represented as having a harbor like Florence, Milan, Rome, etc., in Shakespeare, or as Bohemia has a seacoast in _The Winter’s Tale_. But the plays not only informed the audience where the scene was laid, but also made known the identity of the dramatic characters. It is obvious that the first character to appear would have to state his own name with more or less directness and then introduce the next character. The latter he might do (_a_) by announcing bluntly “Here comes so-and-so,” (_b_) by addressing the newcomer by name, (_c_) by himself inquiring his name and so eliciting his identity, or (_d_) by loudly summoning him out of the house or from a distance. All four of these means are actually resorted to. Now the earliest Greek plays have no prologue, but begin with the entrance song of the chorus (the parodus, see p. 192, above). Accordingly, in Aeschylus’ _Persians_ the very first words are intended to reveal the personnel of the chorus: We are the Persian watchmen old, The guardians true of the palace of gold, Left to defend the Asian land, When the army marched to Hellas’ strand. [Blackie’s translation] At the conclusion of their ode, as Atossa enters they address her as follows: Mistress of the low-zoned women, queen of Persia’s daughters, hail! Aged mother of King Xerxes, wife of great Darius, hail! [Blackie’s translation], thus removing all possibility of doubt as to the identity of the new arrival. In this connection it ought to be said that introducing an actor did not necessarily involve a proper name; often it was enough to indicate the station, occupation, or relationship of the new character. This rule applies not only to the humbler folk, such as messengers, herdsmen, nurses, heralds, etc.—in fact Sophocles usually ignored the entrance of servants, since their costume showed their position clearly enough—but it sometimes applies also to those of the highest rank, as in this instance to Atossa. Aeschylus’ earlier play, the _Suppliants_, resembles the _Persians_ in having no prologue, and so at vs. 12 of the parodus the choreutae disclose their identity by declaring that Danaus is their father. Moreover, since Danaus enters the orchestra simultaneously with the chorus, this statement serves to introduce him also, though he has no chance to speak until vs. 176. When he does speak, however, he makes assurance doubly sure by addressing the chorus as his “children.” Still again, in the fourth-century _Rhesus_, which also has no prologue, the chorus marches in and summons Hector by name from his quarters (vs. 10).