Archaic Greece

Ancient Greek (Ἑλληνική, Hellēnikḗ [hellɛːnikɛ́ː]) includes the forms of the Greek language used in ancient Greece and the ancient world from around 1500 BC to 300 BC. It is often roughly divided into the following periods: Mycenaean Greek (c. 1400–1200 BC), Dark Ages (c. 1200–800 BC), the Archaic or Homeric period (c. 800–500 BC), and the Classical period (c. 500–300 BC).

Ancient Greek was the language of Homer and of fifth-century Athenian historians, playwrights, and philosophers. It has contributed many words to English vocabulary and has been a standard subject of study in educational institutions of the Western world since the Renaissance. This article primarily contains information about the Epic and Classical periods of the language, which are the best-attested periods and considered most typical of Ancient Greek.

Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi (Ξ) was used only in a subgroup of Greek alphabets, and with the common addition of Upsilon (Υ) for the vowel /u, ū/. The local, so-called epichoric, alphabets differed in many ways: in the use of the consonant symbols Χ, Φ and Ψ; in the use of the innovative long vowel letters (Ω and Η), in the absence or presence of Η in its original consonant function (/h/); in the use or non-use of certain archaic letters (Ϝ = /w/, Ϙ = /k/, Ϻ = /s/); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.

The history of the Greek alphabet starts with the adoption of Phoenician letter forms in the 9th–8th centuries BC during early Archaic Greece and continues to the present day. The Greek alphabet was developed during the Iron Age, centuries after the loss of Linear B, the syllabic script that was used for writing Mycenaean Greek until the Late Bronze Age collapse and Greek Dark Age. This article concentrates on the development of the alphabet before the modern codification of the standard Greek alphabet.

The Phoenician alphabet was consistently explicit only about consonants, though even by the 9th century BC it had developed matres lectionis to indicate some, mostly final, vowels. This arrangement is much less suitable for Greek than for Semitic languages, and these matres lectionis, as well as several Phoenician letters which represented consonants not present in Greek, were adapted according to the acrophonic principle to represent Greek vowels consistently, if not unambiguously.

Pindar (/ˈpɪndər/; Ancient Greek: Πίνδαρος Pindaros [píndaros]; Latin: Pindarus; c. 518 BC – c. 438 BC) was an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable." His poems can also, however, seem difficult and even peculiar. The Athenian comic playwright Eupolis once remarked that they "are already reduced to silence by the disinclination of the multitude for elegant learning". Some scholars in the modern age also found his poetry perplexing, at least until the 1896 discovery of some poems by his rival Bacchylides; comparisons of their work showed that many of Pindar's idiosyncrasies are typical of archaic genres rather than of only the poet himself. His poetry, while admired by critics, still challenges the casual reader and his work is largely unread among the general public.

Pindar was the first Greek poet to reflect on the nature of poetry and on the poet's role. His poetry illustrates the beliefs and values of Archaic Greece at the dawn of the Classical period. Like other poets of the Archaic Age, he has a profound sense of the vicissitudes of life, but he also articulates a passionate faith in what men can achieve by the grace of the gods, most famously expressed in the conclusion to one of his Victory Odes:

The Triptolemos Painter was an ancient Greek vase painter, belonging to the Attic red-figure style. He was active in Athens between 490 and 470 BC. His real name is not known. He started working in the workshop of Euphronios, where he was probably taught by Douris. Later, he also worked for the potters Brygos, Hieron and Python. Initially, his style was strongly influenced by Archaic art. His later works are mediocre in quality. Nonetheless, his repertoire is broad, reaching from the Apaturia procession via erotic scenes and Theban scenes to the departure of Triptolemos (his name vase).

The Catalogue of Women (Ancient Greek: Γυναικῶν Κατάλογος, romanized: Gunaikôn Katálogos)—also known as the Ehoiai (Ancient Greek: Ἠοῖαι, romanized: Ēoîai, Ancient: [ɛː.ôi̯.ai̯])—is a fragmentary Greek epic poem that was attributed to Hesiod during antiquity. The "women" of the title were in fact heroines, many of whom lay with gods, bearing the heroes of Greek mythology to both divine and mortal paramours. In contrast with the focus upon narrative in the Homeric Iliad and Odyssey, the Catalogue was structured around a vast system of genealogies stemming from these unions and, in M. L. West's appraisal, covered "the whole of the heroic age." Through the course of the poem's five books, these family trees were embellished with stories involving many of their members, and so the poem amounted to a compendium of heroic mythology in much the same way that the Hesiodic Theogony presents a systematic account of the Greek pantheon built upon divine genealogies.

Most scholars do not currently believe that the Catalogue should be considered the work of Hesiod, but questions about the poem's authenticity have not lessened its interest for the study of literary, social and historical topics. As a Hesiodic work that treats in depth the Homeric world of the heroes, the Catalogue offers a transition between the divine sphere of the Theogony and the terrestrial focus of the Works and Days by virtue of its subjects' status as demigods. Given the poem's concentration upon heroines in addition to heroes, it provides evidence for the roles and perceptions of women in Greek literature and society during the period of its composition and popularity. Greek aristocratic communities, the ruling elite, traced their lineages back to the heroes of epic poetry; thus the Catalogue, a veritable "map of the Hellenic world in genealogical terms," preserves much information about a complex system of kinship associations and hierarchies that continued to have political importance long after the Archaic period. Many of the myths in the Catalogue are otherwise unattested, either entirely so or in the form narrated therein, and held a special fascination for poets and scholars from the late Archaic period through the Hellenistic and Roman eras.

The Ode to Aphrodite (or Sappho fragment 1) is a lyric poem by the archaic Greek poet Sappho, who wrote in the late seventh and early sixth centuries BCE, in which the speaker calls on the help of Aphrodite in the pursuit of a beloved. The poem survives in almost complete form, with only two places of uncertainty in the text, preserved through a quotation from Dionysius of Halicarnassus' treatise On Composition and in fragmentary form in a scrap of papyrus discovered at Oxyrhynchus in Egypt.

Theognis of Megara (Ancient Greek: Θέογνις ὁ Μεγαρεύς, Théognis ho Megareús) was a Greek lyric poet active in approximately the sixth century BC. The work attributed to him consists of gnomic poetry quite typical of the time, featuring ethical maxims and practical advice about life. He was the first Greek poet known to express concern over the eventual fate and survival of his own work and, along with Homer, Hesiod and the authors of the Homeric Hymns, he is among the earliest poets whose work has been preserved in a continuous manuscript tradition (the work of other archaic poets is preserved as scattered fragments).

More than half of the extant elegiac poetry of Greece before the Alexandrian period is included in the approximately 1,400 lines of verse attributed to him, though several poems traditionally attributed to him were composed by others, e.g. Solon and Euenus. Some of these verses inspired ancient commentators to value him as a moralist yet the entire corpus is valued today for its "warts and all" portrayal of aristocratic life in archaic Greece.

Macedonia (/ˌmæsɪˈdoʊniə/ MASS-ih-DOH-nee-ə; Greek: Μακεδονία, Makedonía), also called Macedon (/ˈmæsɪdɒn/ MASS-ih-don), was an ancient kingdom on the periphery of Archaic and Classical Greece, which later became the dominant state of Hellenistic Greece. The kingdom was founded and initially ruled by the royal Argead dynasty, which was followed by the Antipatrid and Antigonid dynasties. Home to the ancient Macedonians, the earliest kingdom was centred on the northeastern part of the Greek peninsula, and bordered by Epirus to the southwest, Illyria to the northwest, Paeonia to the north, Thrace to the east and Thessaly to the south.

Before the 4th century BC, Macedonia was a small kingdom with its capital at Aigai, outside of the area dominated by the great city-states of Athens, Sparta and Thebes, and briefly subordinate to the Achaemenid Empire. During the reign of the Argead king Philip II (359–336 BC), Macedonia (with its capital at Pella) subdued mainland Greece and the Thracian Odrysian kingdom through conquest and diplomacy. With a reformed army containing phalanxes wielding the sarissa pike, Philip II defeated the old powers of Athens and Thebes in the Battle of Chaeronea in 338 BC. Philip II's son Alexander the Great, leading a federation of Greek states, accomplished his father's objective of commanding the whole of Greece when he destroyed Thebes after the city revolted. During Alexander's subsequent campaign of conquest, he overthrew the Achaemenid Empire and conquered territory that stretched as far as the Indus River. For a brief period, his Macedonian Empire was the most powerful in the world – the definitive Hellenistic state, inaugurating the transition to a new period of Ancient Greek civilization. Greek arts and literature flourished in the new conquered lands and advances in philosophy, engineering, and science spread across the empire and beyond. Of particular importance were the contributions of Aristotle, tutor to Alexander, whose writings became a keystone of Western philosophy.

A xoanon (/ˈzoʊ.ənɒn/ , Greek: ξόανον; plural: Greek: ξόανα xoana, from the verb Greek: ξέειν, xeein, to carve or scrape [wood]) was a wooden cult image from Archaic Greece. Classical Greeks associated such cult objects, whether aniconic or effigy, with the legendary Daedalus. Many such cult images were preserved into historical times, though none are known to have survived to the modern day, except as copies in stone or marble. In the 2nd century CE, Pausanias described numerous xoana in his Description of Greece, notably the image of Hera in her temple at Samos. "The statue of the Samian Hera, as Aethilos [sic] says, was a wooden beam at first, but afterwards, when Prokles was ruler, it was humanized in form". In Pausanias' travels he never mentions seeing a xoanon of a "mortal man".