MUSIC OF PHRYGIA. 213 etvch including only a tetrachord, upon which the earliest G:eek masters worked : many other scales, both higher and lower, were subsequently added. It thus appears that the earliest Greek music was, in large proportion, borrowed from Phrygia and Lydia : and when we consider that, in the eighth and seventh centuries before the Christian era, music and poetry conjoined often also with dancing or rhythmical gesticulation was the only intellectual manifestation known among the Greeks, and moreover that, in the belief of all the ancient writers, every musical mode had its own peculiar emotional influences, power- fully modified the temper of hearers, and was intimately con nected with the national worship, we shall see that this transmission of the musical modes implies much both of com- munication and interchange between the Asiatic Greeks and the indigenous population of the continent. Now the fact of com munication between the Ionic and JEolic Greeks, and their eastern neighbors, the Lydians, is easy to comprehend generally, though we have no details as to the way in wiiich it took place ; but we do not distinctly see where it was that the Greeks came so much into contact with the Phrygians except in 'the region of Ida, the Troad, and the southern coast of the Propontis. To this region belonged those early Phrygian musicians (under the heroic names of Olympus, Hyagnis, Marsyas), from whom the Greeks borrowed. 1 And we may remark that the analogy be- tween Thracians and Phrygians seems partially to hold in re- spect both to music and religion, since the old mythe in the Iliad, 1 Plutarch, De Musica, c. 5, 7, p. 1132: Aristoxenus ap. Athena:, xiv. p. 624 ; Alkman, Frag. 104, ed. Bergk. Aristoxenus seems to have considered the Phrygian Olympus as the great inventive genius vho 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 Metroa, or ceremonies, in honor of the Great Mother (p. 1140). Compare Clemen. Alexand. Strom, i, p. 306. Mapavaf may perhaps have its etymology in the Karian or Lydian lan- guage. Souaf was in Karian equivalent to ra^oq (sec Steph. Byz. v, Souaj-e- Aa) : Md was one of the various names of Rhea (Steph. Byz. v, N.uaravpa) The word would have been written Mnpaovaf by an ^Eolic Greek. Marsyas is represented by Teles tes the iithyrambist as a satyr, son of a nymph, vvpfyaycvel xeiponrviru <j>ypl Mapava K/U'or (TclcstCs ap. Athcnaa lir. p 617).
