We have referred elsewhere to Aristotle’s pronouncement in his Poetics on the role of the chorus in tragedy: ‘the chorus must be regarded as one of the actors; being part of the whole, it should take part in the action (sunagonízesthai), not as in Euripides, but as in Sophocles’. In the wake of this famous normative statement it is often said that the chorus of Euripides’ tragedies no longer played the central role it had played in those of Sophocles. According to Aristotle the tragic poet Agathon had been the first to turn the chorus’ interventions into mere musical intermezzos or embólima, and many have ascribed the same tendency to Euripides. If there is one play of Euripides that does not justify this belief it is his second Hippolytus. This play shows the master tragedian at the apex of his poetic career.