τὰ δέκα ἔτη
—those ten years.
—in the field.
They were not penned up in the city.
—imperf., who at any given time were left behind.
7. ῥᾳδίως ἂν μάχῃ ... Τροίαν εἷλον
— does this passage refer to ‘the two natural stages of the expedition’— battle followed by siege, or two alternative
means of taking Troy,—either by pitched battle outside the gates, or by siege? Those who adopt the first, either (a) bracket the first εἷλον
with Kruger as spurious, and explain the δ᾽
as (a violent) apodotic δέ
, or, with Kruger bracket it; or else (b) make the first εἷλον
‘capture (Troy),’ but, with Herbst, ‘defeat (the Trojans).’ Those who adopt the second with Bauer, make μάχῃ κρατοῦντες
= ‘by superiority in the field,’ and not ‘being as they were superior in the field’; and πολιορκίᾳ προσκαθεζόμενοι
= ‘by a regular siege,’ instead of ‘by persisting in a siege.’ But the difficulties involved in this are insuperable; for—apart from the extraordinary way in which the supposed alternative methods are expressed, and joined by δέ
instead of ἤ
—the sense obtained, though at first sight attractive, makes περιουσίαν ἔχοντες τροφῆς
and ξυνεχῶς τὸν πόλεμον διέφερον
pointless in so far as the first
method— superiority in the field + assault—is concerned; it necessitates forcing the meaning by an immediate assault
) into μάχῃ κρατοῦντες
, and thus making this wholly distinct from μάχῃ ἐκράτησαν
; and it strains no less the meaning of πολιορκίᾳ προσκαθεζόμενοι
. We therefore prefer the first plan, but slightly modified; if the first εἷλον
is genuine, it is probably a mere anticipation of the second. Trans. If they had ... carried on the war persistently, they would easily have continued superior in the field and have taken the city, seeing that ... : if, then, they had persisted in a siege, they would have taken Troy.
—in contrast with περιουσίαν εἰ ἦλθον ἔχοντες τροφῆς
—i.e. τῶν Τρωικῶν
13. τῶν πρίν
—c. 1. 1
; 10. 3
—though it proved.
—attributive. When an attributive partic. is itself further defined—διὰ τοὺς ποιητὰς κατεσχηκότος
—it is frequently placed outside the art. This idiom is by no means confined to Thuc.