Thus the second period is marked alike by changes in politics and society, and by a revolution in the spirit of literature. The old Homeric monarchies are broken up. Oligarchies and tyrannies take their place. To the anarchy and unrest of transition succeeds the demand for constitutional order. The colonies are founded, and contain the very pith of Hellas at this epoch: of all the great names we have mentioned, only Solon and Theognis belong to Central Greece. The Homeric epos has become obsolete. In its stead we have the greatest possible variety of literary forms. The elegiac poetry of morality and war and love; the lyrical poetry of personal feeling and of public ceremonial; the philosophical poetry of metaphysics and mysticism; the iambic, with its satire; prose, in its adaptation to new science and a more accurate historical investigation--are all built up upon the ruins of the epic. What is most prominent in the spirit of this second period is the emergence of private interests and individual activities. No dreams of a golden past now occupy the minds of men. No gods or heroes fill the canvas of the poet. Man, his daily life, his most crying necessities, his deepest problems, his loves and sorrows, his friendships, his social relations, his civic duties--these are the theme of poetry. Now for the first time in Europe a man tells his own hopes and fears, and expects the world to listen. Sappho simply sings her love; Archilochus, his hatred; Theognis, his wrongs; Mimnermus, his _ennui_; Alcæus, his misfortunes; Anacreon, his pleasure of the hour; and their songs find an echo in all hearts. The individual and the present have triumphed over the ideal and the past. Finally, it should be added that the chief contributions to the culture of the fine arts in this period are architecture, which is carried to perfection; music, which receives elaborate form in the lyric of the Dorian order; and sculpture, which appears as yet but rudimentary upon the pediments of the temples of Ægina and Selinus.