1
|
"Between Us Now"
|
11
|
35%
|
0
|
0%
|
2
|
"How Great My Grief" (Triolet)
|
10
|
32%
|
0
|
0%
|
3
|
"I Have Lived With Shades"
|
2
|
6%
|
0
|
0%
|
4
|
"I Said To Love"
|
27
|
87%
|
0
|
0%
|
5
|
[greek Title]
|
6
|
19%
|
0
|
0%
|
6
|
A Broken Appointment
|
10
|
32%
|
0
|
0%
|
7
|
A Christmas Ghost Story.
|
5
|
16%
|
0
|
0%
|
8
|
A Circular
|
6
|
19%
|
0
|
0%
|
9
|
A Commonplace Day
|
3
|
9%
|
0
|
0%
|
10
|
A Confession To A Friend In Trouble
|
3
|
9%
|
0
|
0%
|
11
|
A Death-Day Recalled
|
5
|
16%
|
0
|
0%
|
12
|
A Dream Or No
|
4
|
12%
|
0
|
0%
|
13
|
A Jog-Trot Pair
|
4
|
12%
|
0
|
0%
|
14
|
A King's Soliloquy [on The Night Of His Funeral]
|
2
|
6%
|
0
|
0%
|
15
|
A Man (In Memory Of H. Of M.)
|
2
|
6%
|
0
|
0%
|
16
|
A Meeting With Despair
|
5
|
16%
|
0
|
0%
|
17
|
A Poet
|
4
|
12%
|
0
|
0%
|
18
|
A Sign-Seeker
|
2
|
6%
|
0
|
0%
|
19
|
A Spot
|
3
|
9%
|
0
|
0%
|
20
|
A Thunderstorm In Town
|
8
|
25%
|
0
|
0%
|
21
|
A Wasted Illness
|
5
|
16%
|
0
|
0%
|
22
|
A Week
|
5
|
16%
|
0
|
0%
|
23
|
A Wife In London (December, 1899)
|
31
|
100%
|
0
|
0%
|
24
|
A Woman's Fancy
|
12
|
38%
|
0
|
0%
|
25
|
According To The Mighty Working
|
5
|
16%
|
0
|
0%
|
26
|
After A Journey
|
7
|
22%
|
0
|
0%
|
27
|
After Schiller
|
4
|
12%
|
0
|
0%
|
28
|
After The Visit
|
4
|
12%
|
0
|
0%
|
29
|
Afterwards
|
4
|
12%
|
0
|
0%
|
30
|
Ah, Are You Digging On My Grave?
|
4
|
12%
|
0
|
0%
|
31
|
Amabel
|
5
|
16%
|
0
|
0%
|
32
|
An Ancient To Ancients
|
4
|
12%
|
0
|
0%
|
33
|
An August Midnight
|
3
|
9%
|
0
|
0%
|
34
|
An Autumn Rain-Scene
|
3
|
9%
|
0
|
0%
|
35
|
Aquae Sulis
|
3
|
9%
|
0
|
0%
|
36
|
Architectural Masks
|
4
|
12%
|
0
|
0%
|
37
|
At Day-Close In November
|
2
|
6%
|
0
|
0%
|
38
|
At A Bridal
|
2
|
6%
|
0
|
0%
|
39
|
At A Hasty Wedding
|
2
|
6%
|
0
|
0%
|
40
|
At A House In Hampstead Sometime The Dwelling Of John Keats
|
2
|
6%
|
0
|
0%
|
41
|
At A Lunar Eclipse
|
2
|
6%
|
0
|
0%
|
42
|
At An Inn
|
16
|
51%
|
0
|
0%
|
43
|
At Castle Boterel
|
4
|
12%
|
0
|
0%
|
44
|
At Lulworth Cove A Century Back
|
3
|
9%
|
0
|
0%
|
45
|
At Moonrise And Onwards
|
2
|
6%
|
0
|
0%
|
46
|
At the Entering of the New Year
|
2
|
6%
|
0
|
0%
|
47
|
At The Railway Station, Upways
|
4
|
12%
|
0
|
0%
|
48
|
At The War Office, London (Affixing The Lists Of Killed And Wounded: December, 1899)
|
2
|
6%
|
0
|
0%
|
49
|
At The War Office, London.
|
2
|
6%
|
0
|
0%
|
50
|
Barthelemon At Vauxhall
|
2
|
6%
|
0
|
0%
|
51
|
Beeny Cliff
|
2
|
6%
|
0
|
0%
|
52
|
Before And After Summer
|
3
|
9%
|
0
|
0%
|
53
|
Before Marching and After
|
3
|
9%
|
0
|
0%
|
54
|
Bereft, She Thinks She Dreams
|
4
|
12%
|
0
|
0%
|
55
|
Between Us Now
|
3
|
9%
|
0
|
0%
|
56
|
Birds At Winter Nightfall (Triolet)
|
6
|
19%
|
0
|
0%
|
57
|
By The Earth's Corpse
|
4
|
12%
|
0
|
0%
|
58
|
Cardinal Bembo's Epitaph On Raphael
|
3
|
9%
|
0
|
0%
|
59
|
Catullus: Xxxi
|
2
|
6%
|
0
|
0%
|
60
|
Channel Firing
|
2
|
6%
|
0
|
0%
|
61
|
Convergence Of The Twain
|
2
|
6%
|
0
|
0%
|
62
|
De Profundis
|
6
|
19%
|
0
|
0%
|
63
|
Departure (Southampton Docks: October, 1899)
|
4
|
12%
|
0
|
0%
|
64
|
Departure.
|
4
|
12%
|
0
|
0%
|
65
|
Ditty
|
2
|
6%
|
0
|
0%
|
66
|
Domicilium
|
3
|
9%
|
0
|
0%
|
67
|
Doom And She
|
4
|
12%
|
0
|
0%
|
68
|
Drummer Hodge
|
30
|
96%
|
0
|
0%
|
69
|
During Wind And Rain
|
15
|
48%
|
0
|
0%
|
70
|
Embarcation
|
7
|
22%
|
0
|
0%
|
71
|
Embarcation (Southampton Docks: October, 1899)
|
5
|
16%
|
0
|
0%
|
72
|
Epeisodia
|
2
|
6%
|
0
|
0%
|
73
|
Epitaph On A Pessimist
|
3
|
9%
|
0
|
0%
|
74
|
Exeunt Omnes
|
4
|
12%
|
0
|
0%
|
75
|
Faintheart In A Railway Train
|
2
|
6%
|
0
|
0%
|
76
|
Fragment
|
2
|
6%
|
0
|
0%
|
77
|
Friends Beyond
|
7
|
22%
|
0
|
0%
|
78
|
From Victor Hugo
|
2
|
6%
|
0
|
0%
|
79
|
From: Men Who March Away
|
4
|
12%
|
0
|
0%
|
80
|
Genoa And The Mediterranean.
|
2
|
6%
|
0
|
0%
|
81
|
George Meredith
|
2
|
6%
|
0
|
0%
|
82
|
God-Forgotten
|
3
|
9%
|
0
|
0%
|
83
|
God's Funeral
|
5
|
16%
|
0
|
0%
|
84
|
Going And Staying
|
3
|
9%
|
0
|
0%
|
85
|
Had You Wept
|
1
|
3%
|
0
|
0%
|
86
|
Hap
|
1
|
3%
|
0
|
0%
|
87
|
He Never Expected Much
|
3
|
9%
|
0
|
0%
|
88
|
Heiress And Architect
|
1
|
3%
|
0
|
0%
|
89
|
Her Death And After
|
3
|
9%
|
0
|
0%
|
90
|
Her Dilemma
|
1
|
3%
|
0
|
0%
|
91
|
Her Immortality
|
1
|
3%
|
0
|
0%
|
92
|
Her Initals
|
1
|
3%
|
0
|
0%
|
93
|
Her Initials
|
4
|
12%
|
0
|
0%
|
94
|
Her Late Husband (King's-Hintock, 182-.)
|
1
|
3%
|
0
|
0%
|
95
|
Her Reproach
|
3
|
9%
|
0
|
0%
|
96
|
Her Secret
|
2
|
6%
|
0
|
0%
|
97
|
Her Song
|
2
|
6%
|
0
|
0%
|
98
|
Heredity
|
16
|
51%
|
0
|
0%
|
99
|
His Immortality
|
8
|
25%
|
0
|
0%
|
100
|
His Visitor
|
8
|
25%
|
0
|
0%
|
101
|
How She Went To Ireland
|
1
|
3%
|
0
|
0%
|
102
|
I Found Her Out There
|
5
|
16%
|
0
|
0%
|
103
|
I Have Lived With Shades
|
2
|
6%
|
0
|
0%
|
104
|
I Look Into My Glass
|
4
|
12%
|
0
|
0%
|
105
|
I Need Not Go
|
4
|
12%
|
0
|
0%
|
106
|
I Rose Up As My Custom Is
|
1
|
3%
|
0
|
0%
|
107
|
I Said To Love
|
2
|
6%
|
0
|
0%
|
108
|
I Said To Love.
|
2
|
6%
|
0
|
0%
|
109
|
I Sometimes Think
|
3
|
9%
|
0
|
0%
|
110
|
I Was Not He
|
5
|
16%
|
0
|
0%
|
111
|
In A Eweleaze Near Weatherbury
|
1
|
3%
|
0
|
0%
|
112
|
In A Museum
|
1
|
3%
|
0
|
0%
|
113
|
In A Wood
|
2
|
6%
|
0
|
0%
|
114
|
In A Wook
|
2
|
6%
|
0
|
0%
|
115
|
In Front Of The Landscape
|
3
|
9%
|
0
|
0%
|
116
|
In Tenebris
|
2
|
6%
|
0
|
0%
|
117
|
In The British Museum
|
3
|
9%
|
0
|
0%
|
118
|
In The Days Of Crinoline
|
1
|
3%
|
0
|
0%
|
119
|
In The Moonlight
|
2
|
6%
|
0
|
0%
|
120
|
In The Old Theatre, Fiesole (April, 1887)
|
1
|
3%
|
0
|
0%
|
121
|
In The Old Theatre, Fiesole.
|
2
|
6%
|
0
|
0%
|
122
|
In The Servants' Quarters
|
3
|
9%
|
0
|
0%
|
123
|
In The Vaulted Way
|
2
|
6%
|
0
|
0%
|
124
|
In Time Of
|
2
|
6%
|
0
|
0%
|
125
|
In Time Of 'The Breaking Of Nations'
|
1
|
3%
|
0
|
0%
|
126
|
In Vision I Roamed
|
3
|
9%
|
0
|
0%
|
127
|
Jezreel
|
3
|
9%
|
0
|
0%
|
128
|
Lament
|
3
|
9%
|
0
|
0%
|
129
|
Last Words To A Dumb Friend
|
4
|
12%
|
0
|
0%
|
130
|
Leipzig
|
1
|
3%
|
0
|
0%
|
131
|
Let Me Enjoy
|
1
|
3%
|
0
|
0%
|
132
|
Lines
|
1
|
3%
|
0
|
0%
|
133
|
Lines On The Loss Of The "Titanic"
|
1
|
3%
|
0
|
0%
|
134
|
Long Plighted
|
1
|
3%
|
0
|
0%
|
135
|
Mad Judy
|
3
|
9%
|
0
|
0%
|
136
|
Men Who March Away
|
4
|
12%
|
0
|
0%
|
137
|
Middle-Age Enthusiasms
|
1
|
3%
|
0
|
0%
|
138
|
Midnight On The Great Western
|
3
|
9%
|
0
|
0%
|
139
|
Mismet
|
3
|
9%
|
0
|
0%
|
140
|
Moments Of Vision
|
3
|
9%
|
0
|
0%
|
141
|
Mute Opinion
|
3
|
9%
|
0
|
0%
|
142
|
My Cicely
|
4
|
12%
|
0
|
0%
|
143
|
My Spirit Will Not Haunt The Mound
|
5
|
16%
|
0
|
0%
|
144
|
Nature's Questioning
|
5
|
16%
|
0
|
0%
|
145
|
Near Lanivet 1872
|
3
|
9%
|
0
|
0%
|
146
|
Neutral Tones
|
4
|
12%
|
0
|
0%
|
147
|
New Year's Eve
|
4
|
12%
|
0
|
0%
|
148
|
Night In The Old Home
|
4
|
12%
|
0
|
0%
|
149
|
No Buyers
|
5
|
16%
|
0
|
0%
|
150
|
On A Fine Morning
|
5
|
16%
|
0
|
0%
|
151
|
On An Invitation To The United States.
|
4
|
12%
|
0
|
0%
|
152
|
Places
|
3
|
9%
|
0
|
0%
|
153
|
Postponement
|
1
|
3%
|
0
|
0%
|
154
|
Rain on a Grave
|
6
|
19%
|
0
|
0%
|
155
|
Revulsion
|
1
|
3%
|
0
|
0%
|
156
|
Rom: On The Palatine (April, 1887)
|
1
|
3%
|
0
|
0%
|
157
|
Rome At The Pyramid Of Cestius Near The Graves Of Shelley And Keats (1887)
|
1
|
3%
|
0
|
0%
|
158
|
Rome: At The Pyramid Of Cestius. (Near The Graves Of Shelley & Keats)
|
1
|
3%
|
0
|
0%
|
159
|
Rome: Building A New Street In The Ancient Quarter.
|
1
|
3%
|
0
|
0%
|
160
|
Rome: On The Palatine.
|
1
|
3%
|
0
|
0%
|
161
|
Rome: The Vatican--Sala Delle Muse (1887)
|
1
|
3%
|
0
|
0%
|
162
|
San Sebastian
|
1
|
3%
|
0
|
0%
|
163
|
Sapphic Fragment
|
6
|
19%
|
0
|
0%
|
164
|
Satires Of Circumstance In Fifteen Glimpses Viii: In The St
|
1
|
3%
|
0
|
0%
|
165
|
Seen By The Waits
|
1
|
3%
|
0
|
0%
|
166
|
Self- Unconscious
|
2
|
6%
|
0
|
0%
|
167
|
Seventy-Four And Twenty
|
1
|
3%
|
0
|
0%
|
168
|
She At His Funeral
|
1
|
3%
|
0
|
0%
|
169
|
She Charged Me
|
1
|
3%
|
0
|
0%
|
170
|
She Hears The Storm
|
2
|
6%
|
0
|
0%
|
171
|
She Hears The Storm
|
2
|
6%
|
0
|
0%
|
172
|
She, At His Funeral
|
1
|
3%
|
0
|
0%
|
173
|
She, To Him
|
1
|
3%
|
0
|
0%
|
174
|
She, To Him Iii
|
1
|
3%
|
0
|
0%
|
175
|
She, To Him Iv
|
2
|
6%
|
0
|
0%
|
176
|
She, To Him, I
|
1
|
3%
|
0
|
0%
|
177
|
She, To Him, Ii
|
1
|
3%
|
0
|
0%
|
178
|
She, To Him, Ii
|
4
|
12%
|
0
|
0%
|
179
|
She, To Him, Iii
|
1
|
3%
|
0
|
0%
|
180
|
She, To Him, Iv
|
2
|
6%
|
0
|
0%
|
181
|
Shelley's Skylark (The Neighbourhood Of Leghorn: March, 1887)
|
1
|
3%
|
0
|
0%
|
182
|
Shelley's Skylark.
|
4
|
12%
|
0
|
0%
|
183
|
Song From Heine
|
2
|
6%
|
0
|
0%
|
184
|
Song Of Hope
|
1
|
3%
|
0
|
0%
|
185
|
Song Of The Soldiers
|
2
|
6%
|
0
|
0%
|
186
|
Song Of The Soldier's Wifes.
|
1
|
3%
|
0
|
0%
|
187
|
Tess's Lament
|
3
|
9%
|
0
|
0%
|
188
|
The Alarm
|
5
|
16%
|
0
|
0%
|
189
|
The Bedridden Peasant To An Unknown God
|
2
|
6%
|
0
|
0%
|
190
|
The Bridge Of Lodi (Spring, 1887)
|
3
|
9%
|
0
|
0%
|
191
|
The Bridge Of Lodi.
|
1
|
3%
|
0
|
0%
|
192
|
The Bullfinches
|
1
|
3%
|
0
|
0%
|
193
|
The Burghers
|
1
|
3%
|
0
|
0%
|
194
|
The Caged Thrush Freed And Home Again (Villanelle)
|
3
|
9%
|
0
|
0%
|
195
|
The Casterbridge Captains
|
1
|
3%
|
0
|
0%
|
196
|
The Cave Of The Unborn
|
2
|
6%
|
0
|
0%
|
197
|
The Cheval-Glass
|
1
|
3%
|
0
|
0%
|
198
|
The Choirmaster's Burial
|
3
|
9%
|
0
|
0%
|
199
|
The Church-Builder
|
1
|
3%
|
0
|
0%
|
200
|
The Colonel's Soliloquy (Southampton Docks: October, 1899)
|
1
|
3%
|
0
|
0%
|
201
|
The Colonel's Solilquy.
|
1
|
3%
|
0
|
0%
|
202
|
The Comet At Valbury Or Yell'Ham
|
1
|
3%
|
0
|
0%
|
203
|
The Contretemps
|
2
|
6%
|
0
|
0%
|
204
|
The Convergence Of The Twain
|
3
|
9%
|
0
|
0%
|
205
|
The Coquette, And After (Triolets)
|
1
|
3%
|
0
|
0%
|
206
|
The Coronation
|
1
|
3%
|
0
|
0%
|
207
|
The Curtains Now Are Drawn
|
1
|
3%
|
0
|
0%
|
208
|
The Dame Of Athelhall
|
4
|
12%
|
0
|
0%
|
209
|
The Dance At The Phoenix
|
1
|
3%
|
0
|
0%
|
210
|
The Darkling Thrush
|
14
|
45%
|
0
|
0%
|
211
|
The Dead Drummer
|
2
|
6%
|
0
|
0%
|
212
|
The Dead Man Walking
|
2
|
6%
|
0
|
0%
|
213
|
The Death Of Regret
|
1
|
3%
|
0
|
0%
|
214
|
The Difference
|
4
|
12%
|
0
|
0%
|
215
|
The Discovery
|
3
|
9%
|
0
|
0%
|
216
|
The Dream-Follower
|
3
|
9%
|
0
|
0%
|
217
|
The Elopement
|
2
|
6%
|
0
|
0%
|
218
|
The Fallow Deer At The Lonely House
|
2
|
6%
|
0
|
0%
|
219
|
The Farm Woman's Winter
|
1
|
3%
|
0
|
0%
|
220
|
The Fire At Tranter Sweatley's
|
1
|
3%
|
0
|
0%
|
221
|
The Garden Seat
|
4
|
12%
|
0
|
0%
|
222
|
The Ghost Of The Past
|
4
|
12%
|
0
|
0%
|
223
|
The Going
|
2
|
6%
|
0
|
0%
|
224
|
The Going Of The Battery [wive's Lament November 2nd 1899]
|
2
|
6%
|
0
|
0%
|
225
|
The Going Of The Battery Wives. (Lament)
|
1
|
3%
|
0
|
0%
|
226
|
The Haunter
|
5
|
16%
|
0
|
0%
|
227
|
The House Of Hospitalities
|
3
|
9%
|
0
|
0%
|
228
|
The Impercipient
|
2
|
6%
|
0
|
0%
|
229
|
The Inconsistent
|
2
|
6%
|
0
|
0%
|
230
|
The Ivy-Wife
|
2
|
6%
|
0
|
0%
|
231
|
The Jubilee Of A Magazine:(To The Editor)
|
1
|
3%
|
0
|
0%
|
232
|
The King's Experiment
|
1
|
3%
|
0
|
0%
|
233
|
The Lacking Sense Scene.--A Sad-Coloured Landscape, Waddon Vale
|
1
|
3%
|
0
|
0%
|
234
|
The Last Chrysanthemum
|
2
|
6%
|
0
|
0%
|
235
|
The Levelled Churchyard
|
2
|
6%
|
0
|
0%
|
236
|
The Lost Pyx: A Mediaeval Legend
|
3
|
9%
|
0
|
0%
|
237
|
The Maid Of Keinton Mandeville (A Tribute To Sir H. Bishop)
|
1
|
3%
|
0
|
0%
|
238
|
The Man He Killed
|
5
|
16%
|
0
|
0%
|
239
|
The Masked Face
|
1
|
3%
|
0
|
0%
|
240
|
The Master And The Leaves
|
1
|
3%
|
0
|
0%
|
241
|
The Milkmaid
|
1
|
3%
|
0
|
0%
|
242
|
The Missed Train
|
2
|
6%
|
0
|
0%
|
243
|
The Moon Looks In
|
3
|
9%
|
0
|
0%
|
244
|
The Mother Mourns
|
1
|
3%
|
0
|
0%
|
245
|
The Moth-Signal (On Egdon Heath)
|
3
|
9%
|
0
|
0%
|
246
|
The Newcomer's Wife
|
3
|
9%
|
0
|
0%
|
247
|
The Night Of Trafalgar
|
1
|
3%
|
0
|
0%
|
248
|
The Obliterate Tomb
|
2
|
6%
|
0
|
0%
|
249
|
The Oxen
|
1
|
3%
|
0
|
0%
|
250
|
The Peasent's Confession
|
1
|
3%
|
0
|
0%
|
251
|
The Phantom Horsewoman.
|
2
|
6%
|
0
|
0%
|
252
|
The Pity Of It
|
3
|
9%
|
0
|
0%
|
253
|
The Pity Of It
|
1
|
3%
|
0
|
0%
|
254
|
The Problem
|
3
|
9%
|
0
|
0%
|
255
|
The Puzzled Game-Birds (Triolet)
|
1
|
3%
|
0
|
0%
|
256
|
The Rambler
|
2
|
6%
|
0
|
0%
|
257
|
The Recalcitrants
|
2
|
6%
|
0
|
0%
|
258
|
The Re-Enactment
|
1
|
3%
|
0
|
0%
|
259
|
The Respectable Burgher On "The Higher Criticism"
|
4
|
12%
|
0
|
0%
|
260
|
The Roman Gravemounds
|
1
|
3%
|
0
|
0%
|
261
|
The Roman Road
|
2
|
6%
|
0
|
0%
|
262
|
The Ruined Maid
|
2
|
6%
|
0
|
0%
|
263
|
The Sacrilege: (A Ballad-Tragedy)
|
4
|
12%
|
0
|
0%
|
264
|
The Satin Shoes
|
1
|
3%
|
0
|
0%
|
265
|
The Seasons Of Her Year
|
1
|
3%
|
0
|
0%
|
266
|
The Selfsame Song
|
2
|
6%
|
0
|
0%
|
267
|
The Self-Unseeing
|
1
|
3%
|
0
|
0%
|
268
|
The Sergeant's Song
|
1
|
3%
|
0
|
0%
|
269
|
The Shadow On The Stone
|
2
|
6%
|
0
|
0%
|
270
|
The Sick God
|
3
|
9%
|
0
|
0%
|
271
|
The Sleep-Worker
|
1
|
3%
|
0
|
0%
|
272
|
The Slow Nature
|
1
|
3%
|
0
|
0%
|
273
|
The Souls Of The Slain.
|
2
|
6%
|
0
|
0%
|
274
|
The Spell Of The Rose
|
2
|
6%
|
0
|
0%
|
275
|
The Stranger's Song
|
3
|
9%
|
0
|
0%
|
276
|
The Subalterns
|
1
|
3%
|
0
|
0%
|
277
|
The Sun On The Bookcase
|
1
|
3%
|
0
|
0%
|
278
|
The Sun On The Bookcase
|
6
|
19%
|
0
|
0%
|
279
|
The Superseded
|
3
|
9%
|
0
|
0%
|
280
|
The Supplanter: A Tale
|
1
|
3%
|
0
|
0%
|
281
|
The Sweet Hussy
|
4
|
12%
|
0
|
0%
|
282
|
The Telegram
|
3
|
9%
|
0
|
0%
|
283
|
The Temporary The All
|
2
|
6%
|
0
|
0%
|
284
|
The Tenant-For-Life
|
5
|
16%
|
0
|
0%
|
285
|
The To-Be-Forgotten
|
2
|
6%
|
0
|
0%
|
286
|
The Tree: An Old Man's Story
|
2
|
6%
|
0
|
0%
|
287
|
The Two Men
|
1
|
3%
|
0
|
0%
|
288
|
The Two Soldiers
|
1
|
3%
|
0
|
0%
|
289
|
The Voice
|
4
|
12%
|
0
|
0%
|
290
|
The Walk
|
2
|
6%
|
0
|
0%
|
291
|
The Well-Beloved
|
3
|
9%
|
0
|
0%
|
292
|
The West-Of-Wessex Girl
|
3
|
9%
|
0
|
0%
|
293
|
The Widow
|
3
|
9%
|
0
|
0%
|
294
|
The Wistful Lady
|
5
|
16%
|
0
|
0%
|
295
|
The Woman In The Rye
|
1
|
3%
|
0
|
0%
|
296
|
The Workbox
|
5
|
16%
|
0
|
0%
|
297
|
The Year's Awakening
|
2
|
6%
|
0
|
0%
|
298
|
Then And Now
|
3
|
9%
|
0
|
0%
|
299
|
Thought Of Ph---A At News Of Her Death
|
1
|
3%
|
0
|
0%
|
300
|
Thoughts Of Phena
|
2
|
6%
|
0
|
0%
|
301
|
To A Lady
|
4
|
12%
|
0
|
0%
|
302
|
To A Sea-Cliff
|
1
|
3%
|
0
|
0%
|
303
|
To An Orphan Child
|
2
|
6%
|
0
|
0%
|
304
|
To An Unborn Pauper Child
|
4
|
12%
|
0
|
0%
|
305
|
To Flowers From Italy In Winter
|
3
|
9%
|
0
|
0%
|
306
|
To Life
|
2
|
6%
|
0
|
0%
|
307
|
To Lizbie Browne
|
2
|
6%
|
0
|
0%
|
308
|
To Meet, Or Otherwise
|
1
|
3%
|
0
|
0%
|
309
|
To Outer Nature
|
1
|
3%
|
0
|
0%
|
310
|
Tolerance
|
1
|
3%
|
0
|
0%
|
311
|
Transformations
|
6
|
19%
|
0
|
0%
|
312
|
Under The Waterfall
|
3
|
9%
|
0
|
0%
|
313
|
Unknowing
|
2
|
6%
|
0
|
0%
|
314
|
V.R. 1819-1901 (A Reverie.)
|
2
|
6%
|
0
|
0%
|
315
|
V.R. 1819-1901, A Reverie
|
2
|
6%
|
0
|
0%
|
316
|
Valenciennes
|
2
|
6%
|
0
|
0%
|
317
|
We Are Getting To The End
|
4
|
12%
|
0
|
0%
|
318
|
Weathers
|
4
|
12%
|
0
|
0%
|
319
|
Welcome Home
|
6
|
19%
|
0
|
0%
|
320
|
When I Set Out For Lyonnesse
|
4
|
12%
|
0
|
0%
|
321
|
Winter In Durnover Field
|
2
|
6%
|
0
|
0%
|
322
|
Without Ceremony
|
5
|
16%
|
0
|
0%
|
323
|
Your Last Drive
|
2
|
6%
|
0
|
0%
|
324
|
Zermatt To The Matterhorn.
|
1
|
3%
|
0
|
0%
|