Seven Against Thebes (Ancient Greek: Ἑπτὰ ἐπὶ Θήβας, Hepta epi Thēbas; Latin: Septem contra Thebas) is the third play in an Oedipus-themed trilogy produced by Aeschylus in 467 BC.

The seven attackers and defenders in the play are: The mytheme of the "outlandish" and "savage" Seven who threatened the city has traditionally seemed to be based on Bronze Age history in the generation before the Trojan War,[5] when in the Iliad's Catalogue of Ships only the remnant Hypothebai ("Lower Town") subsists on the ruins of Thebes.

"To call one of them Eteoklos, vis-à-vis Eteokles the brother of Polyneikes, appears to be the almost desperate invention of a faltering poet"[7] Burkert follows a suggestion made by Ernest Howald in 1939 that the Seven are pure myth led by Adrastos (the "inescapable") on his magic horse, seven demons of the Underworld; Burkert draws parallels in an Akkadian epic text, the story of Erra the plague god, and the Seven (Sibitti), called upon to destroy mankind, but who withdraw from Babylon at the last moment.

Burkert adduces a ninth-century relief from Tell Halaf which would exactly illustrate a text from II Samuel 2: "But each seized his opponent by the forelock and thrust his sword into his side so that all fell together."

A particularly gruesome detail from the battle, in which Tydeus gnawed on the living brain of Melanippos in the course of the siege, also appears, in a sculpted terracotta relief from a temple at Pyrgi, ca.

"[10] Translators David Grene and Richmond Lattimore wrote that "the rise of 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.

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.