The value of the volume under review lies mainly in the translation of the Iphigenia plays (Iphigenia in Aulis and Iphigenia among the Taurians), and the introduction effectively guides the reader to its appreciation. H. uses this to describe her approach to Euripides, the criteria and the history of her work. She finds a ‘striking realism’ in Euripides’ characterisations (p. xii). I agree, but also underline that this is not everyone's opinion. As a Classicist, I would have liked H. to have mentioned other positions. Nevertheless, a non-specialist perspective is able to make interesting observations like the one at p. xvi, where the scarce originality of many choral maxims is explained in psychological terms. This idea is perhaps not entirely acceptable, but it opens up new points of reflection.

The translation also may not be judged with the eyes of the Classicist. Therefore, the reader should not be scandalised, for example, by the almost non-existent consideration of the poor textual conditions of the Iphigenia in Aulis. H.’s text echoes the metrical form of the original through a polymetry that sometimes adheres to the precepts of English versification and sometimes deviates from them (cf. p. xx). The distinction between lyric and non-lyric sections has not been kept. It would have been easy to reproduce it by translating the latter with a stichically repeated metre. The translation, at times, runs into unhappy choices. At IA 1214–15, Iphigenia, after having stated that she does not possess the powers of Orpheus, declares that she will not express anything other than tears: τἀπ’ ἐμοῦ σοϕά, / δάκρυα παρέξω. She means that she is not able to put into practice other persuasive techniques: tears (δάκρυα) are her peculiar (cf. τἀπ’ ἐμοῦ) ability (cf. σοϕά). The translation of H., ‘only tears are mine’, trivialises the original. These cases are quite rare; happy endings are much more frequent. For example, IT 1094–5, ἐγώ σοι (i.e. ἀλκυόνι) παραβάλλομαι / θρήνους, ἄπτερος ὄρνις, is translated as: ‘Halkyon Bird, I have no wings, / but I too am a bird that sings – / I can lament as well as you’. The Chorus compares itself to a halcyon. In Euripides this operation is made explicit by παραβάλλομαι, and such a self-comparison is not devoid of parallels in modern poetry (cf. G. Leopardi, Il passero solitario 17–18, ‘Oimè, quanto somiglia / al tuo [i.e. of the sparrow] costume il mio’). In the translation by H., instead, the verb expressing the comparison is deleted. Western poetry, from the second half of the nineteenth century, tends to inhibit the analytical function of language in order to increase its suggestiveness. H. has admirably transferred ancient poetry into modern forms.

A native speaker could better judge this book, but I think I can say that it offers translations that the non-specialist will read with great pleasure. And even Classicists could enjoy it, if they abandon their professional attire.