is a close personal friend of these
men but refuses to accept the axioms of any one school; Gallus, his
friend, is a free romanticist, and is followed in this tendency a few
years later by Propertius.

[Footnote 6: Horace had doubtless seen not only the _Culex_ but several
of the other minor works that Vergil never deigned to put into general
circulation.]

The influences that made for classicism were many. Apollodorus, the
teacher of Octavian, must have been a strong factor, but since his work
has been lost, the weight of it cannot now be estimated. Horace imbibed
his love for severe ideals in Athens, of course. There his teachers were
Stoic rhetoricians who trained him in an uncompromising respect for
stylistic rules.[7] He read the Hellenistic poets, to be sure, and
reveals in his poems a ready memory of them, but it was the great epoch
of Greek poetry that formed his style. Such are the foreign influences.
But the native Roman factors must not be forgotten. In point of fact it
was the classicistic Catullus and Calvus, of the simple, limpid lyrics,
written in pure unalloyed every-day Latin, that taught the new generation
to reject the later Hellenistic style of Catullus and Calvus as
illustrated in the verse romances. Varus, Pollio, and Varius were old
enough to know Catullus and Calvus personally, to remember the days when
poems like _Dianae sumus in fide_ were just issued, and they were poets
who could value the perfect art of such work even after the authors of
them had been enticed by ambition into dangerous by-paths. In a word, it
was Catullus and Calvus, the lyric poets, who made it possible for the
next generation to reject Catullus and Calvus the neoteric romancers.

[Footnote 7: For the stylistic tenets of the Stoic teachers see
Fiske, _Lucilius and Horace_, pp. 64-143. Apollodorus seems to be the
rhetorician whom Horace calls Heliodorus in _Sat_. I, 5, see _Class.
Phil_. 1920, 393.]

For the modern, therefore, it is difficult to restrain a just resentment
when he finds Horace referring to these two great predecessors with a
sneer. Yet we can, if we will, detect an adequate explanation of Horace's
attitude. Very few poets of any time have been able to capture and hold
the generation immediately succeeding. The stronger the impression made
by a genius, the farther away is the pendulum of approbation apt to
swing. The _neoteroi_ had to face, in addition to this revulsion, the
misfortunes of the time. The c