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39 pages 1 hour read

Aeschylus

Seven Against Thebes

Fiction | Play | Adult | Published in 467

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Symbols & Motifs

Shields and Shield Devices

The devices that the seven heroes warring against Thebes wear on their shields are the most distinctive and important motif of the play. In the second episode—the so-called “Shield Scene”—the Messenger describes the shield devices of the attackers stationed at each of the seven gates of Thebes: Tydeus’s shield has a moon and stars; Capaneus’s has a naked man wielding a torch; Eteoclus’s has a man scaling a tower with a ladder; Hippomedon’s has Typhon; Parthenopaeus’s has the Sphinx; and Polynices’s has Justice leading Polynices himself back home.

Only Amphiaraus’s shield has no device, and in the world of the play this sets him apart, demonstrating that he “is best not at seeming to be such / but being so” (591-92). Indeed, while scholars have suggested various sophisticated interpretations for the devices on the shields, at least one thing is obvious: These shield devices are meant to highlight the arrogance of the attackers, who seek to call attention to their prowess by putting threatening and even blasphemous devices on their shields.

Their strategy does not work, for Eteocles is able to deflect the dangers represented by the ill-omened shields of the attackers by pairing each of the seven with a suitable champion from Thebes. Eteocles’s Theban champions serve an “apotropaic” function, neutralizing the threat represented by their opponents by their personal qualities but also, at least in some cases, by the devices on their own shields. Zeus on Hyperbius’s shield, for example, is stronger than Typhon on Hippomedon’s shield.

The Ship of State

In ancient Greek literature, ships and seafaring were a commonplace metaphor for the governance of a state. This metaphor runs throughout the play, with Eteocles’s role as ruler of Thebes likened to that of a ship’s helmsman or captain. In the very first lines of the play, Eteocles compares himself to a navigator “who watches over the progress of the ship / and guides the rudder, his eye not drooped in sleep” (3-4). The Messenger similarly compares Eteocles to “the skillful captain of a ship” (62) as he defends the city from the war, the “blast of Ares” that “strikes [the town] in storm” (63-64).

Later, Eteocles returns to the metaphor of the “ship of state” when he reproaches the Chorus for spreading panic, asking them if a frightened sailor who abandons his post to run around the ship can “find any device for safety / when his vessel is foundering in the sea waves” (209-10). Amphiaraus, forced to join forces with bad men in attacking Thebes, is likened to “a pious man, going on board / as shipmate of a crew of criminals” (602-3). Finally, after the war is over, the Messenger is able to announce, “Our city’s in smooth water now; though buffeted / by many assaults of the waves, it shipped no sea” (795-96)—though of course, the metaphorical helmsman Eteocles died in the metaphorical storm.

The Curse of Oedipus

At some point before the beginning of the play, Oedipus placed a curse on his sons, Eteocles and Polynices. This curse has a significant role in driving the action of the play, forming one of its motifs. What exactly the curse was—and why Oedipus placed this curse on his sons—is never explicitly explained in the play, but it seems to have somehow condemned the brothers to fight over their inheritance and to split their possessions with “a Chalyb, Scythian colonist / a bitter divider of possessions” (728-29) and “with hammered iron of Scythia” (819).

All the characters of the play dread the curse and repeatedly invoke it, creating an atmosphere of foreboding from early on. Eteocles, for instance, prays not only to the gods but also to the “mighty curse / the fury of my father” (70) to save Thebes. When Eteocles goes out to fight his brother, he sees this battle as the consequence of his family’s hereditary misfortunes but also as the final fulfillment of the Curse of Oedipus, “the hateful black / curse” (694-95) that “fanned the blast” (709) of the brothers’ hate for one another. For the Chorus, similarly, it is “the Fury invoked by a father’s curse” who more than any other god “compasses destruction of the house” (721-22) and who “is bringing those wishes to fulfilment” (791). When Eteocles and Polynices kill each other, this is taken as evidence of the strength of the curse.

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