Pausanias mentions several oracles and temples of Apollo in Greece and Asia Minor--one obscure local manifestation of the god he naturally enough omitted, but a fellow-citizen of the god preserves it. "It was in obedience to him, the god of my land, that I undertook this treatise. He often urged me to it, and in particular appeared visibly to me (_enargos epiotanti_),[63] since I knew thee, and all but ordered me to write all this. No wonder that the Daldian Apollo, whom we call by the ancestral name of Mystes, urged me to this, in care for thy worth and wisdom, for there is an old friendship between Lydians and Phoenicians, as they tell us who set forth the legends of the land."[64] So writes Artemidorus to his friend Cassius Maximus of his treatise on the scientific interpretation of dreams--a work of which he is very proud. "Wonder not," he says, "at the title, that the name stands Artemidorus Daldianus, and not 'of Ephesus,' as on many of the books I have already written on other subjects. For Ephesus, it happens, is famous on her own account, and she has many men of note to proclaim her. But Daldia is a town of Lydia of no great renown, and, as she has had no such men, she has remained unknown till my day. So I dedicate this to her, my native-place on the mother's side, as a parent's due _threpteria_."[65] Marcus Aurelius records his gratitude "that remedies have been shown to me by dreams, both others, and against blood-spitting and giddiness."[66] Plutarch, Pausanias, Aristides--dreams {226} come into the scheme of things divine with all the devout of our period. Artemidorus is their humble brother--not the first to give a whole book to dreams, but proud to be a pioneer in the really scientific treatment of them--"the accuracy of the judgments, that is the thing for which, even by itself, I think highly of myself."[67] The critic may take it "that I too am quite capable of neologisms and persuasive rhetoric (_ehuresilogein kai pithaneuthai_), but I have not undertaken all this for theatrical effect or to please the speech-mongers; I appeal throughout to experience, as canon and witness of my words," and he begs his readers neither to add to his books nor take anything away.[68] His writing is, as he says, quite free from "the stage and tragedy style."