0
|
0%
|
|
164
|
The Sun On The Bookcase
|
3
|
6%
|
0
|
0%
|
|
165
|
The Voice
|
2
|
4%
|
0
|
0%
|
|
166
|
The Walk
|
6
|
13%
|
0
|
0%
|
|
167
|
The West-Of-Wessex Girl
|
1
|
2%
|
0
|
0%
|
|
168
|
The Workbox
|
2
|
4%
|
0
|
0%
|
|
169
|
The Year's Awakening
|
6
|
13%
|
0
|
0%
|
|
170
|
Thoughts of Phena
|
2
|
4%
|
0
|
0%
|
|
171
|
To an Unborn Pauper Child
|
3
|
6%
|
0
|
0%
|
|
172
|
To Meet, Or Otherwise
|
1
|
2%
|
0
|
0%
|
|
173
|
Tolerance
|
2
|
4%
|
0
|
0%
|
|
174
|
Under the Waterfall
|
5
|
11%
|
0
|
0%
|
|
175
|
Valenciennes
|
1
|
2%
|
0
|
0%
|
|
176
|
We Are Getting to the End
|
10
|
22%
|
0
|
0%
|
|
177
|
Weathers
|
5
|
11%
|
0
|
0%
|
|
178
|
Your Last Drive
|
3
|
6%
|
0
|
0%
|