For the next ten years we know nothing of Virgil's life, which no doubt was that of a profound student. His father had died, and his mother married again, and his patrimony was sufficient to support him until a turn of the wheel of public affairs for a moment lost, and then permanently secured his fortune. After the battle of Philippi, the first task of the victorious triumvirs was to provide for the disbanding and settlement of the immense armies which had been raised for the Civil war. The lands of cities which had taken the Republican side were confiscated right and left for this purpose; among the rest, Virgil's farm, which was included in the territory of Cremona. But Virgil found in the administrator of the district, Gaius Asinius Pollio, himself a distinguished critic and man of letters, a powerful and active patron. By his influence and that of his friends, Cornelius Gallus and Alfenus Varus--the former a soldier and poet, the latter an eminent jurist, who both had been fellow-students of Virgil at Rome--Virgil was compensated by an estate in Campania, and introduced to the intimate circle of Octavianus, who, under the terms of the triumvirate, was already absolute ruler of Italy.
It was about this time that the _Eclogues_ were published, whether separately or collectively is uncertain, though the final collection and arrangement, which is Virgil's own, can hardly be later than 38 B.C. The impression they made on the world of letters was immediate and universal. To some degree no doubt a reception was secured to them by the influence of Maecenas, the Home Minister of Octavianus, who had already taken up the line which he so largely developed in later years, of a public patron of art and letters in the interest of the new government. But had Virgil made his first public appearance merely as a Court poet, it is probable that the _Eclogues_ would have roused little enthusiasm and little serious criticism. Their true significance seems to have been at once realised as marking the beginning of a new era; and amid the storm of criticism, laudatory and adverse, which has raged round them for so many ages since, this cardinal fact has always remained prominent. Alike to the humanists of the earlier Renaissance, who found in them the sunrise of a golden age of poetry and the achievement of the Latin conquest over Greece, and to the more recent critics of this century, for whom they represented the echo of an already exhausted convention and the beginning of the decadence of Roman poetry, the _Eclogues_ have been the real turning-point, not only between two periods of Latin literature, but between two worlds.