Editing Seven Against Thebes (play) (section)

==Critical reception==
Translators David Grene and Richmond Lattimore wrote that "the rise of [[Romanticism#Germany|German Romanticism]], and the consequent resurgence of enthusiasm for Aeschylus' archaic style and more direct and simple [[dramaturgy]]," resulted in the elevation of ''Seven Against Thebes'' as an early masterpiece of Western drama.<ref>{{cite book|url=https://books.google.com/books?id=zpNDUYAjfpIC|title=Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound|page=68|author=Aeschylus|translator1-last=Grene|translator1-first=David|translator2-last=Lattimore|translator2-first=Richmond|publisher=University of Chicago Press|date=2013|isbn=978-0226311456}}</ref> From the nineteenth century onwards, however, it has not generally been regarded as among the tragedian's major works. Translators [[Anthony Hecht]] and [[Helen H. Bacon]] wrote that the play "has been accused of being static, undramatic, ritualistic, guilty of an interpolated and debased text, archaic, and in a word, boring," though they themselves disagree with such a description.<ref>{{cite book|url=https://books.google.com/books?id=hNbSHj97mLUC|title=Seven Against Thebes|page=3|author=Aeschylus|translator1-last=Hecht|translator1-first=Anthony|translator2-last=Bacon|translator2-first=Helen S.|publisher=Oxford University Press|date=1991|isbn=0198020155}}</ref>