In Greek mythology, the satyr Marsyas (/ˈmɑːrsiəs/; ‹See Tfd›Greek: Μαρσύας) is a central figure in two stories involving music: in one, he picked up the double oboe (aulos) that had been abandoned by Athena and played it;[1][2] in the other, he challenged Apollo to a contest of music and lost his hide and life. Literary sources from antiquity often emphasize the hubris of Marsyas and the justice of his punishment.
One strand of modern comparative mythography regards the domination of Marsyas by Apollo as an example of myth that recapitulates a supposed supplanting by the Olympian pantheon of an earlier "Pelasgian" religion of chthonic heroic ancestors and nature spirits.[3] Marsyas was a devoté of the ancient Mother Goddess Rhea/Cybele, and the mythographers situate his episodes in Celaenae (or Kelainai), in Phrygia, at the main source of the Meander (the river Menderes in Turkey).[4]
- ^ The folk of Celaenae held "that the Song of the Mother, an air for the flute, was composed by Marsyas", according to Pausanias (x.30.9).
- ^ West, Martin L. (January 1992). Ancient Greek Music. Clarendon Press. p. 84. ISBN 0-19-814975-1.
The single reed or clarinet mouthpiece was known to other ancient peoples, and I should not venture to assert that it was not known to the Greeks. But the evidence of both art and literature indicates that it was the double reed that was standard in the Classical period. Under the Hornbostel-Sachs system, therefore, the aulos should be classified as an oboe. It must be admitted that 'oboe-girl' is less evocative than the 'flute-girl' to which classicists have been accustomed, and that when it is a question of translating Greek poetry 'oboe' is likely to sound odd. For the latter case I favor 'pipe' or 'shawm.'
- ^ According to this theory, the antagonists in the Labours of Heracles are, like Marsyas, representatives of the older religion; see Ruck and Staples 1994 passim.
- ^ The river is linked to the figure of Marsyas by Herodotus (Histories, 7.26) and Xenophon (Anabasis, 1.2.8).