A look at Spartan commemoration in the Peloponnesian War, focusing on Brasidas and the rhetoric of liberation. Brasidas was a new kind of Spartan that put freedom in the forefront, which led to Brasidas receiving more lavish commemoration but also drew Sparta into more wars.

This chapter outlines Plato’s metaphysics of artefacts on the basis of his explicit references to Ideas of artefacts in the Cratylus and Republic X, his discussion of the eidetic cosmos presented in the Parmenides and the description of the material world as a product of the divine artisan in the Timaeus. The second section presents the shortcomings of Plato’s account detected by Aristotle and addressed through artefacts: these are Plato’s failure to recognise final causes and the concept of imitation. The third section outlines the metaphysical intuitions upon which Aristotle builds by taking artefacts into account. The roots of certain metaphysical problems are not explicitly identified as Platonic, but they are arguably to be found in the Platonic corpus. These problems concern the range of things that have a form, the separation between axiology and metaphysics, the concept of real kinds and the relation between parts and whole.

The metaphysics of artefacts is increasingly gaining the attention of contemporary metaphysicians, particularly among supporters of hylomorphism, who all refer to or draw on Aristotle. However, there is no consensus about the place of artefacts in Aristotle’s ontology. Not only that, but there is no consensus as to whether Aristotle even has a single coherent account of artefacts in the first place. This book has shown that Aristotle does present a coherent and detailed account of artefacts. I shall now summarise the conclusions that have been reached in a manner that is sensitive to currently discussed issues, so as to provide a guide for the contemporary (Neo)-Aristotelian debate.

This chapter brings Sappho fr. 44V into dialogue with queer theorist Lee Edelman’s notion of reproductive futurism. As part of its represention of the wedding entourage of Andromache and Hector, Sappho fr. 44V invites us to reconsider the value of “undying fame” (aphthiton kleos) when this eminently heroic commodity is imported from martial epic into a poetic space where love, desire, and marriage overshadow military pursuits. It is argued that Sappho fr. 44V is a wedding song being queered at the very moment of its performance. It is not just not a real wedding song, and therefore a fictional wedding song – which is where those who have rejected the epithalamium hypothesis have tended to leave it. Rather, Sappho fr. 44V is a “wedding song” inverted, turned inside out.

A look at the commemoration of the Persian Wars, especially the Battle of Thermopylae, through commemorative epigrams. A comparison of Spartan commemoration with that of other Greeks, concluding that initially the Spartans did not frame Thermopylae or the Persian Wars as a struggle for Greece or freedom, but as an arena for demonstrating excellence and winning glory.

A meditation on how militaristic commemoration continues to influence attitudes towards war and increase the liklihood of more wars being fought in the future. Since the Spartans did not initially commemorate their wars as acts of liberation or altrusim, leading in the beginning to fewer rather than more wars, we should reconsider framing our wars as virtuous and selfless campaigns to help others, at least if we want wars to stop occurring.

A study of Archaic Spartan commemoration, starting with Homeric ideas and the poetry of Tyrtaeus. A look at some key commemorative events in Archaic Sparta, including Sparta’s relationship with Samos and the Messenian Wars. A consideration of the role of commemoration in Spartan religion and cult.

A brief epilogue on Sappho’s playful inversion of epic temporalities, particularly night and day, concludes the book. Finding in the alienated nocturnal rhythms and domestic scenes material from which to fashion her own songs, Sappho amplifies the queer potential of Homeric narrative. She reassembles epic elements into new patterns, finding nurturance, and a source of light – literal and metaphorical – in both the blackness of night and the banks of Acheron.

Chapter 5 argues that the identification of the form in the mind of the artisan with art amounts to ascribing it the role of efficient cause. As the chapter explains, the form in the mind of the artisan is responsible for both qualified and unqualified coming-to-be. Art is the only form that is an efficient cause, in contrast to the form inherent in the artefact. By resorting to Aristotle’s biological works, the chapter clarifies how artefacts come to lack an inner principle of their behaviour and how this is connected with their lack of an inner principle of unqualified coming-to-be. Two theses in particular are challenged. The first is that the form is transmitted from the mind to the object and, as a result, the form of an artefact is potential, because this is the status of the form in the mind in the artisan. The second thesis is that artefacts are not substances because their forms are not principles of changes. The chapter concludes with a reflection on the relation between eternity and substantiality.