This “chase scene” has language in common with the scene in which Achilles chases the fleeing Hektor in Iliad 22. The same formula is used for the departure of the one who will be chased (λαιψηρὰ δὲ γούνατ’ ἐνώμα, Iliad 10.358 and 22.144). The move Odysseus and Diomedes employ here to isolate Dolon and cut him off from the warriors (λαοῦ ἀποτμήξαντε, 10.364) is like the move Andromache, who knows her military strategy, imagines that Achilles might use to cut Hektor off from the city and force him to the open plain (δείδω μὴ δή μοι θρασὺν Ἕκτορα δῖος Ἀχιλλεὺς / μοῦνον ἀποτμήξας πόλιος πεδίον δὲ δίηται, Iliad 22.455–456). When Dolon is approaching the guards’ post, Athena puts menos into Diomedes so that he can capture Dolon before anyone else (10.365–368). Similarly, while Achilles is pursuing Hektor, he signals to the other Achaeans not to shoot at Hektor and win his radiant glory (Iliad 22.205–207). In both cases the formula ὃ δὲ δεύτερος ἔλθῃ / ἔλθοι is used (Iliad 10.368, 22.207). These similarities indicate two things about the language in this section of Iliad 10: one, that this scene is expressed with traditional language, and, two, that there is kudos ‘radiant glory’ for capturing or killing a spy, just as there is for being one (see above, 10.307). Using such language gives the competitiveness to be “first” in this case traditional associations with a hot, yet focused, pursuit of a significant individual enemy.