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Book Ten<br />

poet of the Iliad's attitude towards extreme violence (see Segal, Mutilation<br />

9-17), but that is violence between fighting men; we need not weep over<br />

the demise of the humble and unwarlike Dolon. His death was quick, and<br />

in an episode where torture would have been applied or threatened in any<br />

culture that condoned its practice there is no hint of it.<br />

450 elaOa, 2nd person sing, future for el, occurs also at Od. 19.69 and<br />

20.179. Against the drawing of any hasty conclusion Shewan observed (Lay<br />

of Dolon 66) that the 2nd person sing, of ETUI did not occur in the other<br />

twenty-three books of the Iliad.<br />

454 At some point, either now or when he was first taken, Dolon fell to<br />

his knees; he now reaches up to touch Diomedes' chin in a powerful gesture<br />

of supplication, cf. 1.501 (Thetis to Zeus, a full description). He does this<br />

with the right hand while grasping the knees of his captor with the left (cf.<br />

1.501-2), cf. J. P. Gould, JHS 93 (1973) 74-82. Diomedes is quick to<br />

execute the would-be suppliant before he can make physical contact, cf.<br />

6.61-5, where Menelaus is careful to break contact before Adrestos is slain.<br />

There are no successful suppliants on the battlefield in the narrative of the<br />

Iliad; the poem also ignores the role of Zeus as protector of suppliants. The<br />

omission is probably deliberate, in order to heighten the stakes for which<br />

the heroes play. The scene of Dolon's death attracted the interest of vase<br />

painters and other artists from the late seventh century onwards, see Friis<br />

Johansen, Iliad in Early Greek Art 74-5, 160-4, Wathelet, Dictionnaire<br />

439-41, though in what context they knew the story is uncertain.<br />

456 The latter half of the verse = 14.466, Aspis 419, in each case of<br />

decapitation. A similar expression Trpos 6' ap^co pf^e TEVOVTE occurs at<br />

5.307, but with reference to a wound in the hip caused by a stone. Not for<br />

the squeamish are Salih Ugljanin's comments on decapitation in hand-tohand<br />

combat: 'Salih: Three fingers of hair above the nape of the neck. Then<br />

it jumps off like a cap. Parry: Does it jump far? Salih: Yes, it will jump five<br />

metres' (Lord (ed.), SCHS1 641).<br />

457 = Od, 22.329. The v.l. 9deyyo|Ji6vr| (in agreement with a feminine<br />

K&prj) would imply the severed head still pleading, a bizarre and gruesome<br />

thought, typical enough of this poet. Articulate speech is not in question in<br />

the Odyssean passage, and need not be foisted onto this.<br />

460 'AOrjvair) AT|TTI6I occurs only here; the epithet is probably a gloss on<br />

the ambiguous epithet &y£Asir| (6x //., 3X Od.), on which see 4.i28n.<br />

462 ToTaSeaai (or -ECTI) : found 5 x in the Odyssey but only here in the Iliad.<br />

The double declension (TCOV8ECOV and TOICTSECTI) occurs in Lesbian Aeolic<br />

among the vernaculars.<br />

463 ETTISGOO-OUEO', 'we shall call to witness', cf. 22.254, i s Aristarchus'<br />

reading for £TTi(3co

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