At the very beginning of the Iliadic text of Rhapsody 10, we find an interesting claim in the accompanying annotations known as the T scholia, which stem from Homeric research ongoing in the ancient world. According to that claim, this rhapsōidíā had been composed by Homer separately, not as part of the Iliad, and the separate composition was later arranged, tetákhthai, by Peisistratos to fit into the Iliad. Such a sense of separateness in the content of Rhapsody 10—a separateness that was noted, as we have just seen, in the ancient world—is due at least in part to a basic fact: the actions of heroes here take place at night, not in the daytime. The tactics and even the ethics of nighttime warfare are in many ways different from the protocols of daytime warfare as narrated in the rest of the Iliad, and the differences are traced in the commentary of Dué and Ebbott 2010. And I would add that there are cognate patterns of nighttime warfare in Iranian epic traditions: see Davidson 2013:95–97 (for relevant observations on the figure of Dolon in Rhapsody 10 of the Iliad, see also Davidson 1979). As for the ancient claim that Rhapsody 10 was supposedly inserted into a pre-existing series of 23 rhapsodies, I have serious problems even with the chronology of such a claim. Whereas Peisistratos of Athens lived in the sixth century BCE, the division of the Iliad and Odyssey each into 24 performance-units or rhapsōidiai can now plausibly be dated as far back as the late eighth and early seventh century BCE: see Nagy 2015.12.24 following Frame 2009 ch. 11. My view here supersedes an earlier view of mine as noted in PasP 181–182, where I considered the era of Demetrius of Phaleron, late fourth century BCE, as a possible setting for the division of the Iliad and Odyssey into 24 rhapsōidiai.