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On the other hand, Vergil's master, while he affirms the causal nexus for the governance of the universe: nec sanctum numen fati protollere fines posse neque adversus naturae foedera niti See especially Heinze, Vergils Epische Technik, 290 ff., who interprets Zeus as fate; Matthaei, Class. Quart. 1917, pp. 11-26, who denies the identity; Drachmann, Guderne kos Vergil, 1887; MacInnis, Class.
On the question of authenticity, see Drachmann, loc. cit. Vollmer, Sitz. Bayer. Akad. 1907, 335, and Vergil's Apprenticeship, Class. These are but a few of the minor details that show Vergil in his youth a close reader of Catullus, and doubtless of Calvus, Cinna and Cornificius, who employed the same methods.
At the top of this Etruscan tomb stands a fine bronze allegorical group the Goddess of Victory in her car, drawn by prancing horses fitting memorial to this greatest of northern sculptors. Holger Drachmann was the son of a physician, and quite early in life became a man of letters. Following the profession of an artist, he became a very good marine painter.
At the Thalia Theatre, Raupach's The School of Life was being produced, a lot of silly stuff, the theme of it, for that matter, allied to the one dealt with later by Drachmann in Once upon a Time. A Princess is hard-hearted and capricious. To punish her, the King, her father, shuts a man into her bedroom, makes a feigned accusation against her, and actually drives her out of the castle.
Never was he seen without his hands behind him, and the poet Holger Drachmann started a theory that as Ibsen could do nothing in the world but write, the Muse tied his wrists together at the small of his back whenever they were not actually engaged in composition. His regularity in all habits, his mechanical ways, were the subject of much amusement.
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