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). In my previous chapter relating to the legend of Troy,[400] mention has been already made of the early fusion of the Æolic Greeks with the indigenous population of the Troad; and it is from hence probably that the Phrygian music with the flute as its instrument,—employed in the orgiastic rites and worship of the Great Mother in Mount Ida, in the Mysian Olympus, and other mountain regions of the country, and even in the Greek city of Lampsakus,[401]—passed to the Greek composers. Its introduction is coeval with the earliest facts respecting Grecian music, and must have taken place during the first century of the recorded Olympiads. In the Homeric poems we find no allusion to it, but it may probably have contributed to stimulate that development of lyric and elegiac composition which grew up among the post-Homeric Æolians and Ionians, to the gradual displacement of the old epic. Another instance of the fusion of Phrygians with Greeks is to be found in the religious ceremonies of Kyzikus, Kius, and Prusa, on the southern and south-eastern coasts of the Propontis; at the first of the three places, the worship of the Great Mother of the gods was celebrated with much solemnity on the hill of Dindymon, bearing the same name as that mountain in the interior, near Pessinus, from whence Cybelê derived her principal surname of Dindymênê.[402] The analogy between the Kretan and Phrygian religious practices has been often noticed, and confusion occurs not unfrequently between Mount Ida in Krête and the mountain of the same name in the Troad; while the Teukrians of Gergis in the Troad,—who were not yet Hellenized even at the time of the Persian invasion, and who were affirmed by the elegiac poet Kallinus to have emigrated from Krêtê,—if they were not really Phrygians,—differed so little from them as to be called such by the poets. [400] Part i, ch. xv, p. 453. [401] The fragment of Hippônax mentioning an eunuch of Lampsakus, rich and well-fed, reveals to us the Asiatic worship in that place (Fragm. 26, ed. Bergk):—