The plot of this play revolves around a literal pot of gold that the miserly protagonist, Euclio, guards zealously. The play's ending does not survive, though there are indications of how the plot is resolved in later summaries and a few fragments of dialogue.

Can the production of foreign plays become relevant to a local audience? What is the extent of the playwright's influence on the stage directors? How does the social and cultural climate in Israel influence local productions of foreign plays? In "Between Playwright and Director: A Dialogue" the Israeli reader will find answers to all these questions and many more. Through the analysis of the Greek tragedies and the plays of Shakespeare, Ibsen, Lorca, Brecht, Beckett and Ionesco and their numerous stage realizations in Israeli public theatres since 1973 up to the present, Bilha Blum depicts the fascinating cultural encounter between the foreign and the local, so typical of the Israeli national identity. By tracing the imaginary dialogue between playwrights and directors, the book succeeds in vivifying the unique artistic language that our most accomplished directors used in staging the plays. It delves into their sources of inspiration and creative processes thus supplying its readers with the key to the mystery surrounding the classics' immortality and their interpretations. Between Playwright and Director: A Dialogue deals with social and cultural issues concerning both classic plays and Israeli performances that have never been raised before. Bilha Blum's work makes an important contribution to the study of the modern Israeli theatre.

Translation from Roman, introduction and comments by Dvora Gilula.

The lively action and well-constructed plot of the Phormio make it an ideal introduction to the Roman comic genre. While two fathers leave town for business, their sons have forbidden love affairs. The fathers leave behind a slave to watch over the boys, but for a hot meal, he helps them. One of the sons marries his lover, and the other buys her from her pimp and sets her free. Introduction and notes by Dwora Gilula.