In the summer of 323, the Athenian Assembly voted to embark on the Lamian War, a somewhat impromptu attempt to liberate Greece from the Macedonian hegemony following the ominous news of Alexander’s death. According to the historian Diodorus Siculus, however, this decision was not the result of a renewed desire for freedom, but rather a consequence of the large number of citizens in the Assembly that day who had become accustomed to make their livelihood through war.1 In effect, earlier that summer, 8,000 men are said to have gathered at Cape Taenarum in the southern Peloponnese, where they were awaiting military employment – soldiers, who would soon find themselves among the ranks of passing warlords for decades to come.2

These men and their search for employment typify the sweeping military and economic changes that engulfed the eastern Mediterranean from the rise of Macedonia onwards.

The introductory chapter is framed by the story of Ergoteles, a major Panhellenic victor and the only athlete whose epinikian ode and epigram have survived to the present day. The differences and similarities in the characterization of Ergoteles in each medium prompt the book’s main question: how does place, performance mode, and genre affect the representation of athletic identity? The bulk of the introduction outlines the angelia, the proclamation of victory by a herald at an athletic event. By stressing our – and ancient audiences – inability to access the actual speech-act, the chapter reinterprets the angelia as it persists in epinikian and epigram as an allusive representation, the modification and manipulation of which lies at the core of the verse celebration of athletic victory.

While the figure of herald and the actual angelia at the athletic site sit at the beginning of athletic praise, these real figures and actual proclamations are not the only heralds and messages that find their way into epinikian song and inscribed epigram. Rather, explicit and implicit references to the figure of the herald and the angelia are frequent in both genres. This chapter examines implicit and explicit heralds and messages across epinikian song and inscribed epigram. It focuses on the figure of the herald and the message and their ability to authenticate what are, in fact, secondary and elaborated speech-acts. By attaching themselves to the voice of the herald at the Games, epinikian songs and epigrams demand that audiences take their praise seriously, as if it were the voice of herald itself in the sacred landscape of a Panhellenic sanctuary.

For paid military service to constitute wage labour, soldiers’ labour power ought to be acquired on a labour market. Such a market develops when multiple employers compete over the labour of the same pool of workers and workers can negotiate their terms of service. As argued in this chapter, during the campaign of Alexander soldiers not only leveraged their collective voice to improve their conditions of service but were also promoted up the ranks when their skill set warranted it. These phenomena laid the foundations for the development of a market for labour during the Wars of the Successors, when multiple employers had to vie for the service of the same group of soldiers. Increasingly motivated by monetary gains and not restricted by political allegiance, these soldiers enlisted with the highest bidder, thereby driving the price of military labour upwards.

From Homer to the Hellenistic period and beyond, one of the defining features of ancient Greek cultural history and its ongoing interpretation and adaptation is athletic competition. For the ancient Greeks, athletics, along with warfare, was a primary arena for the contestation of status and for the attainment of superiority and excellence. In antiquity, writers recognized the central role of athletics in Greek culture and identity: Thucydides’ Perikles stresses competitive festivals as one of the elements that make Athens an example for Greece (2.38–41); Herodotus includes common festivals in his famous definition of “Greekness” (8.144); moreover, the Persians marvel that οἳ οὐ περὶ χρημάτων τὸν ἀγῶνα ποιεῦνται ἀλλὰ περὶ ἀρετῆς (“[The Greeks] contend not for money but for arete,” Hdt. 8.26). Pindar, as frequently, puts it best: ὃς δ’ ἀμφ’ ἀέθλοις ἢ πολεμίζων ἄρηται κῦδος ἁβρόν / εὐαγορηθεὶς κέρδος ὕψιστον δέκεται, πολιατᾶν καὶ ξένων γλώσσας ἄωτον (“but he who wins luxurious glory in games or as a solider / by being praised gains the highest profit, the finest words from tongues of citizens and foreigners,” Isthm. 1.50–51).

This chapter focuses on elaborations from the categories of the angelia - the herald’s proclamation of victory - that are so productive for epinikian verse. The angelia’s utility for epinikian song goes beyond simply reinforcing authority or justifying praise. While the epinikian singer was undoubtedly provided the “facts of identity," they do not dryly report these facts; moreover, in some cases they do not report the specific “facts” of the angelia at all. “Identity,” in epinikian song’s modification of the angelia, is a subjective category, and the “facts” that relate to the victor – name, father’s name, polis, festival, and event – are not set in stone but rather creatively reworked, sometimes reimagined, and sometimes made extremely complex, in the context of song and its performance. By replacing fathers and integrating family, spinning myths derived from the victor’s polis or the festival site, and using the details of athletic practice itself as a mode of praising, the epinikian singer uses the angelia to structure his song and praise his patron (or patrons).

This chapter examines a series of athletic dedications to trace both the evolution of the epigrammatic representation of the angelia - the herald’s proclamation of victory at an athletic festival - and to define the particular characteristics of the epigram as an athletic dedication. While a continuity exists between modes of athletic verse, epigrams – as inscriptions – and epinikian songs – as choral performances – function differently and interact with different audiences. Epigrams do not, for example, use large-scale mythic narratives to bestow glory on their patrons, but they do circumscribe the movements and voices of their audiences and use the religiously and culturally important sites of their dedication to add to their meaning.