It has been objected against many dramatic writers, that they are guilty of great neglect in first bringing their characters on the stage, without preparing the audience for their appearance, and acquainting them with their names; and sometimes it happens that an actor has been on the stage a considerable time, before the audience know whom he is meant to personate. Terence’s art is admirably shown in this particular; a new character scarcely ever appears on the stage after the first scene, before his name, and character, and perhaps what he may be expected to say or do, is announced to the audience. For example, in the Andrian, Act I. Scene I., Simo describes the occupation and character of Davus before he appears; and names him to the audience as he comes on the stage. In Act I. Scene III., Davus introduces Mysis: in Act I. Scene IV., Mysis prepares the audience for the appearance of Pamphilus: in Act III. Scene IV., Simo announces Chremes, and Mysis is the nomenclator of Crito in the last scene of the fourth Act. This rule of preparation for the next scene was called, among the ancients, παρασκευὴ. NOTE 86. _How this rascal prates!_ _Carnifex_ quæ loquitur. _Carnifex_, or _carnufex_, means literally an executioner: this was one of the most opprobrious epithets used by the Romans. Of all their public servants, the carnifex was the lowest in rank: his office extended only to crucifixion, which was never inflicted in Rome on any but those who were considered as the very worst of criminals. The person of the carnifex was held in such abhorrence, that he was never suffered to reside in Rome, and rarely (though sometimes) permitted to enter the city. _Vide Cicero’s Oration for Rabirius._ Carnifex means literally _a butcher_; and most of the writers of later ages have used it in that sense. NOTE 87. _No: I am not Œdipus, but Davus._