The Iliad 9.173–187

and youths filled the bowls brim full of drink, and served out to all, pouring first drops for libation into the cups. But when they had made libation and had drunk to their hearts' content, they went forth from the hut of Agamemnon, son of Atreus. And the horseman, Nestor of Gerenia, laid straight command upon them with many a glance at each, and chiefly upon Odysseus, that they should make essay to persuade the peerless son of Peleus. So the twain395.1 went their way along the shore of the loud-resounding sea, with many an instant prayer to the god that holdeth the earth and shaketh it, that they might easily persuade the great heart of the son of Aeacus. And they came to the huts and the ships of the Myrmidons, and found him delighting his soul with a clear-toned lyre, fair and richly wrought, whereon was a bridge of silver; this had he taken from the spoil when he laid waste the city of Eëtion. Therewith was he delighting his soul, and he sang of the glorious deeds of warriors;

ὣς φάτο, τοῖσι δὲ πᾶσιν ἑαδότα μῦθον ἔειπεν. αὐτίκα κήρυκες μὲν ὕδωρ ἐπὶ χεῖρας ἔχευαν, κοῦροι δὲ κρητῆρας ἐπεστέψαντο ποτοῖο, νώμησαν δʼ ἄρα πᾶσιν ἐπαρξάμενοι δεπάεσσιν. αὐτὰρ ἐπεὶ σπεῖσάν τʼ ἔπιόν θʼ ὅσον ἤθελε θυμός, ὁρμῶντʼ ἐκ κλισίης Ἀγαμέμνονος Ἀτρεΐδαο. τοῖσι δὲ πόλλʼ ἐπέτελλε Γερήνιος ἱππότα Νέστωρ δενδίλλων ἐς ἕκαστον, Ὀδυσσῆϊ δὲ μάλιστα, πειρᾶν ὡς πεπίθοιεν ἀμύμονα Πηλεΐωνα. τὼ δὲ βάτην παρὰ θῖνα πολυφλοίσβοιο θαλάσσης πολλὰ μάλʼ εὐχομένω γαιηόχῳ ἐννοσιγαίῳ ῥηϊδίως πεπιθεῖν μεγάλας φρένας Αἰακίδαο. Μυρμιδόνων δʼ ἐπί τε κλισίας καὶ νῆας ἱκέσθην, τὸν δʼ εὗρον φρένα τερπόμενον φόρμιγγι λιγείῃ καλῇ δαιδαλέῃ, ἐπὶ δʼ ἀργύρεον ζυγὸν ἦεν,

Lattimore commentary

The translation “these two” accurately reflects the Greek use of an archaic “dual” number (neither singular nor plural, used to denote pairs), here and five other times in this scene. But the embassy is either five (if one counts the two heralds) or three (Aias, Odysseus, Phoinix). The poet may be repurposing a more traditional scene involving a pair (cf. the heralds’ dispatch at 1.320). Homerists have not yet proposed an entirely convincing solution. The violent warrior is hinted at in the brief description of the lyre’s origins (in the sack of the city that also yielded Agamemnon’s war bride Chryseis: 1.369), while the scene that meets the embassy is one of harmony and companionship, perhaps a musical evening in which the warriors take turns singing heroic epics (about themselves?).

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