Two additional categories of poets that were identified were aristocratic or titled, and religious functionaries.  Titled poets contributed 501 poems collectively, or five percent of the total number of poems in the Index.  Prominent among these titled poets were the Countess of Blessington (139 Poems) and Lady Emmeline Stuart-Wortley (52 poems), both of whom were annual editors, Sir Aubrey De Vere (27 poems), and Lord Manners (21 poems).  Religious functionaries also contributed 476 poems or 5 percent of the total poems.  Rev. Thomas Dale (58 poems) edited The Iris annual, whereas Rev. Charles Hoyle (34 poems) and Rev. Richard Polwhele (25 poems) were avid contributors.  These two groups are of interest because their poetic contributions are fewer than previous subjective critics would have us believe, given the supposed pompousness and piety that they contended to be found in annuals.
There were also literary figures not listed in Table 3-1 who are familiar to us today such as: Tennyson (8 poems), Disraeli (7 poems), Elizabeth Barrett Browning (6 poems), Charles Lamb (4 poems), William Thackeray (3 poems), and Robert Browning (2 poems).  The number of poems written also needs to put into the context of when the poems were published.

Table 3-2 shows the years in which the most published poets made their contributions to the annuals.  Many poets contributed more often to some annuals rather than to others; as might be expected the highest contributions occur when the poet is an editor.  For example, Letitia Landon, Mary Howitt, Sarah Ellis, Caroline Norton, and Charles Mackay were sequentially editors of Fisher’s Drawing Room Scrap Book and wrote all of the poems in the annual editions of their editorship as a matter of policy.  While most poets fall into generational categories, several, such as Barry Cornwall, Maria Abdy, Alaric A. Watts, Henry F. Chorley, and Nicholas Michell, span the annual publication era.  Having identified the prominent poets and their years of publication, the Index was next used to identify what poetic subjects were preferred, and if there was a decided gender difference in subject interest.