made their appearance in this way during the fifth century. It would be unsafe, therefore, to infer anything from these spectral apparitions concerning the structure of the early theatre. Again, there are those scenes in which the chorus might be expected to enter the palace, but fail to do so. For instance, when Medea’s children are being murdered, and call out for help, the chorus, after proposing to rush to their assistance, eventually remain where they are and sing an ode.[523] But it is unnecessary, in this and in similar cases, to explain their inaction by supposing that there was any difficulty in passing from the orchestra to the palace because of the stage which lay between. A sufficient reason is to be found in the fact that, if they had gone into the palace, the scene of action would have been left empty. It will be best to disregard all evidence of this inconclusive kind, and to confine our attention to those points which really throw light upon the question as to the relative position of actors and chorus during the fifth century. The following facts seem to be established. It is evident that the chorus sometimes entered and sometimes departed through the back-scene. Instances are not very common; there are only about six in the extant dramas.[524] Still, they undoubtedly occur. It is evident, too, that the actors sometimes entered by the orchestra. They must have done so when they entered along with the chorus, and they probably did so when they entered in chariots or wagons.[525] This gives us about seven instances where the actors came in by the orchestra. They may have done so much more frequently. This is a point which will be considered later on. But these seven cases are the only ones for which there is any convincing evidence. On the other hand, it was a common thing for actors and chorus to depart together through the orchestra. Many plays end in this way, such as the Eumenides and the Septem. In Aristophanes it is a favourite form of conclusion for actors and chorus to go off through the orchestra in a joyful procession.[526] The general result then is this, that it was plainly permissible in the fifth century for the chorus to enter or leave by the back-scene, and for the actors to enter or leave by the orchestra; though the last of these practices is the only one of which there are many certain examples. But when we pass on from these entrances and exits, and look at the rest of the play, we find that it is very unusual, during the course of the action, for the chorus to come on the stage, or for the actors to go into the orchestra. The instances in which, apart from entrances and exits, the actors and the chorus can be shown to have come into close physical contact with one another, are remarkably few. We may mention, as examples, the scene in which the chorus tries to prevent Creon from seizing Antigone, and the scene where the farmers mount the stage to draw the statue of Peace out of the well.