A speech by Isaeus allows us to observe in detail a family chorus caught up in the turmoil of the Athenian civil war. It is at its heart that the heroine of this chapter, Hegeso, lived for most of her life. “Hegeso (daughter) of Proxenus”: her name is engraved on a beautiful funerary monument located in the Kerameikos Cemetery. A woman alone, whose portrait is on display in a public space, without any male presence: It’s a rare enough occurrence that we may be tempted to think this stele is an exceptional document testifying to a particular form of recognition not of womankind, but of an individualized woman. However, this would be wrong. For the very name of Hegeso can only be established through interaction with the other funerary monuments nearby, and this tends to erase the singularity of her presence by confining her to the role of the model wife. Above all, Hegeso finds herself at the crossroads of a family feud between two branches of the family of Proxenus, her father, caught up in the events of 404/3. Far from constituting a zone of withdrawal and intimacy, families were rife with political conflicts. The memorial of Hegeso nevertheless exhibits the harmony of the family sphere in the form of two half-choruses singing in tune: the regulated game of exchanges from which marriage proceeds, as well as the regulated gender divisions within it. Celebrating the fixity and the permanence of family lineage, this portrayal masks, or staves off, political turbulence by presenting the oikos as existing in an unchanging temporal space: that of its cyclic reproduction from one generation to the next.