In his tragedies, on the other hand, he was apt to lead off with a crisp, somewhat startling passage of more or less vehement action, appealing rather to the nerves than to the intelligence such a passage as Gustav Freytag, in his Technik des Dramas, happily entitles an einleitende Akkord, an introductory chord.
He conceived the form anew. "Mir heiszt Symphonic," he is reported to have said, "mit allen mitteln der vorhändenen Technik mir eine Welt aufbauen." He conceived the form particularly with reference to the being, the exigencies, the frame, of the modern concert hall. He realized that the shortness of the classic symphonies handicaps them severely in the present day.
Some idea of the importance of these developments and of the scale on which they were exploited in the later campaigns of the war can be obtained by briefly examining the German plans for the use of gas in their 1918 offensive, and their execution: Die Technik im Weltkriege tells us: "During the big German attacks in 1918, gas was used against artillery and infantry in quantities which had never been seen before, and even in open warfare the troops were soon asking for gas."
Giving the Germans every credit for their technical and military efficiency, some months must have been occupied in establishing and training the special companies required, and in arriving at a satisfactory design for the discharge appliances. Schwarte's book, Die Technik Im Weltkriege, tells us "specially organised and trained troops" were required for the purpose.
When surprise was complete artillery retaliation was very late in developing. This gives a faint idea of the elaborate preparations required. They must have been doubly arduous and lengthy on the very first occasion of cloud gas attack. Die Technik Im Weltkriegre. Publisher: Mittler, Berlin, 1920. German Opinion of Results.
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.