1920, p. 24. Vergil could, of course, be expected to recognize the
allusions to his own poem.]

[Footnote 3: _See Georgics_, II, 458-542, and a discussion of it in
_Classical Philology_, 1920, p. 42.]

The composition of the sixteenth epode by Horace--soon after the second,
it would seem--gave Vergil an opportunity to recognize the new poet, and
answer his pessimistic appeal with the cheerful prophecy of the fourth
Eclogue, as we have seen. By this time we may suppose that an intimate
friendship had sprung up between the two poets, strengthened of course
by friendly intercourse, now that Vergil could spend some of his time
at Rome. Horace himself tells how Vergil and Varius introduced him to
Maecenas (_Sat_. 1. 6), an important event in his career that took place
some time before the Brundisian journey (_Sat_. 1. 5). Maecenas had
hesitated somewhat before accepting the intimacy of the young satirist:
Horace had fought quite recently in the enemy's army, had criticized
the government in his _Epodes_, and was of a class--at least
technically--which Octavian had been warned not to recognize socially,
unless he was prepared to offend the old nobility. But Horace's dignified
candor won him the confidence of Maecenas; and that there might be no
misunderstanding he included in his first book of _Satires_ a simple
account of what he was and hoped to be. Thus through the efforts of
Vergil and Varius he entered the circle whose guiding spirit he was
destined to become.

Thus the coterie was formed, which under such powerful patronage was
bound to become a sort of unofficial commission for the regulation of
literary standards. It was an important question, not only for the young
men themselves but for the future of Roman literature, which direction