ground, and, at the same time, prayed to the gods that his sons might perish, each by the hand of the other. Reference appears to be made to this ancient form of the tradition in the Seven (v. 787). The brothers, fearing lest their father's curse should be fulfilled, make an agreement to reign over the Theban territory in turn, each for the space of a year. Eteocles, as the elder, reigns first, and at the appointed time Polyneikes comes to demand the sceptre, which his brother refuses to resign. Polyneikes retires to Argos, and persuades Adrastos, his father-in-law, to assist him to recover the throne. Accordingly, that prince and five other chiefs, accompanied by Polyneikes, march against the Cadmeian city. With their appearance before the walls the third member of the trilogy opens.
Such, in outline, is the terrible story which ushers in "The Seven against Thebes." The first tragedy probably ended with the death of Laios, while the wrath of Œdipus, and his curse, twice pronounced against his sons, would doubtless form a principal feature of the second drama. This we may infer from the prominence given to the curse in the concluding member of the trilogy.
I cannot but think, however, that we should misread the poet did we imagine that the death of the brothers resulted from the inevitable operation of their father's curse. Eteocles, though courageous, is full of insatiable rage, and instead of yielding to the pathetic pleading of the Chorus, exults in the prospect of fratricide; while Polyneikes is represented as sharing
