The Dyskolos was written by the playwright Menander in Greece during the Hellenistic period(around the time of the worldwide reign of Alexander the Great and his successors), a period which is not easily defined insofar as when it begins and ends. However, all scholars tend to agree that the artistic output during the Hellenistic period is characterized by extreme pathos, originality, and realism.

Menander's vibrant and funny play, being no exception to the definition above, is a Comedy of Manners, an ensemble production with a lot in common with the zany skits of Saturday Night Live and sharp sitcoms like Seinfeld and Married with Children. The main character, an old hardworking farmer named Knemon (he is The Dyskolos, which translates from Greek into something like crumudgeon or bad-tempered) is forced to abandon his life of hard-work and solitude when his daughter Myrrine (a Juliet with no lines) falls in love with a rich kid (a buff Romeo) down the corner. What follows is nothing less than a wonderfully enjoyable screwball comedy. You'll have fun reading it while you giggle.

The nifty colorful style and comfortable feel of the book is also quite attractive, as it always distinguishes itself from other books on the bookshelf, even though the book, containing text coupled with introduction and endnotes, is only about 100 pages long.

Browsing through Moulton's other titles, I noticed his special interest in music, and his Dyskolos also contains postulations describing the type of music the Greeks played during the interludes of these plays; Moulton also explains in his preface why he wrote his translation in meter, pointing out in his preface that Menander was first and foremost a Greek poet who wrote all of his plays in verse, just as the Greek dramatists Aeschlyus, Sophokles, and Euripides had done so before him.

And Menander,writing in the tradition of those great Greek writers before him, possesses eloquence equal to the Athenian tragedians, although he seems to have eschewed their lofty and formal dialogue in favor of a more everyday style which seems to mirror the colloquial diction of the street and marketplace.

Books like this deem the classics irresistible.

I do not write in englis

Whip through a couple of these short plays and fragments by the father of Greek New Comedy, and you'll see just how much our more modern formats are indebted to him: the American sit-com, the romantic comedy, etc. Menander manages much less simplistic resolution at the end of his plays, though, and it's too bad that this trend hasn't endured as well as the penchant for the "happily ever after" that we face at the close of every Julia Roberts movie.

The plays themselves are marvelous. In "Old Cantankerous," the grumpy title character stands in the way of a love between two of the play's characters, until the plot sends him down a well. His rescuer is, of course, the man who wants the old curmudgeon's daughter's hand in marriage, and they make up and all's well. "The Girl from Samos" is funnier, with a baby mix-up that leads first to the normal questions of the father's identity, but then to far less normal questions about the mother's identity.

Miller's introduction is exceptional, and I was especially appreciative of it, since I am not a classicist. She provides enough background to initiate even the casual reader, and in a manner that is both humorous and accessible. She explains what can be explained and accounted for, and freely admits to what is pure conjecture; since Menander's plays survive only in fragments, and since we don't know all of the concrete facts of his life, Miller's candor is welcome and helpful.

The only thing I found off-putting was the translation. It is not only VERY contemporary, but VERY British. While I can understand the urge to place things in a more familiar setting--an easy way to remind people that great drama is always timely--some of the dialogue sounds lifted from "Chariots of Fire" or even "Goodbye Mr. Chips." That is, it sounds very early twentieth century British, and I spent a lot of time while reading trying to figure out why (I'm still stumped). Phrases such as "There's a good chap," and explicit references to "Picadilly Circus" just didn't seem to mesh with plays that are Greek and a couple thousand years old.

Still, you could a lot worse than spend $12 on a fine collection and very readable rendition of some of the very foundations of comic form in Western literature.

I'm a Classical Civilisations student at Leeds University in England and this book is one of many that I have to read for my course. Menander was said to be "second only to Homer" and it is clear why this statement was made in this translation by Norma Miller. This book contains all but two of the fragments found of Menander. Old Cantankerous really stands out as a superb piece of literary genius, although this isnt to say that the rest of the book isnt an equally great piece of work. This book contains fragments of Menander's work as this is all that has been found of this magnificent writers accomplishments, if you are interested in classical drama then this book is definetley worth considering.

I'm a Classical Civilisations student at Leeds University in England and this book is one of many that I have to read for my course. Menander was said to be "second only to Homer" and it is clear why this statement was made in this translation by Norma Miller. This book contains all but two of the fragments found of the ancient writer and as such is a marvel to read for anyone interested in classical drama. Old Cantankerous really stands out as a superb piece of literary work and could take pride of place on anyone's book shelf. Although some of his plays are fragmentary and are therefore not always complete, Menander's writing style is both gripping and humerous and keeps the reader enthrawled throughout their classical experience.

This book, following the modern trend towards "relating to the people" loses all overview of Menander. Upon reading this book, one does not ask himself the age-old question, "Does Menander imitate life, or does life imitate Menander?"