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Daily Life of the Ancient Greeks

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292 <strong>Daily</strong> <strong>Life</strong> <strong>of</strong> <strong>the</strong> <strong>Ancient</strong> <strong>Greeks</strong><br />

192 A<strong>the</strong>nians who died at <strong>the</strong> battle <strong>of</strong> Marathon, here shown as<br />

<strong>the</strong> heroized dead.<br />

Conclusions<br />

Greek artists were constantly learning new artistic techniques<br />

and addressing new problems. As a consequence, even in <strong>the</strong><br />

absence <strong>of</strong> an archaeological context that would enable us to date<br />

a given artifact with chronological exactitude, we are <strong>of</strong>ten able<br />

to situate it to within a single decade. Coupled with this inherent<br />

innovativeness, however, was an inherent conservatism. For<br />

instance, although <strong>the</strong> different orders <strong>of</strong> architecture underwent<br />

refinement over <strong>the</strong> centuries, <strong>the</strong> temple remained <strong>the</strong> preferred<br />

medium <strong>of</strong> architectural expression. Similarly, <strong>the</strong> human body<br />

served throughout Greek antiquity as <strong>the</strong> focus for all sculptural<br />

and pictorial endeavor.<br />

The Greek world did not foster artistic movements in <strong>the</strong> modern<br />

sense <strong>of</strong> <strong>the</strong> term. Nor did artists utilize <strong>the</strong>ir skills to make a personal<br />

statement. At all periods <strong>of</strong> history <strong>the</strong>ir level <strong>of</strong> achievement<br />

was remarkably uniform. They have bequea<strong>the</strong>d to us remarkably<br />

few bad or even indifferent works <strong>of</strong> art. Even in <strong>the</strong>ir poorest productions,<br />

it is generally <strong>the</strong> taste ra<strong>the</strong>r than <strong>the</strong> technical accomplishment<br />

that is deficient. Clearly artists were intimately familiar<br />

with one ano<strong>the</strong>r’s work and saw <strong>the</strong>mselves as participants in a<br />

collective enterprise. Not <strong>the</strong> least distinctive feature about Greek<br />

art is its broad and undeviating acceptance <strong>of</strong> society’s expectations<br />

<strong>of</strong> what constitutes art.<br />

MYTHOLOGY<br />

On <strong>the</strong> side panel <strong>of</strong> any cereal box, consumers might be enlightened<br />

about <strong>the</strong> differences between what <strong>the</strong> cereal maker calls<br />

myth on <strong>the</strong> one hand and fact on <strong>the</strong> o<strong>the</strong>r, in regard to <strong>the</strong> perennially<br />

fascinating subject <strong>of</strong> how to lose weight. Under <strong>the</strong> heading<br />

<strong>of</strong> myth might be claims that carbohydrates are fattening, that one<br />

does not need to exercise, and that one can eat as much diet food as<br />

one wants. Myth, in <strong>the</strong> sense that it is applied here, is synonymous<br />

with a fiction or falsehood that commands widespread assent but<br />

has no basis in fact. Mythos, from which <strong>the</strong> word myth is derived,<br />

however, carried no such negative connotation for <strong>the</strong> <strong>Greeks</strong>. Its<br />

basic meaning was word, speech, or story. Even in <strong>the</strong> sense <strong>of</strong> a<br />

story, mythos did not signify or imply a fiction. On <strong>the</strong> contrary, it

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