trigram

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

trigram	frequency
to have been	168
one of the	134
there is no	133
as well as	131
of the poem	128
book of the	119
and of the	115
on the other	99
the son of	98
the death of	98
and the note	97
some of the	92
of the world	92
of the first	92
it is not	89
of the roman	88
seems to have	87
but it is	85
and in the	81
the other hand	81
of the great	80
of the republic	79
there is a	77
the fact that	76
that he was	74
he alludes to	72
is to be	72
of the gods	71
part of the	71
in which he	71
in the first	70
to be the	70
in the same	69
of his own	69
the name of	68
said to have	67
alludes to the	66
the end of	66
the time of	66
of the old	66
the life of	64
the note to	62
of the most	62
a man of	62
may have been	61
the spirit of	60
must have been	60
the ex ponto	60
the power of	59
the fragments of	58
the works of	58
of his life	57
in which the	57
the use of	57
out of the	56
note to the	56
as to the	56
to be a	55
of the greek	55
the sense of	55
of the metamorphoses	54
the story of	54
it is a	54
that of the	54
would have been	54
with which he	53
such as the	52
seems to be	51
poets of the	50
at the same	50
description of the	50
that it was	50
the age of	50
the midst of	50
account of the	50
as in the	49
of the same	49
the same time	49
the daughter of	48
of the age	48
the work of	48
that it is	47
the influence of	47
of the second	47
of the poet	46
the poetry of	46
the first book	46
that he is	45
it is the	44
end of the	44
it may be	44
is said to	43
the cause of	43
of the early	43
the beginning of	43
the augustan age	43
the poem is	43
he was a	42
and to the	42
he seems to	42
it is to	42
in the lines	42
as it is	41
in the midst	41
of the two	41
and ep iii	41
the part of	40
the art of	40
it was the	39
not to be	39
to the passage	39
of the work	39
of the ex	39
one of his	39
in the world	38
at the time	38
of all the	38
the character of	38
the present passage	38
the composition of	38
the author of	38
in the poem	37
the subject of	37
it has been	37
that they were	37
sense of the	37
of human life	37
have been the	37
so far as	37
be able to	37
the language of	37
than that of	37
it was not	36
see the metamorphoses	36
of his age	36
fragments of the	36
story of the	36
with which the	36
it would be	35
of the poems	35
and ep ii	35
there was a	35
use of the	35
the fourth book	35
in the last	35
see the fasti	35
points out to	35
out to me	35
and it is	34
the existence of	34
many of the	34
of the other	34
that you may	34
the second book	33
the reading of	33
that he had	33
the roman poets	33
of the day	33
the father of	33
of the augustan	33
seem to have	33
of the people	33
and by the	33
the year b	33
have been a	32
it is in	32
life of the	32
he does not	32
which he has	32
a kind of	32
the genius of	32
the words of	32
this is the	32
you will be	32
i do not	32
the love of	32
the first to	31
lines of the	31
the loss of	31
in view of	31
the temple of	31
the thought of	31
but there is	31
the meaning of	31
the description of	30
the nature of	30
well as the	30
by no means	30
compare as well	30
the origin of	30
of the time	30
found in the	30
the poets of	30
of the word	29
members of the	29
in spite of	29
him in the	29
the case of	29
see the amores	29
in the present	29
ep iii i	29
of the new	29
and that the	29
as soon as	29
the result of	29
see the note	28
he did not	28
of the older	28
of the empire	28
line of the	28
sympathy with the	28
even in the	28
books of the	28
and do not	28
the form of	28
at the end	28
at tr iii	28
was one of	27
that he has	27
of the city	27
view of the	27
the absence of	27
b and c	27
of the romans	27
refers to the	27
in the year	27
what is the	27
many a time	27
the silver age	27
there is nothing	27
he must have	27
which they were	26
was the first	26
of the present	26
at tr i	26
on account of	26
more than a	26
of the sea	26
of roman literature	26
see the tristia	26
similar phrasing at	26
it is true	26
on the stage	25
it is difficult	25
the whole of	25
the study of	25
that you are	25
the appearance of	25
the poems of	25
of his time	25
the latin language	25
for the most	25
due to the	25
it was a	25
of the night	25
in which they	25
of roman poetry	25
and in his	25
the most part	25
and from the	25
of the annals	25
of their own	24
a sense of	24
he speaks of	24
the mouth of	24
in his own	24
tarrant points out	24
first punic war	24
the time when	24
for the purpose	24
the first punic	24
in the case	24
of the state	24
is one of	24
is found in	24
the plays of	24
if you are	24
are to be	24
is difficult to	24
works of the	24
to be found	24
fourth book of	23
the word is	23
and that he	23
at ep iii	23
in the second	23
and ep i	23
to the world	23
so long as	23
the expression of	23
nature of the	23
midst of the	23
character of the	23
to that of	23
the present day	23
of a great	23
he was the	23
poetry of the	23
that he may	23
he is not	23
if any one	23
it is hard	23
knowledge of the	23
was said to	23
is hard to	23
of a man	23
to the roman	23
the style of	23
and the other	23
be found in	23
many of his	23
one or two	23
by means of	22
the number of	22
of the ancient	22
is not to	22
the reign of	22
but in the	22
there is the	22
an account of	22
of the whole	22
in order to	22
of some of	22
the hands of	22
just as the	22
the purpose of	22
that of a	22
the pontic epistles	22
the names of	22
the wife of	22
according to the	22
the sons of	22
any of the	22
poem on the	22
much of the	22
he is a	22
written in the	22
and to have	21
in one of	21
beginning of the	21
is not the	21
spirit of the	21
in such a	21
the third book	21
the history of	21
the charm of	21
so as to	21
why should i	21
ep iii iii	21
second book of	21
be regarded as	21
the poem of	21
seem to be	21
of a new	21
of thought and	21
is not a	21
of the tristia	21
on the ground	21
and with the	21
among the romans	21
is in the	21
will not be	21
fact that the	21
meaning of the	21
with that of	21
he says that	21
it is clear	20
tr i v	20
age of the	20
to the gods	20
as they are	20
the beauty of	20
from the fact	20
the mind of	20
the middle of	20
as that of	20
author of the	20
the other manuscripts	20
and for the	20
on the same	20
that i am	20
picture of the	20
of the life	20
side of the	20
the poem was	20
the mass of	20
by which the	20
which had been	20
the evidence of	20
of the latin	20
some of his	20
it must be	20
in the fragments	20
of the third	20
in the following	20
of the war	20
as it was	20
in love with	20
the majesty of	20
of the atoms	19
the th poem	19
of his contemporaries	19
well as of	19
why do you	19
than any other	19
the man who	19
in the morning	19
he was born	19
that she is	19
on the part	19
the same phrase	19
tr iv i	19
the presence of	19
it is possible	19
as much as	19
to the poet	19
is supposed to	19
to the same	19
by the romans	19
passage in the	19
that which is	19
of which the	19
speaks of the	19
those of the	19
which it was	19
which he had	19
the recipient of	19
taken from the	19
does not seem	19
ex ponto iv	19
of the earth	19
of the fasti	19
the opening of	19
and it was	18
was in the	18
of the passage	18
in the fourth	18
at ep ii	18
or at least	18
second punic war	18
you shall be	18
or in the	18
in modern times	18
to him in	18
the impression of	18
from the greek	18
in the time	18
a native of	18
in the third	18
that the poet	18
the roman people	18
the sound of	18
he had a	18
for you to	18
that i may	18
the gift of	18
writers of the	18
with one another	18
in honour of	18
with the exception	18
ep ii vii	18
that i have	18
most of the	18
in some of	18
as far as	18
that in the	18
the idea of	18
edition of the	18
and of his	18
with all the	18
but it was	18
the second punic	18
to me the	18
in all the	18
have been written	18
and at the	18
i am not	18
drawn from the	18
might have been	18
of one of	18
tr iv x	18
at tr ii	18
years of the	18
which it is	18
but he is	18
in the words	17
the fair one	17
a work of	17
in the augustan	17
you do not	17
on which the	17
conception of the	17
i have found	17
upon the stage	17
the house of	17
produced by the	17
the best of	17
the close of	17
the effect of	17
of the last	17
the epistle of	17
the exception of	17
is the most	17
the first place	17
it had been	17
in favour of	17
the practice of	17
and of a	17
it was in	17
was to be	17
a description of	17
reference to the	17
of his plays	17
he may have	17
first book of	17
and there is	17
influence of the	17
the new comedy	17
in the later	17
he has no	17
supposed to have	17
ep i ii	17
of the fair	17
the title of	17
to me that	17
of the more	17
in the spirit	17
the passion of	17
the days of	17
on the death	17
known to us	17
in this respect	17
derived from the	17
of the greeks	17
he has been	17
than in the	17
the satires of	17
is that of	17
that there is	17
in regard to	17
ep iii iv	17
translation of the	17
that they are	17
the manner of	17
mentioned in the	17
if it is	17
the course of	17
of such a	17
of the poets	17
on the whole	17
to the first	17
of the silver	16
subject of the	16
the force of	16
the action of	16
at any rate	16
and all the	16
a writer of	16
words of the	16
the roman mind	16
in accordance with	16
to the romans	16
belong to the	16
ep i iii	16
art of love	16
not to have	16
instance of the	16
mass of the	16
there can be	16
the place of	16
by the fact	16
in ancient times	16
in the poetry	16
ep ii ii	16
of the dead	16
the laws of	16
used by the	16
be said to	16
of his day	16
that he might	16
he is in	16
given to the	16
something of the	16
said to be	16
the first of	16
and the same	16
rather than the	16
evidence of the	16
the date of	16
this kind of	16
or of the	16
of his style	16
but they are	16
tr i i	16
to his own	16
and tr v	16
of the original	16
in a great	16
on the subject	16
not seem to	16
at tr v	16
ought to be	16
is clear from	16
the object of	16
of his work	15
in the main	15
of her husband	15
of the past	15
in the sense	15
the last of	15
because it is	15
there was no	15
what do you	15
of life and	15
as long as	15
he is the	15
which he was	15
has been suggested	15
the mother of	15
of his genius	15
to be in	15
by the name	15
than any of	15
from that of	15
owing to the	15
it will be	15
this is a	15
we learn from	15
to which the	15
place in the	15
a later age	15
could not have	15
of a more	15
in this passage	15
in the life	15
it is more	15
close of the	15
portion of the	15
of the earlier	15
for the other	15
would not have	15
at the age	15
name of the	15
example of the	15
if he had	15
compared with the	15
to the great	15
of the best	15
the old roman	15
the lack of	15
down to the	15
the following line	15
the outward world	15
he would have	15
and the first	15
the poem in	15
such passages as	15
history of the	15
it is that	15
of the plays	15
of human nature	15
him in his	15
part of his	15
cause of the	15
the same sense	15
and he was	15
elegy of the	15
in the roman	15
they do not	15
there is some	15
of roman tragedy	15
do you think	15
of the works	15
founded on the	15
parts of the	15
together with the	15
of his death	15
let not the	15
in this sense	15
the birth of	15
in the form	15
in the next	15
that the romans	15
of the young	15
the lines of	14
the fall of	14
to believe that	14
this sense of	14
the speech of	14
when i am	14
under the influence	14
you in the	14
of a poet	14
treatment of the	14
be taken as	14
of the year	14
ovid does not	14
fragments of his	14
the knowledge of	14
a life of	14
in all probability	14
tr iii vii	14
the trojan war	14
of the book	14
free from the	14
second century b	14
is no reason	14
part in the	14
to any one	14
also of the	14
was born in	14
that the poem	14
of the mind	14
of the human	14
his own time	14
of his art	14
is not found	14
it seems to	14
the doctrine of	14
of the later	14
as you are	14
have been preserved	14
let there be	14
in the habit	14
the memory of	14
of those who	14
regard to the	14
explanation of the	14
no reason to	14
by all the	14
you may be	14
the imperial family	14
the walls of	14
after the death	14
of the house	14
ep ii iii	14
to suppose that	14
for the first	14
father of the	14
the corruption of	14
power of the	14
none of the	14
which is not	14
of the outward	14
of the line	14
elsewhere in ovid	14
of the aeneid	14
i will not	14
to those who	14
of the manuscripts	14
there will be	14
the first century	14
the work is	14
him to the	14
the satire of	14
of the greatest	14
hor ep i	14
that i should	14
result of the	14
of the universe	14
but there are	14
to him by	14
may be inferred	14
contact with the	14
of his birth	14
rather than of	14
no more than	14
and tr iv	14
half of the	14
to the present	14
he refers to	14
at met i	14
there are some	14
the gods of	14
poetry of exile	14
if you can	14
is that the	14
in the course	14
the writers of	14
in the middle	14
of his poems	14
the blood of	14
the circumstances of	14
that he did	14
come down to	14
the habit of	14
in the poems	14
of his mistress	14
continued to be	14
was the custom	14
the forms of	14
the notes to	13
the field of	13
to be an	13
the tenth book	13
was born at	13
in which a	13
of early roman	13
of ennius and	13
in praise of	13
is shown by	13
the greatness of	13
the older poet	13
of a later	13
of nature and	13
of his philosophy	13
the testimony of	13
ep ii ix	13
see the art	13
to make the	13
poem is a	13
the state of	13
not have been	13
put up with	13
in the days	13
his sense of	13
is the same	13
to his wife	13
to be of	13
out of which	13
in point of	13
i am in	13
the strength of	13
thought and feeling	13
at the beginning	13
we have already	13
that in which	13
the campus martius	13
a number of	13
style of the	13
not a few	13
the introduction to	13
point of view	13
the hand of	13
there is much	13
under the empire	13
part of a	13
have been more	13
he was not	13
the wealth of	13
of his dramas	13
the tone of	13
which has been	13
of his argument	13
time of the	13
of the fragments	13
poems of exile	13
and the great	13
the last age	13
to be loved	13
in order that	13
ep i viii	13
of the senate	13
any of his	13
of the story	13
hor sat i	13
the most famous	13
notes to the	13
appears to have	13
form of a	13
last age of	13
to whom the	13
let him be	13
of the national	13
by the poet	13
of the emperor	13
to sextus pompeius	13
two of the	13
connected with the	13
appear to be	13
the basis of	13
contained in the	13
will be a	13
the imagination of	13
charm of the	13
thought of the	13
the writings of	13
make use of	13
the aid of	13
and with a	13
in the early	13
the sixth book	13
in the city	13
he has a	13
the rest of	13
the first two	13
of your own	13
the favour of	13
may be said	13
by his own	13
the great poets	13
great poets of	13
be remembered that	13
it is only	13
at ep i	13
worthy of the	13
middle of the	13
the second century	13
you are in	13
not in the	13
the philosophy of	13
each of them	13
of the sun	13
passages in the	13
in the metamorphoses	13
the bosom of	13
the authority of	13
of all things	13
to the last	13
is addressed to	13
the battle of	13
those who are	13
the same manner	13
and the most	13
the conclusion that	13
it would have	12
poem of lucretius	12
is true that	12
and he is	12
the gods have	12
likely to have	12
which they are	12
by the use	12
the literature of	12
compare ep ii	12
appearance of the	12
the shade of	12
the correct reading	12
with regard to	12
the poet was	12
of plautus and	12
to a great	12
of the soul	12
not only of	12
out of his	12
which seems to	12
for it is	12
and not to	12
spite of the	12
in the age	12
to his friends	12
the world of	12
they have been	12
if you do	12
the pleasures of	12
son of atreus	12
the decay of	12
it is noteworthy	12
there is little	12
it is of	12
it to be	12
acquainted with the	12
the duties of	12
nor does the	12
when you have	12
may not be	12
plays of plautus	12
his own experience	12
he might have	12
attributed to the	12
yet it is	12
was not a	12
and let the	12
the schools of	12
the fear of	12
of the golden	12
action of the	12
this is not	12
condition of the	12
origin of the	12
the charms of	12
in this manner	12
which we have	12
i would not	12
of the trojan	12
there is an	12
and tr iii	12
ep ii v	12
down to us	12
the writing of	12
in place of	12
as to his	12
the development of	12
at tr iv	12
the cultivation of	12
and he has	12
the interest of	12
tells us that	12
fact that he	12
of a roman	12
plautus and terence	12
in any case	12
author of a	12
the publication of	12
it is impossible	12
of his great	12
ep i v	12
death of the	12
is found at	12
of the stage	12
member of the	12
was a man	12
the point of	12
like that of	12
i shall be	12
of his poem	12
the growth of	12
to say that	12
in connexion with	12
death of his	12
passage in which	12
as a poet	12
he will not	12
him from the	12
to the mind	12
the spirit and	12
the war with	12
why dost thou	12
poet of the	12
says that he	12
at that time	12
much to the	12
appear to have	12
the first time	12
of his friends	12
only in the	12
worthy to be	12
as he was	12
text of the	12
idea of the	12
that i had	12
if there is	12
and dignity of	12
of modern times	12
a member of	12
at met xv	12
to be taken	12
of the principate	12
allusion to the	12
discussion of the	12
is the only	12
out of a	12
of his friend	12
born in the	12
ep iii ix	12
in addition to	12
that he wrote	12
the annals of	12
in all his	12
the black sea	12
opening of the	12
suited to the	12
and that of	12
men of the	12
to the other	11
in which it	11
genius of the	11
tenth book of	11
supposed to be	11
with which it	11
the example of	11
the introduction of	11
between the two	11
compare ep i	11
interest in the	11
the praises of	11
the minds of	11
of all his	11
is no doubt	11
the elder seneca	11
light on the	11
if they were	11
his treatment of	11
fantham points out	11
the rites of	11
of the text	11
belonged to the	11
to refer to	11
an age of	11
the statement of	11
tr iii x	11
of the genius	11
the tragedies of	11
as a whole	11
the gifts of	11
could not be	11
an end to	11
of the power	11
of the country	11
favour of the	11
presence of the	11
of latin poetry	11
of the satires	11
of his works	11
poem was written	11
of this edition	11
should not be	11
the view of	11
the ears of	11
them in the	11
the value of	11
we have a	11
no less than	11
is wont to	11
compare tr i	11
a poem on	11
the criticism of	11
temple of apollo	11
due to his	11
it is at	11
suggested by the	11
ep i vii	11
see the pontic	11
of your mistress	11
on the one	11
similar to that	11
the principles of	11
as one of	11
the loves of	11
ep iii ii	11
the heart of	11
large number of	11
as i am	11
that of his	11
in the tristia	11
in the line	11
in the best	11
to whom he	11
will be the	11
be the first	11
the most important	11
the wise man	11
what shall i	11
tr v xii	11
of the heavens	11
should be taken	11
a state of	11
literature of the	11
in this poem	11
to the fair	11
to the imagination	11
fragments of ennius	11
ep iii v	11
a long time	11
at am iii	11
nor is it	11
which may be	11
is full of	11
of the muses	11
honour of the	11
to the fact	11
of the iliad	11
for all the	11
fear of death	11
which the poet	11
in the mouth	11
of the imperial	11
that i was	11
the standard of	11
the destruction of	11
that no one	11
professor goldwin smith	11
life in the	11
both of the	11
the teaching of	11
in a more	11
to see the	11
of the play	11
he is to	11
the custom to	11
it is no	11
compare tr iii	11
the progress of	11
of the poetry	11
to the old	11
to give a	11
because of the	11
amico suo m	11
a mind to	11
such is the	11
in any way	11
under the name	11
it was to	11
the ground that	11
in the fifth	11
and let him	11
also in the	11
the vices of	11
third book of	11
of his father	11
refer to the	11
of my mistress	11
in the latter	11
led him to	11
for a long	11
the conditions of	11
of my own	11
the return of	11
there are many	11
and now the	11
of his wife	11
a passage in	11
shall be the	11
in the way	11
of his personal	11
in the ex	11
same phrase at	11
of his satire	11
the lines in	11
the th line	11
days of the	11
the greatest of	11
years of his	11
he had been	11
the kind of	11
at one time	11
the opening lines	11
and the like	11
the ninth book	11
it does not	11
the arms of	11
not of the	11
to have a	11
the surface of	11
it as a	11
regarded as the	11
we do not	11
is known of	11
of the th	11
of the italian	11
there are no	11
satire of lucilius	11
born in b	10
in the state	10
schools of rhetoric	10
tr i viii	10
of his exile	10
of lucretius and	10
from the same	10
the custom of	10
influence on the	10
the same way	10
of a poem	10
the eyes of	10
addressed to the	10
of the schools	10
to the conclusion	10
which you are	10
son of a	10
of roman comedy	10
in the th	10
lucretius and catullus	10
have come down	10
to his mistress	10
and let not	10
while you are	10
to one of	10
the class of	10
at this time	10
impression of the	10
the first and	10
the faults of	10
more and more	10
ep i ix	10
of character and	10
effect of the	10
apart from the	10
at his best	10
of men of	10
that he should	10
we are told	10
of a very	10
was written in	10
the speeches of	10
is much more	10
form of literature	10
of the race	10
it was written	10
the older poets	10
the one hand	10
than to the	10
in the opening	10
of greece and	10
be given to	10
as to their	10
of that age	10
with which they	10
reign of nero	10
as often as	10
the text of	10
the word in	10
it is necessary	10
the position of	10
on the day	10
you will not	10
who was the	10
form of the	10
of feeling and	10
if you will	10
the waters of	10
the same is	10
there are two	10
and let her	10
to be called	10
she has been	10
is the first	10
in consequence of	10
of these passages	10
the light of	10
of the four	10
time when the	10
of the waves	10
body of the	10
of greek poetry	10
let it be	10
the poet is	10
the conception of	10
the early poets	10
his life in	10
three books of	10
the poem with	10
that can be	10
for an account	10
of the few	10
the order of	10
which i have	10
see at viii	10
the weakness of	10
the fame of	10
is a great	10
over and above	10
but at the	10
the limits of	10
for him to	10
odes of horace	10
the letter to	10
of the slave	10
they are the	10
aspects of the	10
much the same	10
a series of	10
in the more	10
mouth of the	10
not only the	10
the representation of	10
have been in	10
of the long	10
roman poets of	10
of greek art	10
the pages of	10
all that is	10
they were not	10
of his mind	10
of his satires	10
the truth of	10
whoever you are	10
ep ii i	10
in the earlier	10
of the famous	10
of this poem	10
i may be	10
as to be	10
is possible that	10
nothing of the	10
were in the	10
instead of the	10
poets of rome	10
the feelings of	10
from his own	10
the translation of	10
is mentioned by	10
jason and medea	10
of her own	10
let her be	10
which you have	10
and some of	10
do not you	10
as a rule	10
he will be	10
the head of	10
such expressions as	10
the enjoyment of	10
the facts of	10
with a little	10
of the argument	10
to have had	10
a portion of	10
the poem are	10
an old man	10
with all his	10
but what is	10
in the whole	10
to imitate the	10
for what is	10
to do with	10
the conduct of	10
composition of his	10
the objects of	10
in common with	10
he has the	10
the door of	10
the other plays	10
of any other	10
with a few	10
to do so	10
which he lived	10
to your mistress	10
in the language	10
that he died	10
the care of	10
at the present	10
reading of the	10
the fate of	10
tr v vii	10
of the modern	10
and tr i	10
into the black	10
representation of the	10
because he is	10
different from the	10
of the epic	10
the same kind	10
the freedom and	10
there is not	10
see at ii	10
the duty of	10
the civil war	10
in dread of	10
they are not	10
to the end	10
date of his	10
the greek language	10
we learn that	10
years of age	10
that the work	10
of his country	10
be in the	10
here referred to	10
the seventh book	10
the capture of	10
is noteworthy that	10
after his death	10
with the greatest	10
i am a	10
soon as he	10
there may be	10
on the mind	10
and the notes	10
he is more	10
the passage is	10
the god of	10
many a one	10
and that it	10
in the greek	10
study of the	10
of the family	10
life of pleasure	10
him as a	10
you are not	10
and the whole	10
some of these	10
he could not	10
peleus and thetis	10
and as a	10
of the fourth	10
in the letters	10
an example of	10
of the man	10
know how to	10
from the other	10
the university of	10
at met ii	10
a few of	9
the attention of	9
it is by	9
as if they	9
at its best	9
libra norit et	9
witness to the	9
here alluded to	9
characteristic of the	9
for the same	9
of the name	9
and am i	9
accordance with the	9
his life and	9
to the second	9
the friend of	9
of latin literature	9
imagination of the	9
that she may	9
of so many	9
a poet of	9
the early roman	9
regarded as a	9
all the world	9
ep ii viii	9
by the roman	9
a discussion of	9
back to the	9
was the son	9
the hours of	9
the last book	9
i should be	9
long as the	9
as it were	9
when you are	9
the mystery of	9
feeling of the	9
of the ancients	9
also by the	9
have had a	9
ep ii x	9
is that which	9
times in the	9
in some respects	9
the fault of	9
th line of	9
the union of	9
is in a	9
to the state	9
works of art	9
can be no	9
at the very	9
delight in the	9
description of a	9
the life and	9
the republic and	9
on the contrary	9
which is the	9
afforded by the	9
to make it	9
devoted to the	9
beauty of the	9
he who is	9
seems to mean	9
appreciation of the	9
is that he	9
that there was	9
through all the	9
in the temple	9
be inferred that	9
in his mind	9
likely to be	9
must be remembered	9
of ex ponto	9
but he has	9
the will of	9
this was the	9
exhibited in the	9
there is any	9
this and the	9
belief in the	9
he describes the	9
are found in	9
development of the	9
the only instance	9
expression to the	9
of the language	9
is taken from	9
they were written	9
is a good	9
and sincerity of	9
of catullus and	9
than in any	9
reminds us of	9
not found in	9
and the following	9
the question of	9
the roman stage	9
to the public	9
the popularity of	9
to show that	9
the weight of	9
of the fact	9
of his brother	9
when she has	9
do you mean	9
on the authority	9
to the more	9
by whom the	9
poem of the	9
added to the	9
of the author	9
connexion with the	9
during this period	9
art of the	9
go to the	9
along with the	9
well have been	9
the ideal of	9
the great roman	9
who has been	9
in the theatre	9
is there any	9
the hearts of	9
the condition of	9
a great measure	9
after he had	9
is no need	9
in the presence	9
as he is	9
time of his	9
the world is	9
the golden age	9
in roman literature	9
but of the	9
the sun and	9
in the very	9
in many of	9
of the subject	9
in the beginning	9
the line of	9
of the deep	9
mention of the	9
you have a	9
for the sense	9
the passage in	9
for the loss	9
and on the	9
for he is	9
it is found	9
epistles of horace	9
a full discussion	9
to be able	9
of this kind	9
is to say	9
introduction to the	9
in the great	9
the possession of	9
shall be a	9
as compared with	9
ep i i	9
a line of	9
of pleasure and	9
the other side	9
which the world	9
what has been	9
instances of the	9
of its own	9
of naevius and	9
poems of catullus	9
is derived from	9
this poem is	9
date of the	9
that she might	9
temples of the	9
something of a	9
to make a	9
i know not	9
in behalf of	9
a few years	9
come to the	9
were written in	9
lines in which	9
the hair of	9
the second and	9
the rise of	9
on which he	9
the elegiac poets	9
on the roman	9
of the body	9
rome in the	9
tr v x	9
he shows a	9
we have no	9
of his moral	9
ah wretched me	9
but do you	9
not by the	9
among the most	9
after the manner	9
in these lines	9
passage from the	9
such a manner	9
than those of	9
social and political	9
tr iii xiv	9
the first three	9
away from the	9
to those of	9
if he were	9
the subjects of	9
as when the	9
in the hands	9
the hercules furens	9
we have seen	9
men in the	9
is due to	9
the first is	9
at met ix	9
between and a	9
it should be	9
tone of the	9
up to the	9
a friend of	9
in the book	9
perhaps the most	9
of the times	9
see the epistle	9
in the most	9
harmony with the	9
of men and	9
when he was	9
in the woods	9
the merits of	9
suggests to me	9
to him the	9
it is for	9
the record of	9
distinct from the	9
seen in the	9
the worship of	9
are in the	9
was the cause	9
in the deep	9
the verse of	9
the charming fair	9
difference between the	9
of the lyre	9
early in the	9
of roman character	9
the letters of	9
that is the	9
compare ep iii	9
evidence for the	9
what it is	9
for his own	9
in the passage	9
is it to	9
it is probable	9
the odes of	9
the fact of	9
of one who	9
probable that the	9
for which see	9
of his mother	9
a letter to	9
language of the	9
had not the	9
by the time	9
the next line	9
norit et aere	9
as of the	9
of which it	9
of the river	9
in a later	9
other instances of	9
existence of the	9
work of the	9
of him as	9
has already been	9
he had not	9
in ancient literature	9
in the forum	9
the tale of	9
order of the	8
first century b	8
hence it is	8
on both sides	8
have been born	8
to the modern	8
the image of	8
of the amores	8
but it seems	8
to the young	8
he died at	8
the south wind	8
hor sat ii	8
the principate of	8
have to be	8
a passage of	8
in need of	8
the choice of	8
names of the	8
on every side	8
in his poems	8
a few lines	8
as a variant	8
of the heroic	8
of most manuscripts	8
sixth book of	8
was a city	8
those who were	8
believe that the	8
in harmony with	8
i have seen	8
to my mistress	8
right and wrong	8
the first satire	8
in the extreme	8
same is true	8
by which they	8
to be said	8
referring to the	8
as a man	8
may well have	8
must have had	8
character of a	8
of the nile	8
is more than	8
in the circus	8
of the death	8
of sympathy with	8
is free from	8
to think that	8
called by the	8
in elegiac verse	8
as a soldier	8
i did not	8
the verge of	8
the want of	8
in the absence	8
can hardly be	8
is probable that	8
phrase in the	8
a later date	8
majesty of the	8
even in a	8
a passage from	8
prose and verse	8
love for the	8
the supposition that	8
character of his	8
among the greeks	8
and what is	8
one of them	8
in keeping with	8
and there are	8
greek and latin	8
here and at	8
that he would	8
to him as	8
in his poem	8
familiar with the	8
black sea about	8
more likely to	8
compare am ii	8
it might be	8
is confirmed by	8
his native district	8
she is not	8
of the passages	8
life and the	8
of the woods	8
the source of	8
and was the	8
first three books	8
the protection of	8
the waves of	8
the beauties of	8
we find in	8
glory of the	8
in the other	8
at fast i	8
to his friend	8
you must not	8
if you had	8
of his native	8
in ovid only	8
brought to rome	8
of the younger	8
is not so	8
will be seen	8
the race of	8
in the text	8
be compared with	8
if you were	8
sound of the	8
known to have	8
i have no	8
that they may	8
view of life	8
no need of	8
in the public	8
the roman character	8
conditions of life	8
the two great	8
day on which	8
to the consulship	8
of his verse	8
so fond of	8
image of the	8
long line of	8
the task of	8
the silence of	8
the province of	8
a later time	8
in support of	8
with such a	8
they were the	8
may be regarded	8
the banks of	8
the realms of	8
he had written	8
i have not	8
the whole world	8
i have been	8
of the audience	8
to avoid the	8
ovid uses the	8
any one should	8
of the fifth	8
in the eighth	8
of the pentameter	8
more or less	8
the pleasure of	8
a letter of	8
the contemplation of	8
that the gods	8
and variety of	8
in the seventh	8
it is said	8
the comedy of	8
has all the	8
he would be	8
and as the	8
reason to suppose	8
illustration of the	8
the arrival of	8
to the poor	8
it is an	8
of the various	8
will be found	8
for her to	8
tr v v	8
in which his	8
on his behalf	8
the social and	8
which they have	8
can not be	8
up in the	8
of b and	8
the marriage of	8
is impossible to	8
passage of the	8
castor and pollux	8
ninth book of	8
tr v ii	8
the present instance	8
which he himself	8
those who have	8
rather than a	8
from the very	8
not of a	8
of the spirit	8
of these poems	8
and of their	8
himself to the	8
end of his	8
his old age	8
age in which	8
by the same	8
ep ii iv	8
could have been	8
a matter of	8
frequent use of	8
the present poem	8
he is no	8
the only other	8
the belief in	8
to the composition	8
of his subject	8
the start of	8
of his tragedies	8
of the thought	8
if any person	8
his passion for	8
life of rome	8
the processes of	8
the explanation of	8
might well have	8
of the land	8
the direction of	8
in the sixth	8
son of the	8
do not know	8
the city of	8
ep i vi	8
the poet of	8
as distinct from	8
which have been	8
common with the	8
the face of	8
tr iii iv	8
to the older	8
of the argonauts	8
to all the	8
is made to	8
is able to	8
of the youths	8
hard to say	8
the first instance	8
for which compare	8
he has not	8
to that which	8
the exercise of	8
for a full	8
should have been	8
was not the	8
course of the	8
from the life	8
as the most	8
of his heart	8
flows into the	8
the open air	8
poets of greece	8
of many of	8
in the history	8
of the popular	8
moved by the	8
of roman history	8
the lot of	8
different from that	8
and those of	8
in the manner	8
that ovid is	8
for the gods	8
to go to	8
as a result	8
a feeling of	8
of these two	8
be admitted that	8
not improbable that	8
the man of	8
the work was	8
as i was	8
more than one	8
to come to	8
comedy of athens	8
there is thus	8
while i am	8
the glory of	8
version of the	8
of rome was	8
the exploits of	8
for the stage	8
structure of the	8
if he is	8
those of his	8
the roman youth	8
probably have been	8
of power and	8
to a friend	8
suo m ad	8
satires of horace	8
nor do the	8
in a sense	8
the king of	8
have seen the	8
that is to	8
was a native	8
pliny the elder	8
it appears from	8
in defence of	8
a few words	8
to some of	8
tr iv v	8
in the old	8
by the poets	8
in any of	8
attributed to him	8
the creation of	8
the period of	8
temple of venus	8
see the notes	8
more than the	8
the terrors of	8
there shall be	8
attention to the	8
to the text	8
that the roman	8
am i to	8
in the lofty	8
of the passion	8
because of its	8
he is at	8
of peleus and	8
i should not	8
for the future	8
the following passage	8
he who has	8
to the general	8
this seems to	8
to which he	8
the temples of	8
if a man	8
that i could	8
the importance of	8
while it is	8
from the world	8
yet there is	8
when i was	8
lines such as	8
the length of	8
as they were	8
and with her	8
the edition of	8
doubt as to	8
in a state	8
he may be	8
compare tr v	8
at met vi	8
do you not	8
traces of the	8
that he could	8
the merit of	8
placed in the	8
of the finest	8
been suggested that	8
an object of	8
a poem of	8
have found no	8
passion of love	8
the shores of	8
of the stoic	8
at the close	8
he is said	8
the ground with	8
praise of the	8
history of latin	8
with the sword	8
for a time	8
a great poet	8
of his son	8
at am ii	8
a fragment of	8
many a thing	8
if it were	8
is true of	8
the members of	8
i used to	8
use of his	8
in prose and	8
the colour of	8
expressed in the	8
in such passages	8
few of the	8
nature of his	8
annals of ennius	8
he had no	8
may be a	8
say that the	8
the same age	8
with the preceding	8
the equestrian order	8
as professor r	8
and tr ii	8
the festival of	8
is at least	8
in a passage	8
of heart and	8
me to be	8
is not in	8
in a poem	8
it in the	8
can only be	8
the modern world	8
of the circus	8
to indicate the	8
i am ashamed	8
the way of	8
but if you	8
of his master	7
in the commentary	7
the person of	7
can be more	7
the early morning	7
type of the	7
in all their	7
be the same	7
his choice of	7
the symbol of	7
in the two	7
not found elsewhere	7
in my own	7
subject of his	7
you may not	7
the shades of	7
sense of beauty	7
of which they	7
result of a	7
the tomb of	7
have used the	7
that she has	7
the outbreak of	7
which she has	7
has been made	7
is by no	7
the songs of	7
the descendant of	7
about the same	7
forth from the	7
the celebration of	7
to speak of	7
to the th	7
publication of the	7
of the individual	7
rest of the	7
with his own	7
is not known	7
ruler of the	7
hor carm iv	7
and that you	7
another of the	7
ancient and modern	7
when he is	7
in a large	7
the arts of	7
of all is	7
of the majesty	7
the statues of	7
where he is	7
of lucilius and	7
ancient or modern	7
at any time	7
an imitation of	7
his power of	7
for the sake	7
far removed from	7
letters of cicero	7
that you have	7
in presence of	7
the construction of	7
clear from the	7
no trace of	7
at all events	7
general character of	7
the town of	7
the lines which	7
the sum of	7
to my own	7
of the beauteous	7
stage in the	7
the manuscripts of	7
from the text	7
and beauty of	7
of the earliest	7
it must have	7
able to give	7
of roman life	7
to be sought	7
had never been	7
is to the	7
though there is	7
a part of	7
conditions of the	7
hor carm i	7
i was the	7
than the other	7
either in the	7
the gates of	7
suppose that the	7
and i will	7
if they had	7
you are the	7
with the more	7
number of the	7
for a similar	7
times of the	7
little more than	7
for this sense	7
was the most	7
for this purpose	7
at the funeral	7
to the fasti	7
of them are	7
modelled on the	7
but to the	7
with the view	7
such as that	7
the breath of	7
it is quite	7
the medea of	7
dignity of the	7
have been made	7
shows that the	7
that she was	7
from time to	7
the triumph of	7
to have the	7
indicates that the	7
the necessity of	7
present to the	7
which are the	7
in the fasti	7
shown by the	7
the strength and	7
are you going	7
of a rival	7
again in the	7
what would you	7
is of the	7
that he who	7
the office of	7
strength of the	7
with the mind	7
the poor man	7
when she shall	7
in the reign	7
to the main	7
that you should	7
take care that	7
opens with a	7
one of those	7
as if you	7
of the true	7
is used of	7
and let them	7
in the original	7
was the daughter	7
at hor carm	7
while he was	7
in the works	7
of the divine	7
of the senses	7
is not improbable	7
in any other	7
with the spirit	7
the stamp of	7
the ars amatoria	7
same sense of	7
in awe of	7
the foundation of	7
is proved by	7
pliny the younger	7
representative of the	7
to the stars	7
the brother of	7
the whole poem	7
of mind and	7
the feeling of	7
it is easy	7
of julius caesar	7
is perhaps the	7
whole of the	7
the lips of	7
was the author	7
that does not	7
account of his	7
treatment of his	7
i have lived	7
the roman drama	7
terrors of the	7
is common in	7
the deaths of	7
and many a	7
are known to	7
all the gods	7
is quoted by	7
is supported by	7
presented to the	7
cited by old	7
in the latin	7
was wont to	7
to in the	7
would be a	7
the old woman	7
phrasing at tr	7
the people of	7
spirit in which	7
the portico of	7
he wrote a	7
in the universe	7
than of the	7
of his poetry	7
the poet himself	7
of a friend	7
three or four	7
by the old	7
the happiness of	7
the roman ladies	7
congenial to the	7
the family of	7
the structure of	7
if it be	7
and in a	7
to appreciate the	7
this passage is	7
the old man	7
some of them	7
at sen ag	7
us of the	7
the statement that	7
to the latin	7
auctor electorum etonensium	7
and not the	7
in a long	7
any one to	7
applied to the	7
the old men	7
in preference to	7
was made of	7
it in his	7
first of these	7
to give the	7
the type of	7
to have made	7
to a certain	7
to be ranked	7
or whether the	7
to endure the	7
of the natural	7
formed part of	7
second and third	7
in the aeneid	7
made of the	7
whom he was	7
of many a	7
at a price	7
am i viii	7
of the preceding	7
the topic of	7
have a mind	7
the romans in	7
acquaintance with the	7
similar wording at	7
there is another	7
through the whole	7
the old comedy	7
and that which	7
satires and epistles	7
length of time	7
of his character	7
when he had	7
to me in	7
early roman tragedy	7
tr iv vi	7
among the poets	7
the shape of	7
of ep i	7
by the great	7
add to this	7
compare aa ii	7
take care to	7
the honour of	7
in ep iv	7
of greek and	7
and the use	7
if he be	7
the result is	7
is possible to	7
absence of any	7
to the sea	7
that ovid was	7
to use the	7
they are so	7
celebration of the	7
passages of the	7
the experience of	7
both in the	7
must not be	7
you will have	7
but they were	7
of the stream	7
to and fro	7
by the author	7
at met iii	7
the later poets	7
through the midst	7
written in a	7
the preceding line	7
of roman satire	7
poem of naevius	7
tr i ix	7
friend of the	7
and met xiii	7
evidence of his	7
in an age	7
of jason and	7
there is more	7
of the drama	7
to make use	7
whether he is	7
in all its	7
been preserved to	7
the young man	7
the fair to	7
what is to	7
for me to	7
account for the	7
that i might	7
the land of	7
ad sextum pompeium	7
if there was	7
is the reading	7
spirit of a	7
forms of literature	7
to show the	7
to be used	7
on his own	7
may be in	7
been written in	7
in what manner	7
at a later	7
love of the	7
them to the	7
we seem to	7
conclusion that the	7
his way to	7