For most people, Greek and Roman drama is something laid away in mothballs. Yet when, with modern tailoring, it is taken out and worn, most people admire it. When Broadway roared last season at Jean Giraudoux's Amphitryon 38, it was really patting some forgotten Greek dramatist on the back for his Amphitryon 1. When Broadway flocked to O'Neill's Mourning Becomes Electra, it was saluting Aeschylus' Oresteia with a Down-East accent. And given practically straight, Aristophanes' lewd, witty Lysistrata proved a Broadway hit.
In a volume monumental for scholarship, yet easy to read and superbly...
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