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.
[Vss. 272 f.; Way’s translation]
At vss. 357 ff. he alludes to the matter once more.