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A study of the last drama of Aeschylus' trilogy concerned with the fortunes of the house of Laius that ends with the story of Oedipus' sons, the enemy brothers, who self-destruct in mutual fratricide but thereby save the besieged city of Thebes. The book's findings, however, far exceed these limits to explore the relationships between language and kinship, as between family and city, self and society, and Greek ideas about the nature of human development and identity.
This volume brings together a group of interdisciplinary experts who demonstrate that Aeschylus’ Seven Against Thebes is a text of continuing relevance and value for exploring ancient, contemporary and comparative issues of war and its attendant trauma. The volume features contributions from an international cast of experts, as well as a conversation with a retired U.S. Army Lt. Col., giving her perspectives on the blending of reality and fiction in Aeschylus’ war tragedies and on the potential of Greek tragedy to speak to contemporary veterans. This book is a fascinating resource for anyone interested in Aeschylus, Greek tragedy and its reception, and war literature.
Aeschylus (525-456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the final defeat of Persia in the battle of Salamis, through the eyes of the Persian court of King Xerxes, becoming a tragic lesson in tyranny. In Prometheus Bound, the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus, while The Suppliants relates the pursuit of the fifty daughters of Danaus by the fifty sons of Aegyptus, and their final rescue by a heroic king.
Aeschylus was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. Only seven of his estimated seventy to ninety plays have survived into modern times. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work.
Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae, the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig’s annotated translation of Aeschylus' Seven Against Thebes, Euripides' Suppliants, and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays—those dealing with the war between Oedipus’ sons, its casualties, and survivors.
Aeschylus (ca. 525-456 BCE), the dramatist who made Athenian tragedy one of the world's great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The third volume of this edition collects all the major fragments of lost Aeschylean plays.
The third and final play in Aeschylus' Oedipodea trilogy, Seven Against Thebes is the only one of the three plays that has survived intact to this day. During the course of the action-packed play, seven would-be usurpers storm the city's gates in a series of brutal attacks. Will the family -- still weakened by the curse put on its patriarch, Oedipus -- be able to marshal the strength to fight back?