The Aeolic settlers of Lesbos and Cyme, pushing eastwards by Larissa and Neonteichus and over the Hermus, seized the valley of Smyrna.
Some regard the legend as a chthonian myth, Aea (Colchis) being the under-world in the Aeolic religious system from which Jason liberates himself and his betrothed; others, in view of certain resemblances between the story of Jason and that of Cadmus (the ploughing of the field, the sowing of the dragon's teeth, the fight with the Sparti, who are finally set fighting with one another by a stone hurled into their midst), associate both with Demeter the corn-goddess, and refer certain episodes to practices in use at country festivals, e.g.
There are doubtless many Homeric forms which were unknown to the later Ionic and Attic, and which are found in Aeolic or other dialects.
At the period in question an Aeolic literature, the lyrics of Sappho and Alcaeus, were in existence.
Of the poetical aorists in Attic the larger part are also Homeric. Others are not really Attic at all, but borrowed from earlier Aeolic and Doric poetry.
Certain prominent historical differences between Aeolic and Ionic (the digamma and a) are known to be unoriginal.
Smyrna, originally an Aeolic colony, was afterwards occupied by Ionians from Colophon, and became an Ionian city, - an event which had taken place before the time of Herodotus.
It is therefore not surprising that the Aeolic element grew weaker; strangers or refugees from the Ionian Colophon settled in the city, and finally Smyrna passed into the hands of the Colophonians and became the thirteenth of the Ionian states.
It has been thought indeed that the Homeric dialect was a mixed one, mainly Ionic, but containing Aeolic and even Doric forms; this, however, is a mistaken view of the processes of language.
SAPPHO (7th-6th centuries B.C.), Greek poetess, was a native of Lesbos, contemporary with Alcaeus, Stesichorus and Pittacus, in fact, with the culminating period of Aeolic poetry.