quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
on the other hand	81
the note to the	54
he alludes to the	53
at the same time	44
book of the metamorphoses	43
the end of the	39
of the ex ponto	39
is said to have	39
in the midst of	39
seems to have been	38
note to the passage	37
points out to me	35
and the note to	33
as well as the	30
one of the most	27
the story of the	26
at the end of	25
see the note to	25
for the most part	25
of the augustan age	25
in the case of	24
it is difficult to	24
the first punic war	24
the midst of the	23
the fragments of the	23
fourth book of the	22
it is hard to	22
the fourth book of	22
the second book of	21
the fact that the	21
he seems to have	21
to have been the	21
the beginning of the	21
of the first book	20
said to have been	20
the works of the	20
seem to have been	19
as well as of	19
in the year b	19
in the fragments of	19
second book of the	19
for the purpose of	18
in view of the	18
book of the fasti	18
in the time of	18
tarrant points out to	18
on the part of	18
the author of the	18
the second punic war	18
the first book of	17
the poets of the	17
to have been a	17
with the exception of	17
of the poem is	17
on the death of	17
is one of the	16
it is to be	16
is not to be	16
by the fact that	16
was one of the	16
in the first place	16
the art of love	16
first book of the	16
an account of the	15
of the silver age	15
age of the republic	15
the nature of the	15
the mass of the	15
at the age of	15
in the poetry of	15
was said to have	14
there is no reason	14
seems to be the	14
of the second book	14
the close of the	14
after the death of	14
at the time of	14
of some of the	14
in the habit of	14
the spirit of the	14
of the works of	14
it was the custom	14
the part of the	14
to be found in	14
the description of the	14
from the fact that	14
the second century b	13
at the time when	13
the name of the	13
in the same manner	13
that he was a	13
out to me the	13
in the augustan age	13
in the days of	13
was the first to	13
in the fourth book	13
see the art of	13
in the present passage	13
but there is no	13
the last age of	13
the middle of the	13
under the influence of	13
in the course of	13
last age of the	13
it is true that	12
the poetry of exile	12
by the use of	12
the notes to the	12
of the life of	12
it has been suggested	12
in the form of	12
of the roman people	12
that he did not	12
the great poets of	12
it is clear from	12
the form of a	12
the fact that he	12
the life of the	12
the subject of the	12
the use of the	11
come down to us	11
in one of his	11
but it is not	11
fantham points out to	11
the same phrase at	11
the time of the	11
one of the great	11
the tenth book of	11
be found in the	11
in spite of the	11
in the spirit of	11
the thought of the	11
book of the tristia	11
by the name of	11
the opening of the	11
poets of the augustan	11
third book of the	11
at the beginning of	11
see the pontic epistles	11
is supposed to have	11
in the middle of	11
for the first time	11
books of the ex	11
book of the ex	11
in the ex ponto	11
of the latin language	11
the third book of	11
mass of the people	11
the influence of the	10
the origin of the	10
as in the present	10
of the plays of	10
of the first punic	10
it is noteworthy that	10
the poem of lucretius	10
to the conclusion that	10
in regard to the	10
on the one hand	10
the appearance of the	10
of the outward world	10
and at the same	10
the death of his	10
that he was born	10
for an account of	10
it is possible that	10
the poems of exile	10
out to me that	10
does not seem to	10
is no reason to	10
the schools of rhetoric	10
on the ground that	10
at the present day	10
the temple of apollo	10
at tr i i	10
with that of the	10
in some of the	10
the death of the	10
the meaning of the	10
appears to have been	10
the words of the	10
was a man of	10
of the third book	10
the author of a	9
and ep ii iii	9
he speaks of the	9
the odes of horace	9
of the satires of	9
the reading of the	9
in a great measure	9
the poetry of the	9
in such a manner	9
the poem is a	9
the satire of lucilius	9
into the black sea	9
on account of the	9
was the custom to	9
the reign of nero	9
on the authority of	9
poets of the republic	9
libra norit et aere	9
and ep iii iv	9
of one of his	9
in the presence of	9
of the second century	9
th line of the	9
the result of the	9
of the genius of	9
he says that he	9
was the son of	9
there can be no	9
appear to have been	9
in the hands of	9
there is no need	9
of the imperial family	9
given to the world	9
of the poem are	9
it must be remembered	9
the part of a	9
of the first century	9
a description of the	9
in the first book	9
have come down to	9
the fragments of ennius	9
for a long time	9
in the life of	9
in accordance with the	9
the composition of his	9
of the second punic	9
of his own time	9
it was in the	9
to him in the	9
the mouth of the	9
the father of the	9
of thought and feeling	9
the cause of the	9
may be regarded as	8
must be remembered that	8
in the mouth of	8
the sound of the	8
in the absence of	8
the ninth book of	8
in common with the	8
if you do not	8
in the poems of	8
the time of his	8
the effect of the	8
in the temple of	8
a member of the	8
of the other plays	8
that it is the	8
of the fact that	8
see the epistle of	8
flows into the black	8
and ep iii i	8
the annals of ennius	8
as soon as he	8
at ep iii i	8
under the name of	8
after the manner of	8
the son of atreus	8
the first century b	8
the same is true	8
in the age of	8
to the composition of	8
it may be inferred	8
of peleus and thetis	8
see the notes to	8
in the same way	8
the black sea about	8
of a later age	8
of the poetry of	8
of the republic and	8
sixth book of the	8
the genius of the	8
the end of his	8
in the present instance	8
the plays of plautus	8
great poets of the	8
of b and c	8
the character of the	8
it is probable that	8
three books of the	8
he must have been	8
the character of a	8
the son of a	8
the th line of	8
of the new comedy	8
for the loss of	8
as one of the	8
of the death of	8
the sense of the	8
of the power of	8
to be the first	8
the first three books	8
it would have been	8
it is impossible to	8
in honour of the	8
to the fact that	8
roman poets of the	8
may be inferred that	8
in the history of	8
amico suo m ad	8
seems to be a	8
the temple of venus	7
than that of the	7
temples of the gods	7
in so far as	7
to make use of	7
similar phrasing at tr	7
it is possible to	7
to be able to	7
is hard to say	7
on the other side	7
the same manner as	7
was a native of	7
the sixth book of	7
the first two books	7
but it was not	7
about kilometres east of	7
the bosom of the	7
the war with pyrrhus	7
the power of the	7
was born in the	7
for a full discussion	7
than any of the	7
if there is any	7
the satires of horace	7
which seems to have	7
of the fourth book	7
the publication of the	7
is by no means	7
the outbreak of the	7
and ep ii vii	7
and there is no	7
of the poets of	7
the work of the	7
the rest of the	7
is due to the	7
so long as the	7
to that of the	7
the subject of his	7
black sea about kilometres	7
reason to suppose that	7
as well as in	7
the whole of the	7
the second and third	7
it is not improbable	7
in such passages as	7
supposed to have been	7
in the th poem	7
the names of the	7
the date of his	7
in connexion with the	7
with which he has	7
of the older poets	7
in consequence of the	7
was born in b	7
of ex ponto iv	7
the conclusion that the	7
was the daughter of	7
in the second book	7
in the way of	7
and the use of	7
the opening lines of	7
there is the same	7
he was born in	7
first three books of	7
the greater part of	7
through the midst of	7
the poem was written	7
his sense of the	7
in favour of the	7
with the blood of	7
for the sake of	7
the history of the	7
are to be found	7
of the fragments of	7
the development of the	7
in which they were	7
ninth book of the	7
of his life and	7
he was a man	7
to one of the	7
some of the most	7
is not improbable that	7
seems to have had	7
part of the poem	7
the fear of death	7
the same sense of	7
of the old roman	7
we are told that	7
from time to time	7
the last of the	7
has been suggested that	7
the letters of cicero	7
of the early poets	7
the temples of the	7
in the composition of	7
in the reign of	7
tenth book of the	7
is not found elsewhere	7
and let not the	7
the roman poets of	7
that he may not	7
of the th poem	7
of the most famous	7
be said to have	7
i have found no	7
suggests to me that	7
for this sense of	6
with the spirit of	6
of the majesty of	6
of the poem in	6
a few of the	6
for a discussion of	6
in preference to the	6
of jason and medea	6
as well as by	6
phrase in the same	6
to the effect that	6
some idea of the	6
the strength of the	6
the passion of love	6
to me that ovid	6
by means of which	6
belong to a later	6
opening lines of the	6
of many of his	6
in the letters of	6
tarrant at sen ag	6
the elegiac poets of	6
with some of the	6
may have been the	6
in the works of	6
of the number of	6
the age of cicero	6
the fragments of his	6
of the same elegy	6
as if they were	6
said to be the	6
different from that of	6
the reading of most	6
beginning of the first	6
years of his life	6
doubt as to the	6
the age in which	6
the date of the	6
of the present day	6
it seems to have	6
the same way as	6
born in the year	6
on the same subject	6
elegy of the first	6
at the close of	6
strike away the bar	6
the same phrase in	6
is a kind of	6
in the use of	6
of naevius and ennius	6
of the temple of	6
he refers to the	6
there is a similar	6
likely to have been	6
the back of the	6
is clear from the	6
he probably alludes to	6
the members of the	6
the ex ponto is	6
of early roman history	6
of the mass of	6
at tr iii x	6
that he may have	6
same is true of	6
in the last age	6
his account of the	6
date of his birth	6
the language in which	6
the conclusion of the	6
the first of the	6
the same age as	6
it was not till	6
that the poem was	6
he was born at	6
sense of the word	6
is in the main	6
the life of pleasure	6
in which he lived	6
it is not necessary	6
see the introduction to	6
the existence of a	6
similar phrasing at met	6
in a later age	6
same phrase in the	6
he means to say	6
the recipient of the	6
it is not the	6
on the subject of	6
at the opening of	6
the night pass on	6
he was the first	6
and that he died	6
the circumstances of the	6
end of the second	6
the best of the	6
the same kind of	6
in the expression of	6
the start of the	6
of the night pass	6
poets of the age	6
but it is in	6
in the words of	6
were in the habit	6
was the cause of	6
the new comedy of	6
a work of art	6
but at the same	6
is not necessary to	6
frequent use of the	6
the majesty of the	6
of the older poet	6
poets of a later	6
put an end to	6
in the language of	6
with the view of	6
the course of the	6
is shown by the	6
have been written in	6
to the class of	6
the translation of the	6
the introduction to the	6
in the house of	6
referred to in the	6
in the beginning of	6
that he had a	6
the father of roman	6
at the start of	6
the time when the	6
he is to be	6
in the winter of	6
of the poem was	6
the spirit of a	6
in addition to the	6
the passage in which	6
that he was the	6
of the poems of	6
the first of these	6
a poem on the	6
the hours of the	6
in the fact that	6
is the reading of	6
what do you mean	6
and ep iii iii	6
that in which he	6
have been drawn from	6
there is no trace	6
to the th line	6
in the shape of	6
not seem to be	6
not found elsewhere in	6
that is to say	6
that you may be	6
of the age of	6
in prose and verse	6
the style of the	6
the arrival of the	6
it is necessary to	6
the action of the	6
at ep iii iii	6
is not found in	6
new comedy of athens	6
he is said to	6
that it was written	6
in their modes of	6
days of the republic	6
in a state of	6
of the year b	6
this seems to be	6
in his treatment of	6
so far as they	6
the spirit in which	6
before the time of	6
the plays of seneca	6
one of the few	6
of plautus and terence	6
translation of the metamorphoses	6
hours of the night	6
the doctrine of the	6
of the trojan war	6
book of the amores	6
not only of the	5
the loss of his	5
of one of the	5
to refer to the	5
of the governing class	5
to the death of	5
reminds us of the	5
but there is a	5
the whole range of	5
in presence of the	5
in spite of its	5
in the law courts	5
may be inferred from	5
it may be said	5
the art of the	5
the comedy of plautus	5
the exception of the	5
the day on which	5
the first half of	5
to enable him to	5
of pacuvius and accius	5
and the appearance of	5
enough in view of	5
some of the great	5
the terrors of the	5
it might have been	5
the gods of the	5
the fragments of pacuvius	5
knowledge of the world	5
as distinct from the	5
that it was a	5
the statement of jerome	5
to do with the	5
the poem in a	5
is to be found	5
in the sense of	5
the most famous of	5
in the following line	5
was said to be	5
epithalamium of peleus and	5
fantham suggests to me	5
about the same age	5
book of the annals	5
at the foot of	5
first half of the	5
compare as well tr	5
be the result of	5
body of the poem	5
the establishment of the	5
the action of his	5
and ep i ii	5
of the character of	5
is here alluded to	5
the presence of a	5
of all is the	5
the exercise of his	5
the seventh book of	5
probably alludes to the	5
as that of the	5
of the name of	5
of which they were	5
the mind of the	5
and ep i viii	5
the lines describing the	5
the beginning of his	5
there is no doubt	5
to the spirit of	5
the aid of the	5
in the introduction to	5
meaning of the word	5
it is at least	5
reading of most manuscripts	5
only here and at	5
is derived from the	5
that part of the	5
be able to endure	5
in the third book	5
is the recipient of	5
poet of the silver	5
midst of the waves	5
the cultivation of the	5
the last years of	5
the hearts of men	5
latter part of the	5
of lucilius and horace	5
not to have been	5
it may have been	5
the times in which	5
the lines in which	5
is to be observed	5
in the same metrical	5
let there be a	5
he reminds us of	5
in the last book	5
to be called a	5
it must have been	5
the existence of the	5
the literature of the	5
of the war with	5
so far as you	5
it is found in	5
seems not to have	5
will be found in	5
the latter part of	5
of the reign of	5
for the sense of	5
similar phrasing at ep	5
are known to us	5
of the son of	5
no reason to suppose	5
poem of the book	5
may have been a	5
the founder of the	5
meaning of the passage	5
of his life in	5
the fall of the	5
the genius of greece	5
well as of the	5
according to the scholiast	5
as the work of	5
on the ground of	5
that there was a	5
note to the th	5
as in the case	5
in the poem of	5
of the present passage	5
a full discussion of	5
the vices of the	5
elegiac poets of the	5
the direction of the	5
in the hercules furens	5
might well have been	5
the absence of any	5
on the banks of	5
sea about kilometres east	5
the third century b	5
as a work of	5
found elsewhere in ovid	5
book of the pontic	5
to the power of	5
in the room of	5
in which he describes	5
in harmony with the	5
not seem to have	5
by means of the	5
if any one should	5
at tr iii vii	5
the only instance of	5
compare tr i v	5
the tragedies of seneca	5
the son of the	5
the tone of the	5
in which the poet	5
at ep ii ii	5
end of the first	5
to the facts of	5
a large number of	5
in one of the	5
the imagination of the	5
he has all the	5
of the tristia and	5
died at the age	5
that he died at	5
of the times in	5
as a writer of	5
at tr i viii	5
for the use of	5
the popularity of the	5
must have been written	5
the time in which	5
the manner of the	5
a preferable reading to	5
to the character of	5
only instance of the	5
on account of his	5
who is said to	5
we do not know	5
nothing can be more	5
that you may not	5
tuum libra norit et	5
on the verge of	5
similar to that of	5
would be unjust to	5
to the genius of	5
other writers of the	5
it is not known	5
in the cause of	5
there is not a	5
he here alludes to	5
not be able to	5
is supposed to be	5
in keeping with the	5
the reign of domitian	5
the satires and epistles	5
seventh book of the	5
to get rid of	5
among the poets of	5
the same metrical position	5
a continuation of the	5
little more than a	5
social and political life	5
we learn that the	5
of a man of	5
of the word in	5
is proved by the	5
in any of his	5
the text of the	5
is found in the	5
from the works of	5
the fact that they	5
the custom of the	5
will be seen from	5
there is a certain	5
in his account of	5
i hanc epistulam mittit	5
the fact that it	5
are for the most	5
that it was the	5
with which they were	5
there is no direct	5
same metrical position at	5
of the roman mind	5
as well as his	5
by the action of	5
of the old comedy	5
the time of ennius	5
some of the greatest	5
the belief in the	5
and some of the	5
which of the two	5
it would be hard	5
as well as a	5
post strike away the	5
for more than a	5
on the basis of	5
and the other passages	5
of the old poet	5
imagination of the poet	5
from the testimony of	5
strength and dignity of	5
the banks of the	5
a large proportion of	5
between the death of	5
that there is no	5
the charm of the	5
an example of the	5
of sympathy with the	5
a few years of	5
and ep iii v	5
a passage in the	5
the ancient manuscripts of	5
of the other manuscripts	5
there is a great	5
the son of venus	5
have a mind to	5
difficult to believe that	5
of the poem of	5
of the same kind	5
in the first two	5
history of latin literature	5
same phrase at met	5
of the odes of	5
the hands of the	5
is no need to	5
to the same extent	5
in which it is	5
at the university of	5
at tr iv i	5
the structure of the	5
lines on the death	5
the glory of the	5
the study of the	5
in praise of the	5
in the existence of	5
at the expense of	5
the apotheosis of augustus	5
the years and b	5
before the death of	5
use of the word	5
it is easy to	5
of the greatness of	5
as is shown by	5
in the world of	5
it is characteristic of	5
of the schools of	5
ancient and modern times	5
it seems probable that	5
by mark bear akrigg	4
the university of toronto	4
avia pieridum peragro loca	4
this kind of composition	4
the waters of the	4
have been the son	4
alias gentes barbarus hister	4
members of the imperial	4
in the tenth book	4
mihi filia paene est	4
i am ashamed to	4
the treatment of the	4
be one of the	4
of lucretius and catullus	4
our ignorance of the	4
by a later hand	4
lines in which he	4
the same idiom at	4
the movements of the	4
the course of his	4
as a variant reading	4
to be a preferable	4
between the years and	4
of the great scipio	4
as much as the	4
the case of the	4
the result is that	4
the early tragic poets	4
is in want of	4
in the catalogue of	4
fact that it is	4
have been composed in	4
we have already seen	4
to allude to the	4
is no trace of	4
ovid only here and	4
nearly half a century	4
that there should be	4
in the last two	4
the minds of the	4
the origin of all	4
of the literature of	4
the presence of the	4
means to say that	4
text of ex ponto	4
from the study of	4
been the first to	4
of the nature of	4
the satires of persius	4
one or two of	4
in the lines of	4
in the sixth book	4
and again in the	4
the condition of the	4
in the centre of	4
with the sound of	4
can be no doubt	4
same way as the	4
as a kind of	4
in an age of	4
the duties of a	4
of an earlier time	4
elsewhere in ovid only	4
cui recitem nisi flauis	4
book of the satires	4
the care of the	4
of a very different	4
of the roman poets	4
and that he was	4
non aptum numeris nomen	4
by the practice of	4
in the preface to	4
won the prize for	4
notes to the passages	4
are devoted to the	4
a translation of the	4
a large part of	4
in the tomb of	4
the social and political	4
in which he speaks	4
from the mouth of	4
on the art of	4
by the works of	4
subject of the poem	4
the breath of the	4
the world of letters	4
latter half of the	4
the life of a	4
he belonged to the	4
we may be sure	4
how many a time	4
to be the meaning	4
the real meaning of	4
of the greek drama	4
see the first book	4
there is nothing of	4
and one of the	4
in the open air	4
the supposition that the	4
have been written before	4
the source of the	4
of the fair one	4
at am iii xii	4
he is supposed to	4
period of his life	4
in the lofty woods	4
the first line of	4
that he might not	4
on the palatine hill	4
be the first to	4
it was written in	4
as a man of	4
growth of plants and	4
races in the circus	4
here alludes to the	4
poetry of the age	4
his treatment of the	4
the portico of the	4
in ex ponto iv	4
to go to the	4
compare as well met	4
of the house of	4
the son of tydeus	4
choice of a subject	4
and do not let	4
see the translation of	4
knows not how to	4
the surface of the	4
line of the eighth	4
it is one of	4
the earliest of the	4
there will be a	4
by which they are	4
such at least is	4
in love with two	4
similar passage in the	4
in his life of	4
has been pointed out	4
at tr i v	4
properties of the atoms	4
the conduct of a	4
the charms of the	4
of the life and	4
immensity of the universe	4
in the person of	4
to be in love	4
would be difficult to	4
of the style of	4
as the author of	4
is here referred to	4
concluding lines of the	4
of his birth and	4
our knowledge of the	4
satires and epistles of	4
to take care of	4
at the approach of	4
view of human life	4
spirit of his age	4
men of his time	4
as compared with the	4
as the father of	4
the long line of	4
of the gifts of	4
and personages of the	4
opening of the poem	4
did not live to	4
back of the stage	4
the loss of the	4
in the earlier books	4
under the form of	4
the fifteenth book of	4
of which it was	4
the processes of nature	4
the study of greek	4
index of textual emendations	4
may be recognised in	4
is my correction for	4
of the first period	4
of the later poets	4
is made to the	4
by all the gods	4
ovid seems to have	4
that he has been	4
of the two poets	4
the duties of the	4
the tomb of the	4
for the beauty of	4
of the belief in	4
from the world of	4
the pleasures of the	4
the daughter of nisus	4
the epigrams of martial	4
in celebration of the	4
large number of his	4
to a much greater	4
one and the same	4
questus non aptum numeris	4
which he himself was	4
in greek and latin	4
the criticism of horace	4
notes to the fasti	4
with the greek language	4
to the imperial family	4
manner of his death	4
the authority of the	4
and the sense of	4
he speaks of himself	4
the immensity of the	4
the fragments of accius	4
his passion for lesbia	4
vanity of human wishes	4
and the author of	4
for the text of	4
carmine questus non aptum	4
from the freedom and	4
to the roman people	4
through the medium of	4
the growth of plants	4
his poem on the	4
as these in the	4
passage in which the	4
and ep iii ii	4
line of the th	4
do not bid you	4
contact with the mind	4
the question of the	4
of the doctrine of	4
a great part of	4
compare tr iv i	4
instance of the word	4
on the side of	4
of romulus and remus	4
in my power to	4
it seems to be	4
kilometres east of istanbul	4
mea cui recitem nisi	4
this is the only	4
most of the other	4
has come down to	4
can be little doubt	4
to the end of	4
to the works of	4
of nature and of	4
a good illustration of	4
from the direction of	4
the republic and the	4
that he was not	4
and tr i v	4
was the work of	4
eighth book of the	4
ovid may here be	4
one of the chief	4
the construction of the	4
to the back of	4
and the pontic epistles	4
the title of the	4
more purely artistic pieces	4
by him to the	4
aluit campis herba falisca	4
seems no reason to	4
their modes of combination	4
of the state and	4
of the pleasures of	4
elegy of the second	4
will be able to	4
and it is not	4
modo carmine questus non	4
eadem mihi filia paene	4
of the ars amatoria	4
of the modern world	4
may be quoted as	4
the first and second	4
than any of his	4
the epistles of horace	4
to the imagination of	4
could not have been	4
from the end of	4
on the first punic	4
quem uirtus addidit astris	4
the ruler of the	4
that ovid may here	4
he died at the	4
that it was not	4
an examination of the	4
of what use is	4
the other passages cited	4
in the later books	4
the concluding lines of	4
origin of the belief	4
to a great extent	4
to you in the	4
to a kind of	4
in the interval between	4
be accounted for by	4
more likely to be	4
the manner of his	4
to be in the	4
is that of a	4
the lot of my	4
ancient manuscripts of virgil	4
that they were not	4
the silvae of statius	4
produce the impression of	4
what is to be	4
nor is it a	4
tells us that he	4
from the same source	4
on the staff of	4
the centre of the	4
what shall i do	4
says that he is	4
the duty of the	4
in ovid only at	4
the greatness of the	4
there seems no reason	4
the beginning of b	4
be explained by the	4
quasque alias gentes barbarus	4
in the first line	4
the fragments of lucilius	4
spirit in which he	4
suggest the inference that	4
the writers of comedy	4
last days of the	4
it is supposed that	4
the point of view	4
reading of the other	4
hence it is that	4
the general character of	4
the last days of	4
and the following line	4
the works of ovid	4
as to the general	4
the events of the	4
we have already referred	4
was the wife of	4
and ep ii x	4
passages cited at old	4
to which we have	4
would be hard to	4
the sun and moon	4
the beauty of the	4
the poem with a	4
but it would be	4
his sympathy with the	4
if he had not	4
the introduction of the	4
if she shall be	4
the composition of the	4
as if it were	4
must have been born	4
the same sense at	4
poetry of the republic	4
the body of the	4
he could not have	4
quoted by aulus gellius	4
as that in which	4
in the literature of	4
silence on the subject	4
into the mouth of	4
the same time he	4
so far as it	4
among the roman poets	4
there is nothing in	4
years of the republic	4
in view of his	4
the head of the	4
derived from the greek	4
in the preceding line	4
called by the name	4
in the first punic	4
of the time of	4
in the consulship of	4
the epithalamium of peleus	4
known to us in	4
the only other instance	4
in the interests of	4
hard to resist the	4
is no place for	4
date of his death	4
the battle of the	4
is taken from the	4
may be able to	4
works of the two	4
in many of his	4
and epistles of horace	4
the beauties of nature	4
the influence of his	4
the wealth of the	4
have been preserved by	4
and the power of	4
sum modo carmine questus	4
there is a kind	4
of his death is	4
be able to do	4
epic poetry of the	4
is free from the	4
be attributed to the	4
i will not be	4
on the coast of	4
in ovid only here	4
in need of a	4
the great roman poets	4
that was to be	4
a full report of	4
to the temple of	4
tristia and ex ponto	4
been preserved to us	4
text of the ex	4
the sacred chronicle of	4
the truth of the	4
as soon as i	4
the fourteenth book of	4
the language of the	4
of the present century	4
to the gods of	4
the majesty of nature	4
it must be admitted	4
it is in the	4
of the beauteous fair	4
are in dread of	4
only other instance of	4
the genius of rome	4
fourteenth book of the	4
we learn from the	4
aptum numeris nomen habere	4
to some of his	4
you have a mind	4
it would be difficult	4
the same use of	4
recitem nisi flauis scripta	4
the time of homer	4
see the sixth book	4
by land and sea	4
in his old age	4
is the fact that	4
at the hands of	4
more than any other	4
we find in the	4
wretch that i am	4
early in the morning	4
in the fifth book	4
but it has been	4
that it would be	4
he may have been	4
would probably have been	4
to believe that the	4
members of the aristocracy	4
for the purposes of	4
for a man of	4
the dream of ilia	4
edition of the ex	4
of the pontic epistles	4
the light of day	4
a similar passage in	4
as in the lines	4
it would be unjust	4
in the description of	4
mittuntur quem sum modo	4
the composition of tragedy	4
tibi mittuntur quem sum	4
the nature of his	4
cites among other passages	4
in the place of	4
in the next line	4
be a preferable reading	4
and ep i v	4
the objects of his	4
in the number of	4
the weight of the	4
is known of the	4
in the light of	4
and the notes to	4
been written in the	4
the eighth book of	4
he is going to	4
in the final distich	4
on the supposition that	4
the prologue to the	4
of the golden fleece	4
is the object of	4
to the story of	4
the result of this	4
father of roman literature	4
have been suggested by	4
the age of thirty	4
lines of the second	4
it seems better to	4
there is scarcely a	4
in much the same	4
last years of the	4
see the second book	4
book of the odes	4
was the name of	4
more than a century	4
of the last age	4
and tr iv x	4
and it was not	4
do not seem to	4
ovidii nasonis opera omnia	4
of the man who	4
far as you can	4
the rites of ceres	4
of the passion of	4
the life of nature	4
the promise of the	4
earlier books of the	4
the poem begins with	4
in the seventh book	4
i do not bid	4
if there shall be	4
of the principate of	4
the severity of the	4
of the spirit of	4
the colour of the	4
a portion of the	4
be taken as the	4
a man of letters	4
the horrors of the	4
formed part of the	4
according to one account	4
lot of my foes	4
this and the following	4
on the apotheosis of	4
is a description of	4
to be one of	4
be the lot of	4
the writers of the	4
is difficult to say	4
it is clear that	4
let there be no	4
and the study of	4
and tr iii xii	4
from the point of	4
in which it was	4
fragments of the poem	4
quem sum modo carmine	4
the waves of the	4
the foliage of the	4
in his edition of	4
a passage from the	4
belonged to the class	4
brought to rome as	4
to say that the	4
edition of the tristia	4
the latter half of	4
about the end of	4
that i may not	4
writers of the age	4
is difficult to believe	4
the tristia and ex	4
to the subject of	4
was the mother of	4
his life and character	4
is here referring to	4
the vanity of human	4
as a bridge to	4
which they were written	4
the work of a	4
fifteenth book of the	4
after the time of	4
and at ep iii	4
the poems of catullus	4
it is in his	4
a fragment of the	4
there must have been	4
of the stoic philosophy	4
to the nature of	4
the surface of life	4
does not admit of	4
the poem may have	4
other poets of the	4
in the face of	4
the death of augustus	4
any of the other	4
has nothing of the	4
from the nature of	4
me that ovid may	4
that he is not	4
the first elegy of	4
see at ii alcinoo	4
of the ancient world	4
book is devoted to	4
the value of the	4
in the ninth book	4
of their own accord	4
of the great houses	4
the worship of the	4
loves of jason and	4
which gave birth to	4
a long line of	4
as an example of	4
if you were to	4
of the origin of	4
of the early morning	4
from the fear of	4
on the roman stage	4
as well as from	4
seems to mean the	4
in the neighbourhood of	4
due to the fact	4
greater part of the	4
is the correct reading	4
the loves of jason	4
that it is not	4
the burning of the	4
the representation of the	4
the eruption of vesuvius	4
and ep ii viii	4
you ought to be	4
the absence of the	4
lines of the poem	4
is the cause of	4
there can be little	4
that it is a	4
so well known to	4
in such expressions as	4
must be admitted that	4
of the two great	4
very different from that	4
of the heroic age	4
of the civil war	4
the ground that his	4
in some manuscripts at	4
sacred chronicle of euhemerus	4
when you are in	4
as soon as the	4
of the campus martius	4
an enemy to the	4
the dialogus of tacitus	4
the notes of the	4
other fields of literature	4
was the character of	4
in the lines which	4
as a result of	4
the order of the	4
writers of the new	4
so much of the	4
to a later date	4
would you have me	4
games in honour of	4
spite of the fact	4
of your own accord	4
hor sat i ix	4
he seems to allude	3
to take hold of	3
the evidence of his	3
the fifth elegy of	3
the extremity of the	3
compare tr v iv	3
critical and grammatical studies	3
at the mouth of	3
by ovid literally translated	3
nec me testis eris	3
to the poor and	3
the work of his	3
of this line is	3
the feeling with which	3
in the management of	3
is remarkable for its	3
the wealth of kings	3
but i do not	3
must have been many	3
who have a care	3
would not have been	3
principles of the atomic	3
author in an unfinished	3
the poem of ennius	3
of the alexandrine poets	3
forms one of the	3
the subject in the	3
expression of personal feeling	3
it is more than	3
the pleasure derived from	3
instead of the more	3
the man who has	3
who seems to have	3
zu ovids epistulae ex	3
not far from the	3
bond of union between	3
omnis votiva pateat veluti	3
what is the nature	3
the prose works of	3
the work of men	3
so far as to	3
in such lines as	3
are written in a	3
faciles in tua uota	3
exercise of his art	3
has been already noticed	3
is supported by the	3
the real name of	3
that they were the	3
in none of these	3
the result of a	3
of the roman tragic	3
make use of it	3
of the language of	3
full discussion of the	3
in the older poet	3
the epic poem of	3
the destruction of carthage	3
the representation of a	3
his life in rome	3
many a time have	3
some of the finest	3
of the family of	3
the silence of the	3
as though it had	3
the midst of your	3
was an old man	3
the rising of the	3
a time have i	3
in these lines ovid	3
so long as you	3
is probably due to	3
line of the poem	3
of the manuscripts collated	3
owes much to the	3
from one of his	3
in which he had	3
are here alluded to	3
hast thou to do	3
we are to suppose	3
to judge from the	3
the heat of the	3
the eyes of the	3
by the time of	3
nobis cunctando restituit rem	3
if there is no	3
to a member of	3
the preface to his	3
at the moment when	3
while i am in	3
as much by the	3
left by the author	3
already quoted from the	3
the picture of the	3
see the story of	3
an allusion to the	3
grant points out to	3
poet of his age	3
to the work of	3
morning of the world	3
the play on the	3
be no more than	3
of the young men	3
at tr v v	3
full oft is the	3
by the laws of	3
the death of ennius	3
tarrant points out that	3
some of the poems	3
brought before the mind	3
the poetical style of	3
and the whole of	3
nam me visus homo	3
after the capture of	3
in the world is	3
but it is hard	3
where are you going	3
and the attic dramatists	3
all the processes of	3
of a poem on	3
in the tones of	3
that there is a	3
in his poem on	3
the south of italy	3
would be easy enough	3
the medea of ennius	3
from the lips of	3
at tr iii v	3
the battle of actium	3
in spite of his	3
of the tragedies of	3
when i am in	3
it is not possible	3
is no one who	3
and given to the	3
are in conformity with	3
as to the nature	3
on the minds of	3
the object of the	3
literary art and genius	3
give me back my	3
attributed to him by	3
till the end of	3
of the mind to	3
the other characters are	3
so long as thou	3
and that it is	3
and the art of	3
in dread of you	3
the north of italy	3
at ep ii v	3
in the bosom of	3
the circumstances of his	3
from the fact of	3
see tarrant on sen	3
in a letter to	3
you will have to	3
before the eyes of	3
the first hint of	3
portion of the poem	3
the work of naevius	3
life worthy of the	3
the idea of a	3
dedit latio carmen regale	3
quam sit leuis orbe	3
do you not perceive	3
the spirit of greek	3
puts an end to	3
the aim of his	3
plautus and in the	3
is little more than	3
he has not the	3
descripta tabella vita senis	3
after the loss of	3
than that of any	3
honour of a public	3
been the son of	3
the mystery of the	3
he was the son	3
from the extant fragments	3
the first century of	3
the mouths of the	3
in the annals of	3
one of his fellow	3
he regards as the	3
we may well believe	3
is no reason for	3
of the gravity and	3
be inferred that he	3
above the level of	3
there is nothing to	3
such as that of	3
an anticipation of the	3
first editor to make	3
which may be right	3
upon the shores of	3
was intended by the	3
what is the difference	3
the main body of	3
to the latin language	3
seem appropriate to the	3
may well have been	3
the cause of his	3
be mentioned in his	3
and what is the	3
it is rather in	3
of the most striking	3
partly out of the	3
with his right hand	3
it is clear enough	3
the same metaphor at	3
the publication of his	3
is in love with	3
had a mind to	3
in love with jason	3
of the best of	3
agency of the gods	3
the early years of	3
in point of form	3
the composition of this	3
derived from contemplating the	3
still remain to be	3
poem in praise of	3
and the auspices of	3
proprio cognita marte tibi	3
point of view of	3
see the last book	3
and the book concludes	3
whither are you going	3
a long passage of	3
when all is said	3
would have been less	3
the satires of lucilius	3
of the old greek	3
we seem to catch	3
the fifth book of	3
of this early literature	3
by the force of	3
to the verge of	3
that he is to	3
ex ponto liber qvartvs	3
and the state of	3
progenies alti fortissima donni	3
is related at the	3
but it appears from	3
during the last century	3
was due to the	3
word in this sense	3
let your door be	3
of the forum and	3
that it might not	3
men in the state	3
is a work of	3
treated the subject in	3
battle of the giants	3
of the word is	3
so called from the	3
of members of the	3
the sack of troy	3
three or four times	3
also to have been	3
if well i know	3
must have been more	3
magnis hunc colit ille	3
by the sense of	3
the merit of being	3
received the name of	3
nations of the world	3
habet in nobis iam	3
such a manner as	3
what will become of	3
you will be safe	3
and that which is	3
there is some difference	3
the conception of the	3
fall of the republic	3
the property of the	3
but that you may	3
they are to be	3
the laws of the	3
in the whole work	3
figure is derived from	3
illustrations of his argument	3
of roman literature by	3
but there can be	3
of the masterpieces of	3
with the statement that	3
of catullus and the	3
of the night and	3
for all the wealth	3
to be descended from	3
the line of horace	3
the vault of heaven	3
the idea of law	3
the walls of the	3
the excellence of his	3
the silver age for	3
has the fair been	3
can only refer to	3
was put to death	3
would have been more	3
of thebes by the	3
the poetry of rome	3
why should i be	3
the name of their	3
difficulty in supposing that	3
literally translated into english	3
the son of amyntor	3
that the work is	3
future editors and commentators	3
nature of the subject	3
same phrase at tr	3
which had hitherto been	3
by the author of	3
the creative energy of	3
the analogy of the	3
in the same style	3
the portico of livia	3
with the mind and	3
that it was so	3
the people in their	3
of the thought of	3
which is supposed to	3
the use of his	3
the death of romulus	3
the weapons of the	3
of his own accord	3
of seneca on elizabethan	3
the corruption of the	3
the product of the	3
a bridge to the	3
the luxury of the	3
in the seventh satire	3
in the following lines	3
must have been an	3
in the same place	3
and vigorous understanding of	3
his edition of the	3
the philosophy of lucretius	3
the darkness of the	3
the epic poetry of	3
elements out of which	3
of satire in the	3
poem may have been	3
the commencement of the	3
to be ashamed of	3
of the study of	3
in order that he	3
the influence of ovid	3
take it as a	3
the evidence for the	3
that it may be	3
the weakness of the	3
and also by the	3
by the romans as	3
of the human race	3
one for the other	3
of a national literature	3
a native of the	3
tantum religio potuit suadere	3
distich of the poem	3
the spirit of his	3
the dedication of his	3
the gathering of the	3
cicero was the editor	3
is thought to have	3
have much in common	3
must have been exceedingly	3
in all the heavens	3
of the new literature	3
with many of the	3
the following passage from	3
the iambics of seneca	3
there is no clear	3
of his old age	3
the large number of	3
the shore of the	3
praesens quali iaceamus in	3
to the topic of	3
to the roman mind	3
gave birth to the	3
would seem to have	3
the interest of the	3
of the satire of	3
a writer of the	3
in the account of	3
brink at hor ap	3
period of the republic	3
starts the poem with	3
and the weakness of	3
in the opinion of	3
the importance of the	3
such is the will	3
that they are the	3
by whom he was	3
is spoken of as	3
other mentions of the	3
by the aid of	3
couch and the shade	3
the fact of his	3
to the progress of	3
the bow of cupid	3
as soon as possible	3
by the fragments of	3
modes of thought and	3
of the atomic philosophy	3
a close friend of	3
is reported to have	3
longer and more purely	3
one of the multitude	3
stained with the blood	3
with one another in	3
by b and c	3
in his own time	3
at rome in the	3
men of his own	3
have been recovered by	3
bear witness to the	3
mihi post nullos umquam	3
the field of battle	3
the other side of	3
text of the poems	3
the offspring of the	3
a line of the	3
may be found in	3
a prima manu relicto	3
you are about to	3
treatment of the story	3
established itself at rome	3
during the second punic	3
that which has been	3
the fourth and fifth	3
if it had been	3
of the lack of	3
may be no more	3
be remembered that the	3
from the writings of	3
quos aluit campis herba	3
indu foro lato sanctoque	3
the case of any	3
the following is the	3
muter ut ista heinsius	3
of human life in	3
of nature as a	3
his uacuum caesar germanicus	3
i am in doubt	3
here and at tr	3
in prose or verse	3
to suppose that they	3
he is at home	3
and it would be	3
the midst of his	3
may be in part	3
as far as we	3
rem e nilo gigni	3
why should i mention	3
locum scythico uacuum mutabor	3
the final distich of	3
poets of the period	3
there is such a	3
the opinion that the	3
on the top of	3
i want to see	3
apparently the only instance	3
harbinger of burning rays	3
it may be urged	3
with those of the	3
campus martius and the	3
main body of the	3
in ancient and modern	3
the faults of the	3
the place of the	3
tabida consumit ferrum lapidemque	3
the letters to atticus	3
be taken as a	3
make her to be	3
the poet of the	3
of the story of	3
i am ashamed of	3
of the social and	3
the sons of germanicus	3
may be doubted whether	3
with something of the	3
good illustration of the	3
seems to point to	3
to be pleasing to	3
might have been a	3
the agon capitolinus and	3
was a roman poet	3
of ep i ii	3
quite different from the	3
books of the poem	3
ex ponto is the	3
aliquam quae te mutauerit	3
a life worthy of	3
were used by the	3
could never have been	3
provided by the internet	3
the lines of the	3
there is much that	3
is characteristic of the	3
of aeneas and dido	3
in the last years	3
the threshold of the	3
nisi flauis scripta corallis	3
and a sense of	3
you will be the	3
the statues of the	3
scenes in which the	3
on his journey to	3
in sympathy with the	3
it is not so	3
there could be no	3
of the influence of	3
the influence of a	3
of catullus and calvus	3
the limits of the	3
see the beginning of	3
all the poets of	3
indicate that he was	3
the loss of her	3
the separation of the	3
that he might be	3
beauty of the world	3
the third book is	3
the poetical character of	3
into the life of	3
that dwell in the	3
my correction for the	3
uel si non ipse	3
genius of the roman	3
of the third century	3
that i might not	3
b and c are	3
is similar to that	3
the beauty of his	3
in part due to	3
out of so many	3
by the author in	3
of his age and	3
compare ep iii i	3
compare tr v ix	3
fifth book of the	3
in the line of	3
as to the date	3
the comedies of terence	3
be said of the	3
not improbable that the	3
the stars of heaven	3
falls into his usual	3
of the causes of	3
the poem in which	3
sic ego sum longe	3
it is worth while	3
in the purest latin	3
a match for the	3
would that i had	3
the spring of the	3
homo pulcher per amoena	3
as if they had	3
by the spirit of	3
the will of the	3
the songs of the	3
from the opening of	3
and ep i ix	3
in form and style	3
to the celebration of	3
for the corruption of	3
in a similar context	3
exigua si nos ea	3
that he had no	3
may probably have been	3
fragments of his works	3
he means that the	3
the common aspects of	3
what is known of	3
the earlier books of	3
able to endure the	3
in which he recalls	3
if we do not	3
de mediis cumba resurget	3
offspring of the gods	3
well as of a	3
the juice of the	3
at tr iv x	3
character of early roman	3
the souls of the	3
it in my power	3
the tables of the	3
of the dawn of	3
as we have seen	3
no claim to original	3
the hand of a	3
the diction and rhythm	3
was the recipient of	3
o that i could	3
the houses of the	3
of the people and	3
foro lato sanctoque senatu	3
they belong to the	3
it has been supposed	3
ovid is referring to	3
i conjure thee by	3
which he describes the	3
latent in the national	3
on the burning of	3
leuis haec meritis referatur	3
with his younger rival	3
would be in the	3
ascendency of the senate	3
so far as the	3
and when to be	3
as for instance the	3
nothing is known of	3
period of roman literature	3
were the work of	3
is to be sought	3
thou to do with	3
testis eris falsa solere	3
to be the best	3
known to have been	3
roman tragedy and seneca	3
it is by the	3
to escape from the	3
the transferred sense is	3
line of the epistle	3
the fact of the	3
teubner edition of the	3
credibility of early roman	3
spirit of the age	3
he was a famous	3
a roman poet of	3
of the epistle of	3
or if you are	3
theme of the schools	3
the meaning of this	3
scythico uacuum mutabor ab	3
but perhaps the most	3
it is sufficient to	3
in the shade of	3
of the existence of	3
the family of the	3
it is recorded that	3
the whole of this	3
he was the author	3
in a poet of	3
nullam rem e nilo	3
compare ep i iii	3
his pictures of the	3
and the temples of	3
speech in defence of	3
of the more usual	3
there is thus no	3
the dangers of the	3
of which it is	3
a knowledge of the	3
when to be silent	3
was the custom for	3
fragments of the early	3
by the arts of	3
elegy of this book	3
imply that he was	3
shall be able to	3
is suggested by the	3
in the conception of	3
and of human life	3
a certain amount of	3
be the son of	3
and the enjoyment of	3
that he is in	3
the cause of all	3
of the passage in	3
the field of mars	3
in the manner of	3
recipient of ep i	3
note to the first	3
in which the poem	3
in the campus martius	3
of the art of	3
revelation of a new	3
in the first three	3
and is afraid to	3
is it a mere	3
on hearing of the	3
at ep iii v	3
other passages cited at	3
is nothing of the	3
what hast thou to	3
the spirit of an	3
of lucretius and the	3
at ep i vii	3
the first principles of	3
due in part to	3
si fas est dicere	3
to us in the	3
by the other manuscripts	3
in the field of	3
more in harmony with	3
be the object of	3
the account of the	3
the eighth elegy of	3
the son of battus	3
the first instance in	3
the part of his	3
the great writers of	3
he was not a	3
that he belonged to	3
amaryllis was so fond	3
at a later time	3
the length of the	3
drawn from the life	3
si modo qui periit	3
to the equestrian order	3
a full discussion see	3
which arose out of	3
the gifts of the	3
the threads of the	3
index of topics discussed	3
may be traced in	3
an coeat duratus frigore	3
the daughter of augustus	3
burning of the capitol	3
the fault of her	3
throwing light on the	3
in his list of	3
is no other than	3
which the poem was	3
the contrast between the	3
mortis comites et funeris	3
the part played by	3
teneat glacies iugera multa	3
of all are the	3
get away from the	3
of this kind of	3
the natural order of	3
the traditions of the	3
and the genius of	3
many passages in the	3
stand in need of	3
is to be feared	3
poem in the book	3
pars haec tantum spectata	3
the state and the	3
most famous of the	3
with the charm of	3
era of roman comedy	3
is said to be	3
the teaching of the	3
they may have been	3
but the fact that	3
it is used of	3
what i am doing	3
the book concludes with	3
the outward conditions of	3
and knowledge of the	3
to regard him as	3
in the eighth book	3
the poem on the	3
serves as a bridge	3
the image of the	3
towards the end of	3
it is much more	3
of the ninth book	3
of pleasure and of	3
to the modern reader	3
famous cities of asia	3
those things which you	3
the standard of his	3
his return to rome	3
have no means of	3
of the merits of	3
of which we have	3
by the death of	3
known to us as	3
the first part of	3
the two old men	3
consumit ferrum lapidemque uetustas	3
we learn that he	3
of the early empire	3
of the return of	3
some of these passages	3
religio potuit suadere malorum	3
not seem to occur	3
of the weakness of	3
the tops of the	3
the elder seneca preserves	3
the prize at the	3
upon the gods of	3
to see the consul	3
this is the very	3
the favour of his	3
put out at interest	3
during the lifetime of	3
more likely to have	3
to the roman stage	3
was so fond of	3
in the latin language	3
that the poem is	3
events in roman history	3
substances out of which	3
if there was any	3
of the gods with	3
a friend of the	3
of dressing the hair	3
the case of an	3
the originality of the	3
the attention of the	3
have been given to	3
is perhaps the best	3
instances of the idiom	3
well i know thee	3
and more purely artistic	3
the romans of the	3
to serve as a	3
at the court of	3
the door of his	3
the rise of the	3
in the roman army	3
they were written in	3
by the same author	3
in the month of	3
in some respects the	3
and hor ep i	3
there is no real	3
against him is that	3
the corresponding passage in	3
we have no means	3
tarrant on sen ag	3
to sympathy with the	3
to the sons of	3
of the birds that	3
obruta de mediis cumba	3
all speak the same	3
in the city of	3
his choice of a	3
the knowledge of the	3
especially in view of	3
that he wrote a	3
in the satires of	3
of the work is	3
at pliny nh vi	3
i will visit the	3
at tr v i	3
hor sat ii iii	3
the reason for this	3
order that he may	3
homo nobis cunctando restituit	3
before a roman audience	3
the antiope of pacuvius	3
the state of the	3
belong to the last	3
the poem must have	3
but they do not	3
it is evident that	3
and while you are	3
clear from the opening	3
but it is a	3
the age of the	3
of life in the	3
formandos est tibi magna	3
the mind of man	3
ovid is here referring	3
be able to say	3
is directed against the	3
as will be seen	3
the fair to be	3
when he composed the	3
etiam proprio cognita marte	3
in the opening lines	3
as long as he	3
the lips of the	3
of the equestrian order	3
a consideration of the	3
was the whole of	3
he was attracted to	3
a place in the	3
to whom she bore	3
to some of the	3
the mind of lucretius	3
that she may not	3
in an unfinished state	3
the streets of rome	3
was a member of	3
earlier part of the	3
mentioned at pliny nh	3
belong to the same	3
the extant fragments of	3
for this use of	3
i do not understand	3
the earlier part of	3
gentes barbarus hister obit	3
no less than the	3
the measures of the	3
seneca on elizabethan tragedy	3
to me in my	3
by the contests of	3
is worth while to	3
the great orator and	3
that some of the	3
as if he were	3
uobis est mea questa	3
to be taken seriously	3
the sound of his	3
the inadequacy of his	3
the basis of all	3
comites et funeris atri	3
things on which we	3
but let it be	3
it is most probable	3
et teneat glacies iugera	3
addressed to his wife	3
with the advance of	3
later roman tragedy and	3
the hair of a	3
all the wealth of	3
the stamp of the	3
de uobis est mea	3
be able to see	3
this poem is a	3
from ovid tr v	3
the virtue of a	3
an epic on the	3
in the numantine war	3
and the lines in	3
by the roman ladies	3
to assert that the	3
three consecutive short vowels	3
the passages there cited	3
the death of terence	3
that i may be	3
there was a certain	3
be due to the	3
and ep ii ix	3
it was not a	3
out to me how	3
the services of the	3
by the poet himself	3
the study of philosophy	3
history of roman literature	3
the introduction to his	3
back again to the	3
poem on the first	3
him the name of	3
fragments of his dramas	3
the death of hippolytus	3
si non ipse rogarem	3
his view of life	3
at the same moment	3
and at tr i	3
of such value was	3
to know how to	3
of appius claudius caecus	3
diction and rhythm of	3
in the next note	3
there are none of	3
the contests of the	3
general character of roman	3
the manners of the	3
before the birth of	3
was famous for his	3
that they were written	3
be compared with the	3
and the passages there	3
is the description of	3
of the sons of	3
that the play was	3
of the father of	3
how much of the	3
of rome in the	3
in a long passage	3
the younger son of	3
are supposed to have	3
of the contemplative life	3
which there is no	3
tone of the poem	3
it may be doubted	3
on the day on	3
the pain of the	3
in his own person	3
as often as the	3