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Herodotus, The Histories (ed. A. D. Godley) 464 0 Browse Search
Pausanias, Description of Greece 290 0 Browse Search
Polybius, Histories 244 0 Browse Search
Thucydides, The Peloponnesian War 174 0 Browse Search
Diodorus Siculus, Library 134 0 Browse Search
Xenophon, Anabasis (ed. Carleton L. Brownson) 106 0 Browse Search
Euripides, Iphigenia in Aulis (ed. E. P. Coleridge) 74 0 Browse Search
Apollodorus, Library and Epitome (ed. Sir James George Frazer) 64 0 Browse Search
Isocrates, Speeches (ed. George Norlin) 62 0 Browse Search
Demosthenes, Speeches 11-20 58 0 Browse Search
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Browsing named entities in Sulpicia, Carmina Omnia (ed. Anne Mahoney). You can also browse the collection for Greece (Greece) or search for Greece (Greece) in all documents.

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Sulpicia, Carmina Omnia (ed. Anne Mahoney), section 1 (search)
wrote collections. Ovid's Amores follow the generic conventions established by these poets; his Ars Amatoria, Heroides, and other elegiac poems expand the limits of the genre. There are no more significant poets in this style after Ovid. While the poems of Tibullus, Propertius, and Ovid are relatively long (typically 20 to 100 lines), Sulpicia's are quite short, not unlike some of the shorter elegiac poems of Catullus (for example, 70, 75, 85, 87, and perhaps 76). In Rome as well as in Greece, the elegiac couplet was originally used for short poems, including epigrams for dedications or on funeral monuments (ROL epitaph 10, 135 BC). Greek poets were writing longer poems in this metrical form, however, as early as Tyrtaeus in the seventh century BC, and the elegiac couplet quickly becomes a general form, not tied to any particular genre. This is how Catullus uses the form; his elegiac poems range from short, pithy epigrams like 85 and 93 to longer poems like 67, and their subje