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Cover -- The Homeric Doloneia: Evolution And Shaping Of Iliad 10 -- Copyright -- Dedication -- Epigraph -- Preface -- Contents -- Bibliographical Conventions And Abbreviations -- Note To The Reader -- Introduction -- 1. Main Questions -- 2. Wider Implications -- 3. Current Status Of Research On Iliad 10 -- 3.1 The Einzellied Theory -- 3.2 Quellenforschung -- 3.3 The Post-post-traditional Singer -- 3.4 The Poetics Of Ambush -- 3.5 Oral, Intertextual Neoanalysis -- 4. Method -- 5. Organization Of The Book -- 1: Theoretical Aspects -- Introduction -- 1.1 Internal Criteria 1.2 External Criteria -- 1.3 Transference Of Motifs, Themes, And Phraseology -- 1.4 Entextualization -- 1.5 Mythological Reference And Epic Allusion -- 2: A First Thematic Approach: Intratextual References -- Introduction -- 2.1 Reference To Events And Allusion To Themes: Drawing The Line -- 2.2 Intratextual Associations On The Level Of Theme And Phraseology -- 2.2.1 Implicit Intratextual References -- 2.2.2 Allusion To Themes: Backward References -- 2.2.3 Allusion To Themes: Forward References -- 2.2.4 Bridging Backward And Forward References -- 2.2.5 Verbal Associations 2.3 A Putative Transference Of A Narrative Sequence: Iliad 13 Alludes To Iliad 10 -- 2.4 An Interpretive Gain From The Authenticity Of The Doloneia: Character-drawing -- 2.4.1 Agamemnon -- 2.4.2 Diomedes -- 2.4.3 Diomedes And Odysseus As A Pair -- 2.4.4 Hector -- 3: A Second Thematic Approach: The Horses Of Rhesus -- Introduction -- 3.1 Horses In The Iliad: Some Basic Points -- 3.2 The Horses Of Rhesus And A Telescopic View Of The Iliad -- 3.3 The Horses Of Rhesus: Magnificent But Not Divine -- 3.4 The Trojan Horses Of Diomedes And The Chariot Race -- 3.5 The Whip -- 3.6 Spiegelungseffekt 3.7 Homeric Silence And The Policy Of Exclusion -- 4: The Alleged Un-iliadic Features Of Iliad 10: Speeches, Clothing And Arming, And Zielinski's Law -- Introduction -- 4.1 Speeches -- 4.2 Clothing And Arming -- 4.2.1 Clothing -- 4.2.1.1 Agamemnon,