μὴ δή μοι φύξίν γε Δόλων ἐμβάλλεο θυμῷ
The scholia in the Venetus A and B and Townley manuscripts on this line are all concerned with the fact that Diomedes calls Dolon by name, when Dolon has not told them his name. In the Venetus A, the line is marked with a diplē, indicating that Aristarchus made a comment about the language of the line. The lemma in this manuscript for the comment is actually the beginning of the line, demonstrating that a lemma can be simply an indication of the line being commented on, and not the specific words concerned. The scholion in the Venetus A explains that the line is marked “because Aristarchus is asking, how does he know the name? Thus some read ‘δολῶν’ [that is, “being tricky”], like νοῶν [that is, the participle would be formed the same way].” With this alternative reading, the line would read “Don’t be tricky and put thoughts of escape in your heart.” There is at least a sound-alike connection between Dolon’s name and δόλος ‘trick’ (see also Higbie 1995:12). The scholion goes on to point out that Odysseus also later uses Dolon’s name, in 10.478, implying that it cannot be the participle there, and so we have to accept that Diomedes and Odysseus know his name without knowing exactly how they know it. The scholion goes on to suggest that it is likely that they would know the names of some men, since it has been ten years, and perhaps especially Dolon’s since he is the son of a herald who is wealthy (citing 10.315). The scholia in the other two manuscripts take a similar approach to the problem, noting Dolon’s father’s role as a herald and that Dolon is among the leaders of the Trojans who are called to the meeting earlier in the book, or suggesting simply that we should understand that they asked his name when they overpowered him. Higbie (1995:87) compares a similar case in the Odyssey in which the narrator has introduced Theoklymenos to the audience, and Telemakhos knows his name without a direct introduction within the narrative. This concern for how they know his name, although understandable from a literary point of view, does not apply to an oral traditional narrative composed in performance. As Hainsworth (1993:197 ad 10.447) affirms, “what his audience knows an epic poet may let his characters know too.”