But in the Greek theater, where there was no drop curtain, no scenery to shift, and a chorus almost continuously present, a change of scene was difficult to indicate visually. Nevertheless Aristotle nowhere mentions the unity of place, and the Greek dramatists not infrequently violate it. The most familiar instances occur in Aeschylus’ _Eumenides_ and Sophocles’ _Ajax_. The former play opens at the temple of Apollo in Delphi, whither the avenging Furies have pursued Orestes after his mother’s murder. During a momentary lapse from their watchfulness Orestes makes his escape, but the Furies soon awaken and take up the trail once more. The scene is thus left entirely vacant (vs. 234) and is supposed to change to Athens, where all parties presently appear for the famous trial before the Council of the Areopagus. The beginning of the latter play takes place before Ajax’ tent, and Sophocles wished to introduce the very unusual motive of having a scene of violence enacted before the audience. As the presence of the chorus was an insuperable obstacle to such a deed, Ajax was allowed to leave the scene and, suspicion being soon aroused, the chorus was sent in search of him (vs. 814). Thus, the scene is again entirely deserted by both actors and chorus, and Ajax returns, not to his tent, but to some lonely spot near the seashore (see pp. 129 and 244, above). This was by far the most natural and logical method of leading up to a change of scene, was infinitely superior to Shakespeare’s practice in _King Henry V_, where Chorus is introduced in the prologue of each act to acquaint the spectators with the scene of the succeeding action, but was so difficult to motivate that only some half a dozen examples are known to us in the whole Greek drama. On the other hand, such a technical device was usually not well adapted to represent considerable shifts of scene, since it would seem unnatural for so large a body of persons as the chorus always to accompany the dramatic characters to widely separated localities. To this general restriction, however, the _Eumenides_ furnishes a brilliant exception, because it was the especial duty of the Furies to track the guilty Orestes wherever he might flee. In Old Comedy, ever fantastic and intentionally impossible, greater freedom was naturally allowed than in tragedy, so that in Aristophanes’ _Frogs_ no less than five different scenes are successively required (see pp. 88-90, above).