and
that the discriminating lover of excellence became his patron and made
him known to Augustus, are evidences of the appeal of which he was
capable both as poet and man. In the many names of worthy and
distinguished men of letters and affairs to whom he addresses the
individual poems, and with whom he must therefore have been on terms of
mutual respect, is seen a further proof. Even Virgil contains passages
disclosing a more than ordinary familiarity with Horace's work, and men
like Ovid and Propertius, of whose personal relations with Horace
nothing is known, not only knew but absorbed his poems.

If still further evidence of Horace's worth is required, it may be seen
in his being invited to commemorate the exploits of Drusus and Tiberius,
the royal stepsons, against the hordes of the North, and the greatness
of Augustus himself, ever-present help of Italy, and imperial Rome; and
in the Emperor's expression of disappointment, sometime before the
second book of _Epistles_ was published, that he had been mentioned in
none of the "Talks." And, finally, if there remained in the minds of his
generation any shadow of doubt as to the esteem in which he was held by
the foremost men in the State, who were in most cases men of letters as
well as patrons of letters, it was dispelled when, in the year 17,
Horace was chosen to write the _Secular Hymn_, for use in the greatest
religious and patriotic festival of the times.

These facts receive greater significance from an appreciation of the
poet's sincerity and independence. He will restore to Maecenas his
gifts, if their possession is to mean a curb upon the freedom of living
his nature calls for. He declines a secretaryship to the Emperor
himself, and without offense to his imperial friend, who bids him be
free of his house as if it were his own.

But Horace must submit also to the more impartial judgment of time. Of
the two innovations which gave him relief against the general
background, one was the amplification of the crude but vigorous satire
of Lucilius into a more perfect literary character, and the other was
the persuasion of the Greek lyric forms into Roman service. Both
examples had their important effects within the hundred years that
followed on Horace's death.

The satire and epistle, which Horace hardly distinguished, giving to
both the name of _Sermo_, or "Talk," was the easier to imitate. Persius,
dying in the year 62, at the age of twenty-eight, was steepe