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In 1967 at Yale, he brought in Jonathan Miller to direct Robert Lowell’s radical reworking of Aeschylus’ “Prometheus Bound.”

It has produced Euripides’ “The Bacchae” in rural communities affected by the opioid crisis, “The Madness of Heracles” in neighborhoods afflicted by gun violence and gang wars, and Aeschylus’ “Prometheus Bound” in prisons.

And when we remember his public fallout, in perfect coincidence with the explosion of Internet news aggregators and the unprecedented appetite for salacious content fueled by social media, it’s hard not to think of Tiger as Prometheus, bound to a rock for his transgression while an eagle comes to pick at his liver every day.

As a young woman, Elizabeth Barrett Browning made a melancholy, stuffy, diligently rhyming translation of Prometheus Bound – a play that presumably spoke deeply to this immobilised invalid – and returned to the play 23 years later to create a far more expansive and fluent version.

In “Prometheus Bound,” written in the fifth century B.C., we are told that Themiscyra is the home of the Amazons, “who loathe all men.”