At the same time the need of such scene-shifting was largely obviated by the arbitrary placing of almost all scenes before a building, by the exclusion of interior scenes, and by the various devices substituted therefor (see pp. 237-42, above). In particular the use of the messenger’s speech enabled dramatists to bring indirectly before their audiences events which had taken place, not merely in the scene-house interior, but at far distant spots. Very commonly the unity of place was observed by conventionally bringing together as close neighbors structures or localities which would actually be separated by considerable intervals. Thus the murderers of Agamemnon would not wish his grave to stare them in the face and to remind their subjects of their crime; nevertheless in Aeschylus’ _Libation-Bearers_ palace and tomb stand side by side. Likewise in Euripides’ _Helen_, King Theoclymenus has buried his father in front of his palace. Now these arrangements are not to be interpreted in the light of the prehistoric custom of placing the dead within the house or before its threshold. It is purely a theatrical convention, and Euripides shows what he thought of it by deeming it necessary to put an excuse on the Egyptian king’s lips: Hail, my sire’s tomb!—for at my palace-gate, Proteus, I buried thee, _to greet thee so_; Still as I enter and pass forth mine halls, Thee, father, I thy son Theoclymenus hail. [Vss. 1165 ff.; Way’s translation] Many similar instances of incongruous juxtaposition in Greek drama can be cited, and those who remember the use of the continuous set in mediaeval theaters will feel no surprise. Slightly different but no less efficacious is the method of procedure in the _Persians_. For dramatic effect Aeschylus wished to introduce the ghost of Darius. But according to ancient notions on the subject ghosts do not normally wander far from their tombs, and the real grave of Darius was at Persepolis. Furthermore, under the conditions supposed the Persian elders, the royal messenger, and Xerxes himself would not naturally resort thither. Consequently, without the slightest compunction, Aeschylus transferred the dead monarch’s tomb to Susa! Sometimes the unity of place was observed by causing a character to come to a spot to which he would not naturally resort. The scene of Euripides’ _Phoenician Maids_, for instance, is laid in Thebes, and the poet wished to show a meeting of the Theban king and his brother. Since the latter is considered a traitor and the enemy of his country, is in banishment and at the head of an invading army, such a meeting in real life would almost inevitably be held between the hostile lines. Yet Polynices is forced to intrust his head to the lion’s jaws and enter the city. He expresses his own misgivings in vss. 261 ff., concluding: Yet do I trust my mother—and mistrust,— Who drew me to come hither under truce.