Modern scholars have found some evidence that Euripides counted the lines of his characters' speeches and integrated these into a larger framework within each play. Euripides scholars might want to reconsider this evidence in the light of Plato's musical schemes.

Euripides' dramas have ot en been criticized for lacking the perfection of form associated with Sophocles and Aeschylus, and have thus had a rather variable reputation in modern times (Michelini 1987). Csapo (2004), for example, makes Euripides a champion of the New Music, which deliberately rejected the austere order and elite values of his predecessors. There is, however, a contrasting but compatible view that Euripides coupled the apparent disorder of his plays to an underlying order. The view that he was simply a sloppy or second-rate craftsmen was challenged in the 1950s by Walther Ludwig. As Anne Norris Micheleni's review of modern criticism of Euripides says, he:

Ludwig assembled evidence for three underappreciated aspects of Euripidean drama: its clarity, integrity, and arithmetical planning.