_Cicero_ also confirms the assertion of Catullus, “Ut apud Græcos Dianam eamque Luciferam, sic apud nostros _Junonem Lucinam_ invocant.” As the Greeks call upon Diana Lucifera, so we call upon the same goddess by the names of Juno Lucina. Diana was almost universally worshipped in Greece, where many magnificent temples were erected in her honour: amongst which, was that of Ephesus, reckoned one of the wonders of the world. Of this magnificent structure, the ruins may now be seen near Ajasalouc in Natolia. The temple was purposely burned by Eratorastus, who adopted this mode of perpetuating his name. The Greek festivals celebrated in honour of their imaginary deities were almost innumerable: and those dedicated to Diana, shew the high estimation in which she was held. A surprising number of festivals were celebrated in honour of this goddess, in various parts of Greece. The following are the names of the chief of those held in Athens, Τεσσαρακοστὸν, Μουνυχία, Θαργήλια, Λιμνατίδια, Ἀρτεμίσια, Βραυρώνια, Ἐλαφηβόλια. _Vide_ Athen., Δειπνοσο, B. 14. NOTE 144. _Why, Davus, your incidents are not well timed at all, man._ “Non sat commode Divisa sunt temporibus tibi, Dave, hæc.” Another allusion to the drama: Simo compares Davus’s supposed plot to a comedy, and Davus the contriver of it he calls _magister_, which was the title of the person who instructed the actors in their parts, or perhaps the title of the author. Simo accuses Davus of bringing forward his catastrophe too soon, and asks him whether the actors in his piece (_discipuli_) had forgotten their parts. Ancient dramatic writers were very strict in adhering to their rules of composition. According to Vossius, the ancients divided a comedy into three parts: 1. _protasis_, 2. _epitasis_, 3. _catastrophe_. The _protasis_ occupied Act I., and was devoted to the explanation of the argument. The _epitasis_ took up Act II. III. IV., contained the incidents, and wrought up the mind to a degree of interest, taking care to leave it _in doubt_; which brought on the catastrophe, which unravelled and cleared up the whole; and is defined by _Scaliger_ thus, “_conversio negotii exagitati in tranquillitatem non expectatam_:” _a sudden changing of the hurry and bustle of action into unexpected tranquillity_. The same learned critic adds a fourth part to the before-mentioned three, which he calls _catastasis_, and places immediately before the catastrophe: he defines the catastasis as follows, “_vigor ac status fabulæ, in qua res miscetur in ea fortunæ tempestate, in quam subducta est_:” _that liveliness and issue of the plot, in which the various incidents are mixed up in such a commotion of fortune as to be in a proper state to be brought down to the catastrophe_. NOTE 145.