Ἰδαῖοι Φρυγὲς ἄνδρες, ὀρέστεροι, οἴκαδ᾽ ἔναιον, etc.
[396] Ephorus ap. Strabo, xiv, 678; Herodot. v, 49.
[397] See the learned and valuable Dissertation of Boeckh, De Metris Pindari, iii, 8, pp. 235-239.
[398] Plutarch, De Musicâ, c. 5, 7, p. 1132; Aristoxenus ap. Athenæ. xiv, p. 624; Alkman, Frag. 104, ed. Bergk.
Aristoxenus seems to have considered the Phrygian Olympus as the great inventive genius who gave the start to Grecian music (Plutarch, ib. pp. 1135-1141): his music was employed almost entirely for hymns to the gods, religious worship, the Mêtrôa, or ceremonies, in honor of the Great Mother (p. 1140). Compare Clemen. Alexand. Strom. i, p. 306.
Μαρσύας may perhaps have its etymology in the Karian or Lydian language. Σούας was in Karian equivalent to τάφος (see Steph. Byz. v. Σουαγέλα): Μᾶ was one of the various names of Rhea (Steph. Byz. v. Μάσταυρα). The word would have been written Μαρσούας by an Æolic Greek.
Marsyas is represented by Telestês the dithyrambist as a satyr, son of a nymph,—νυμφαγενεῖ χειροκτύπῳ φηρὶ Μαρσύᾳ κλέος (Telestês ap. Athenæ xiv. p 617).
[399] Xenoph. Anab. i, 2, 8; Homer, Iliad, ii, 595; Strabo, xii, p. 578: the latter connects Olympus with Kelænæ as well as Marsyas. Justin, xi, 7: “Mida, qui ab Orpheo sacrorum solemnibus initiatus, Phrygiam religionibus implevit.”
The coins of Midaeion, Kadi, and Prymnêssus, in the more northerly portion of Phrygia, bear the impress of the Phrygian hero Midas (Eckhel, Doctrina Nummorum Vet. iii, pp. 143-168).
[400] Part i, ch. xv, p. 453.