Not to sluggish ears, Prometheus, Hast thou spoken thy desire; From our breeze-borne seat descending, With light foot we greet the ground. Leaving ether chaste, smooth pathway Of the gently winnowing wing, On this craggy rock I stand. [Blackie’s translation] Here again there is no need of supposing that the choral car does not rest solidly upon the ground. Its aërial motion is entirely off-scene. Even at a later period, when more sophisticated devices were available, the gods still continued on occasion to use strictly terrestrial means of locomotion and to stand in the orchestra on a level with purely human characters. For example, in Sophocles’ _Ajax_, Athena appears before the tent of that hero and converses first with Odysseus and then with Ajax. In Euripides’ posthumous _Bacchanals_, Dionysus is seen _in propria persona_ before the house of Pentheus and afterward (in disguise) enters and departs from its portals. Still again, in the pseudo-Euripidean _Rhesus_, which is usually regarded as a fourth-century production, Athena comes before Hector’s tent to advise and encourage Odysseus and then to deceive Paris (cf. especially vss. 627 f.). On the contrary, the words of the chorus in vss. 885 f. of this play show that the Muse appears above their heads. Thus it is an error to think that the more primitive methods of presenting divinities were entirely superseded by later ones; the different methods existed side by side and might even be used in the same play.