In this article, Giordano-Zecharya analyses religious themes in Seven Against Thebes, the fifth-century tragedy by Aeschylus. She argues that Eteocles and the Chorus represent a male and female religious attitude, characterized by their reciprocal and supplicatory relationships with the gods, respectively.
Giordano-Zecharya begins by noting that religiosity is interconnected with all aspects of Athenian civic life. Because tragedy is so integral to this political and cultural environment, it engages and represents in various ways the role of religion in Athens. Giordano recognizes that the assumptions made from this connection should be corroborated by evidence from non-literary sources about religion. However, she does not provide this kind of detailed background. Rather, she proceeds directly to analysis of the first scene. Here, Giordano reads Eteocles as embodying a reciprocal, ritual civic religiosity and the Chorus as representing supplicatory religious attitudes that are “described by Eteocles as negative and socially disruptive” (55).
In the prologue, King Eteocles opens the play with a rhesis (speech) addressed to the citizens of the polis. Giordano-Zecharya notes that he employs “traditional imagery of the ship, symbolizing the state, of which he proclaims himself steersman and leader” (57). In this position, Eteocles must say what is ritually appropriate: namely, protecting the polis and its gods (“πόλει τ’ ἀρήγειν καὶ θεῶν ἐγχωρίων βωμοῖσι”). Eteocles thus discharges his civic duty while demonstrating how deeply intertwined the city and its gods are. Giordano-Zecharya reads “ἐγχωρίων” (and similar adjectives like “πολισσοῦχοι” and “πολιάοχοι”) as demonstrating that the gods “form an integral and immanent part of the polis,” even “inhabiting the same landscape as men” (58).
After Eteocles’ speech, a messenger enters with news of the “seven.” In reaction to the scout’s description of the “bold leaders” (“θούριοι λοχαγέται”) and their plans to destroy Thebes, both Eteocles and the Chorus respond with a kind of prayer. Giordano-Zecharya parses Eteocles’ prayer as an εὐχή structured in three formal parts: invocation, argument, and request. He addresses the gods of the city, Zeus, Earth (Γῆ), Ares, and the Furies (Ἐρινὺς) and appeals for their assistance. This appeal reveals the reciprocal relationship between city and gods: Eteocles tells the gods that their destiny is the destiny of the polis, because “without polis they would have no cult, honor, nor ‘existence’” (60).
On the other hand, the Chorus begs the gods and goddesses to “save them from slavery” (“ἱκέσιον λόχον δουλοσύνας ὕπερ”). Their supplications are mixed with “expressions of helplessness, and sheer panic” (61). Indeed, they see no salvation in men and rely instead entirely on the power of the gods. In order to do so, they combine ritual action – ἱκετεία – and ritual speech – λιτή. Giordano-Zecherya suggests that supplication to the gods in this form is unusual, since hiketeia is normally addressed to other humans. In her analysis, supplication is reserved for when humans no longer have power. Instead of a prayer or sacrifice that involves some human agency in a reciprocal relationship with the gods, supplication involves utter desperation and self-abasement. It is this “damaging and inappropriate supplicatory modality” (64) that Eteocles opposes so trenchantly.
Giordano-Zecharya particularly draws out this opposition in the dialog between Eteocles and the Chorus. Eteocles argues forcefully that men have agency to change their circumstances – though women should remain quiet and stay at home (“τὸ σιγᾶν καὶ μένειν εἲσω δόμων”). Statements like these emphasize Eteocles’ view that the proper order – men’s reciprocal prayer with the gods – has been subverted by the female Chorus’ invasion of public space. The Chorus agrees to “restrain its wailing” (68) and Eteocles prays again for the gods to join the fray as allies. Finally, the Chorus too “transforms its laments into invocations to the gods in more reciprocal terms and with customary ritual addresses” (71). Civic order has been restored; the barbaric element has been subdued and the women have been “tamed.”
In sum, Giordano-Zecharya has thoroughly demonstrated how Seven Against Thebes highlights two contrasting religious attitudes. Her literary analysis is exhaustive, comprehensive, and persuasive. It is also quite clear and well-structured. This article raises many questions about how this one demonstration of Greek civic religion relates to broader themes in the social and political life of ancient Athens.