Red-figure in the context of "Clay"

Ancient Greek folklore includes genres such as mythology (Greek mythology), legend, and folktales. According to classicist William Hansen: "the Greeks and Romans had all the genres of oral narrative known to us, even ghost stories and urban legends, but they also told all kinds that in most of the Western world no longer circulate orally, such as myths and fairytales."

Specific genres of folklore have been the topic of scholarly examination, including ghostlore. For example, classicist Debbie Felton notes that "the Greeks and Romans had many folk-beliefs concerning ghosts", and highlights a variety of instances of the genre in the Classical record.

Ancient Greek comedy (Ancient Greek: κωμῳδία, romanized: kōmōidía) was one of the final three principal dramatic forms in the theatre of classical Greece; the others being tragedy and the satyr play. Greek comedy was distinguished from tragedy by its happy endings and use of comically exaggerated character archetypes, the latter feature being the origin of the modern concept of the comedy. Athenian comedy is conventionally divided into three periods; Old Comedy survives today largely in the form of the eleven extant plays of Aristophanes; Middle Comedy is largely lost and preserved only in relatively short fragments by authors such as Athenaeus of Naucratis; New Comedy is known primarily from the substantial papyrus fragments of Menander. A burlesque dramatic form that blended tragic and comic elements, known as phlyax play or hilarotragedy, developed in the Greek colonies of Magna Graecia by the late 4th century BC.

The philosopher Aristotle wrote in his Poetics (c. 335 BC) that comedy is a representation of laughable people and involves some kind of blunder or ugliness which does not cause pain or disaster. C. A. Trypanis wrote that comedy is the last of the great species of poetry Greece gave to the world.

Greek lyric is the body of lyric poetry written in dialects of Ancient Greek.Lyric poetry is, in short, poetry to be sung accompanied by music, traditionally a lyre.It is primarily associated with the early 7th to the early 5th centuries BC, sometimes called the "Lyric Age of Greece", but continued to be written into the Hellenistic and Imperial periods.

In Greek mythology, Kratos (Ancient Greek: Κράτος, lit. 'power, strength') also known as Cratus or Cratos, is the divine personification of strength. He is the son of Pallas and Styx. Kratos and his siblings Nike ('Victory'), Bia ('Force'), and Zelus ('Glory') are all the personification of a specific trait. Kratos is first mentioned alongside his siblings in Hesiod's Theogony. According to Hesiod, Kratos and his siblings dwell with Zeus because their mother Styx came to him first to request a position in his regime, so he honored her and her children with exalted positions. Kratos and his sister Bia are best known for their appearance in the opening scene of Aeschylus' Prometheus Bound. Acting as agents of Zeus, they lead the captive Titan Prometheus on stage. Kratos compels the mild-mannered blacksmith god Hephaestus to chain Prometheus to a rock as punishment for his theft of fire.

Kratos is characterized as brutal and merciless, repeatedly mocking both Hephaestus and Prometheus' advocacy against the use of unnecessary violence. He defends Zeus' oppressive rule and predicts that Prometheus will never escape his bonds. In Aeschylus' Libation Bearers, Electra calls upon Kratos, Dike ("Justice"), and Zeus to aid her brother Orestes in avenging the murder of their father Agamemnon. Kratos and Bia appear in a late fifth-century BC red-figure Attic skyphos of the punishment of Ixion, possibly based on a scene from a lost tragedy by Euripides. They also appear in late eighteenth and nineteenth-century Romantic depictions and adaptations of the binding of Prometheus.

Apollodoros was an ancient Athenian red-figure vase painter who was active in around 500 BCE. His name is found on two cups and many more are attributed to him.

"In the early 1900s scholars distinguished four stylistically distinct but closely related groups of vases, assigning them the names Apollodoros, the Epidromos Painter, the Kleomelos Painter, and the Elpinikos Painter." It was not certain whether the four names represented separate individuals or were stages in the career of one man.

The Brygos Painter was an ancient Greek Attic red-figure vase painter of the Late Archaic period. Together with Onesimos, Douris and Makron, he is among the most important cup painters of his time. He was active in the first third of the 5th century BCE, especially in the 480s and 470s BCE. He was a prolific artist to whom over two hundred vases have been attributed, but he is perhaps best known for the Brygos Cup, a red-figure kylix in the Louvre which depicts the "iliupersis" or sack of Troy.

Asteas (active between 350 and 320 BC in Paestum, Southern Italy) was one of the more active ancient Greek vase painters in Magna Graecia, practicing the red-figure style. He managed a large workshop, in which above all hydriai and kraters were painted. He painted mostly mythological and theatrical scenes. He is one of the few vase painters of the Greek colonies whose name comes down to us.

In Greek and Roman mythology, the Giants, also called Gigantes (Greek: Γίγαντες, Gígantes, singular: Γίγας, Gígas), were a race of great strength and aggression, though not necessarily of great size, known for the Gigantomachy (also spelled Gigantomachia), their battle with the Olympian gods. According to Hesiod, the Giants were the offspring of Gaia (Earth), born from the blood that fell when Uranus (Sky) was castrated by his Titan son Cronus.

Archaic and Classical representations show Gigantes as man-sized hoplites (heavily armed ancient Greek foot soldiers) fully human in form. Later representations (after c. 380 BC) show Gigantes with snakes for legs. In later traditions, the Giants were often confused with other opponents of the Olympians, particularly the Titans, an earlier generation of large and powerful children of Gaia and Uranus.