This chapter defines the terms used throughout the book to analyse prevalent patterns in literature, thought and visual art in Ancient Greece (eighth to fourth centuries bce) and corelate them with the contemporary economic and political situation. Aggregation is defined as a paratactic sequence or assemblage of otherwise unrelated items. Antithesis is defined as the symmetrical representation of opposites. Antithesis is subdivided into antagonistic or peaceful, balanced or unbalanced, focused or unfocused. These are the central terms for this book. A further category, of less importance for this purpose, is asymmetrical opposition, which is subdivided into antagonistic and balanced or antagonistic and unbalanced or non-antagonistic.

Fifth-century Greek tragedy and visual art centres on interaction between people, including antithetical relations, reflecting a society shaped by monetised exchange and commerce. Platonic metaphysics is focused on unchanging being, placing supreme value on the possession of money and devaluing or excluding exchange and interaction. Although dialogues such as the Phaedo contain the idea of the unity of opposites, and binary opposites such as body and soul, Platonic metaphysics aims at the negation of opposites, and thus of antithesis. The contrast between being and seeming emerges in fifth-century tragedy and philosophy, but it is given much greater prominence by Plato and is linked with the theory of Forms. One of the Platonic accounts of the relationship between Forms and particulars is in terms of original (Form) and copy or image (particulars). Plato is the first to offer a theorization of the idea of the image (in the Sophist) and to define the idea of mere image (not reality). Plato’s treatment of the being-seeming relation, like the theory of Forms generally, expresses the reification of the value of money, treated as the basis of possession, excluding exchange.

This chapter discusses the increasing presence of antithesis, rather than aggregation, in fifth-century Greek historiography, tragedy and vase-painting. In certain key incidents and in narrative patterns in Herodotus and Attic tragedy, we find antithesis in the form of the unity of opposites and the reversal of an apparently stable situation. This reflects the influence of mystic initiation, Pythagorean thinking (in the case of Aeschylus), and, in a broader sense, the emergence of the polis, in which social oppositions are contained within a political unit. In fifth-century Attic vase-painting and sculptural groups, there is also a progressive shift from aggregation to antithesis, paralleling the pattern found in the newly emerging genres of historiography and tragedy. This too reflects the increasing prevalence of monetary exchange and interactions within the unified framework of the polis.