From this rapid sketch, the reader will see plainly that the dismal story of Laius and Oedipus, and his children, affords materials for a whole series of tragedies; and that, in fact, “The Seven against Thebes” is only one of the last acts of a great consecutive legendary history, of which each part is necessary to explain the other. This close connection of the subjects naturally suggests the question, whether our play, as we now have it, stood alone in dramatic representation, or whether it was not only a subordinate part of a large dramatic whole. We know for certain that Æschylus wrote at least four plays, besides the present, of which the materials were taken from the cycle of this Theban legend—namely, Laius, Oedipus, The Sphynx, and the Eleusinians;[f7] and it has been not unplausibly conjectured that some of his other plays, of which the names are preserved, belong to the same series.[f8] In what precise connection, however, the existing play stood to any of the rest in actual representation, there were, till very recently, no satisfactory means of judging; and accordingly no scanty wealth of erudite speculation (after the German fashion), made to look like science, was spent upon the subject. Now, at length it has been announced, that the διδασκαλία, containing the actual order of representation of four of these plays, has been discovered;[f9] and, if the document be genuine, we are enabled to assert that, in the 78th Olympiad, Æschylus gained the tragic prize with the tetralogy, of Laius, Oedipus, The Seven against Thebes, and the Sphynx, a satiric drama.
With regard to the merits of the present piece, while its structure exhibits, in the most striking manner, the deficient skill of the early dramatists, its spirit is everywhere manly and noble, and instinct with the soul of the warlike actions which it describes. The best parts are epic, not dramatic—namely, those in which the Messenger describes the different characters and appearance of the seven chiefs posted each at a separate gate of the Cadmean city. The drama concludes with a Theban coronach or wail over the dead bodies of the self-slain brothers; for the proper relishing of which, the imaginative reproduction of some appropriate music is indispensable. The introduction after this of the Herald, announcing the decree of the Theban senate, whereby burial is denied to the body of Polynices, and the heroic display of sisterly affection on the part of Antigone, are—if this really was the last piece of a trilogy—altogether foreign both to the action and to the tone of the tragedy, and must be regarded as a blunder. If Schiller, and even Shakespere, on occasions, could err in such matters, much more Æschylus.
THE SEVEN AGAINST THEBES
Eteocles.
Ye citizens of Cadmus! he who sits
Holding the helm in the high poop of state,
Watchful, with sleepless eyes, must, when he speaks,
Speak words that suit the time. If we succeed,
The gods will have the praise; but should we fail
(Which may averting Jove from me avert,[n1]