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.]
What a laughing-stock would this rascal have made of me.
Quos mihi ludos redderet.
This is an allusion to the games which were exhibited among the ancients with a view to entertain the people; and also to create in them a spirit of emulation in glorious actions. Games, both in Greece and Rome, constituted a part of religious worship; they were divided into three classes, 1. what the Romans called ludi equestres, or horse, and chariot-races; 2. ludi agonales, or combats of gladiators and others, and also of beasts; 3. ludi scenici et musici, or dramatic exhibitions of all kinds, music, dancing, &c. The chief games among the Greeks were, 1. the Olympic, dedicated to Jupiter; 2. the Pythian, to Apollo; 3. the Nemæan, to Hercules; 4. the Isthmian, to Neptune; 5. the games celebrated at the observation of the Eleusinian mysteries, in honour of Ceres and Proserpine: 6. the great Panathenæa, dedicated to Minerva. Those who obtained the victory in these games, were universally distinguished; and their success reflected glory on their family, and even on the cities from whence they came; part of the wall of which was thrown down to admit them in triumph on their return. Those Athenians who were conquerors in the Olympic games, were afterwards (at their own option,) maintained at the public charge, and enjoyed various extraordinary privileges. Among the Romans, the principal games were, 1. the Ludi Romani, dedicated to Jupiter, Juno, and Minerva; 2. the Sæculares, to the deities and the fates; 3. the Consuales, to Neptunus Equestris; 4. the Capitolini, to Jupiter Capitolinus. The Romans celebrated their games chiefly in the Circus Maximus; which, as a place of entertainment, was magnificently extensive. Pliny asserts that it would contain one quarter of a million of spectators; and more modern authors have augmented that number to 380,000.