Myron Marsius. ON THE. Kun. Legends and myths of ancient Greece: Marsyas. The Myth of Marcia

19.07.2018

It is clear that classical art It did not suddenly form, but went through a certain path of development. That is why classical period are divided into three components - the early classics (the time of searching for the most successful artistic techniques, a time of experiments and discoveries), mature classics (a kind of peak, the heyday of the classical ancient Greek school) and late classics(when the ancient Greeks seemed a little tired of the abundance of beautiful sculptures, temples and paintings surrounding them). The most famous Athenian sculptor of the mid-5th century. BC e. (this time is precisely what is called the Early Classic), one can firmly call Myron a native of the town of Elevthera in Boeotia. Alas, time did not spare any of his works, but Myron’s sculptures were so good and so famous that many other masters, both from the ancient Greeks themselves and (later) from among the Romans, diligently made copies of his works. Of course, a copy is a copy, however general idea It’s still possible to compose from it.

One day, Miron received an order to make a sculpture of a young man who won a discus throwing competition. This is how the unsurpassed “Discobolus” appeared, which captured the imagination of the Hellenes (and later the Romans who came to Athens) to such an extent that copies of this statue began to decorate the palaces and parks of wealthy art connoisseurs from ancient times to the present day. And they can be understood - Myron was able to surprisingly accurately convey the feeling of movement, jerk, impact and at the same time icy, almost cosmic, triumphant calm. His hero is just throwing the discus, still fighting for victory, but we already know that he will win. Myron “stopped” his hero in a short moment, half a second before the throw, when every muscle of the athlete is maximally mobilized for one decisive movement, and at the same time gave his face an absolutely serene, literally stony expression. The contrast of tense muscles and a calm face simultaneously gives rise to a feeling of immense strength and a certain coldish orderliness, characteristic of the environment of a civilized ancient society.

The physical beauty of the young athlete was emphasized by the material of the statue - the original was cast from warm, sunny bronze.

However, the real hymn of ancient Greek civilization was another work of Myron - the sculptural group “Athena and Marsyas”, once installed on Athens Acropolis. Unlike frozen in a deep and powerful turn
“Discobolus”, both statues of the group show us images in a more or less static state, however, here too the sculptor used one that allows him to achieve special expressiveness. Only here the contrasts are of a slightly different kind - between the loose, rude, bestial Marsyas and the strict, collected, formidable and beautiful Athena. The theme of the sculptural group was ancient greek myth about the double flute. Among other useful things, Athena created a double flute and, in order to test the instrument, tried to play something on it. Athena did not like the result: looking at her, the other goddesses burst into offensive laughter. It turned out that during the game, Athena's cheeks comically swollen, which caused such an impolite reaction. In her hearts, Athena threw the innocent instrument to the ground, and cursed it into the bargain. However, Marsyas, without understanding the situation, rushed to pick up a valuable item and was caught in the act of doing so by an angry Athena. By the will of Myron, he froze, recoiling in fear under the menacing gaze of the goddess - in an absurd pose, low-browed, and even, it seems, not entirely sober. The sculptor put all his rejection of the bestial, barbaric nature into the appearance of the forest creature.

Athena herself is another matter. As befits the owner of a highly organized mind (remember that Athena is the goddess of wisdom), she shows us an example of excellent control over her feelings. Only menacingly knitted eyebrows and lowered corners of the lips betray raging anger that does not break out in any other way. This is exactly how a civilized person and a citizen of a polis should behave - to subdue outbursts of anger and act not with brute force, but with a strong word, backed by undoubted moral superiority. Having taken up the performance of “Athena and Marcia,” Myron collided, except artistic problems, at least with one purely moral one. The fact is that in Boeotia, where Myron was from, Marsyas was considered a highly revered mythological character, in no way suitable for caricature. But Boeotia was at enmity with the Athenian state (which is why sculptural group and decided to put it on the Acropolis), and Myron had to choose between his homeland (where no one was particularly interested in his work) and Athenian democracy. Myron chose democracy.

September 22nd, 2016

Quote from Galyshenka's messageThe many faces of ATHENA

The goddess Pallas Athena was born by Zeus himself. Zeus the Thunderer knew that his wife, the goddess of reason, Metis, would have two children: a daughter, Athena, and a son of extraordinary intelligence and strength.
The Moirai, the goddess of fate, revealed to Zeus the secret that the son of the goddess Metis would overthrow him from the throne and take away his power over the world. The great Zeus was afraid. To avoid the terrible fate that the Moirai promised him, he, having lulled the goddess Metis with gentle speeches, swallowed her before her daughter, the goddess Athena, was born.
After some time, Zeus felt a terrible headache. Then he called his son Hephaestus and ordered his head to be cut to get rid of the unbearable pain and noise in his head. Hephaestus swung his ax, with a powerful blow he split Zeus’s skull without damaging it, and a mighty warrior, the goddess Pallas Athena, emerged from the thunderer’s head.

Gustav Klimt, Pallas Athena, 1898, Vienna

Fully armed, in a shiny helmet, with a spear and shield, she appeared before the amazed eyes of the Olympian gods. She shook her sparkling spear menacingly. Her war cry rolled far across the sky, and the bright Olympus shook to its very foundation. Beautiful, majestic, she stood before the gods. Athena's blue eyes burned with divine wisdom, and she all shone with wondrous, heavenly, powerful beauty. The gods praised his beloved daughter, born from the head of father Zeus, the defender of cities, the goddess of wisdom and knowledge, the invincible warrior Pallas Athena.

The birth of Athena from the head of Zeus. Drawing from a black-figure ancient Greek vase

Athena (Άθηνά) (among the Romans Minerva) is one of the most revered goddesses of Greece. She is equal in strength and wisdom to Zeus. She is given honors after Zeus and her place is closest to Zeus.
She is called “gray-eyed and fair-haired,” descriptions emphasize her big eyes, Homer has the epithet “Glavkopis” (owl-eyed)..
Unlike other female deities, she uses male attributes - dressed in armor, holding a spear; she is accompanied by sacred animals:

Helmet (usually Corinthian - with a high crest)

Virgil mentions how the Cyclopes in the forge of Vulcan polished the armor and aegis of Pallas, on them the scales of snakes and the head of the serpent-haired Gorgon Medusa

- appears accompanied by the winged goddess Nike

Attributes of an owl and a snake (also a symbol of wisdom), in the temple of A. in Athens, according to Herodotus, lived huge snake- guardian of the acropolis, dedicated to the goddess.

There is numerous information about the cosmic features of the image of Athena. Her birth is accompanied by golden rain, she keeps the lightning of Zeus

Pallas Athena. Preparatory cardboard by I. Vedder for a mosaic in the Library of Congress, Washington, 1896.

Athena. Statue. Hermitage Museum. Athena Hall.

Statue of Athena Giustinian

Athena Algardi, it was found in 1627 in fragments at the Campus Martius, restored by Alessandro Algardi.
Palazzo Altemps, Rome, Italy.

The dispute between Athena and Poseidon for power over Attica. Italian cameo, 13th century

The scene of the dispute between Athena and Poseidon for power over Attica was depicted on the pediment of the Parthenon Temple in Athens by the famous Greek sculptor Phidias (5th century BC); The pediment has survived to this day in a heavily damaged state.

Miron (copy). Athena and Marsyas. The original statue was made in the 5th century. BC e. The goddess was depicted as dropping a flute, and Marsyas as finding
Athena is credited with inventing the flute and teaching Apollo to play it.

The battle of Athena with the giant Alcyoneus. Pergamon Altar
Athena uses her power to fight titans and giants. Together with Hercules, Athena kills one of the giants, she piles the island of Sicily on another, and tears off the skin of a third and covers her body with it during the battle.

Clay figurine of Athena, 7th century. BC e.

"Athena Varvakion" (copy of the famous "Athena Parthenos")

Statue of Athena (Pallas Giustiniani type) in the Pushkin Museum

"The Battle of Athena with Enceladus." Fragment of painting of a red-figure kylix. 6th century BC e., Louvre

“Pallas and the Centaur”, painting by Sandro Botticelli, 1482, Uffizzi

Athena is the guardian of cities, her main epithets are Polyada ("urban") and Poliukhos ("city ruler"), protector of Greek cities (Athens, Argos, Megara, Sparta, etc.) and a constant enemy of the Trojans, although her cult existed there too: in Homer's Troy was a statue of Athena that supposedly fell from the sky, the so-called palladium

I. G. Trautmann. "Fire of Troy"

Athens Parthenon

Athens Parthenon 3D reconstruction

Descriptions of the Parthenon have always abounded only superlatives. This Athenian temple, with its 2500-year history, dedicated to the patroness of the city - the goddess Athena Parthenos, is rightfully considered one of the greatest examples of ancient architecture, a masterpiece of world art and plastic arts. It was built in the middle of the 5th century BC. e.

A huge statue of Athena Promachos (“front line fighter”) with a spear shining in the sun adorned the Acropolis in Athens, where the Erechtheion and Parthenon temples were dedicated to the goddess.

A monument to the glorification of the wise ruler of the Athenian state, the founder of the Areopagus, is also the tragedy of Aeschylus “Eumenides”.

Athens enjoyed special patronage bearing her name. The Athenians believed that they owed their wealth to Athena.

There is a legend that says that the cult of Athena in her city was strengthened by the son of the Earth, Erechtheus. The goddess of wisdom Athena raised him in her sacred grove, and when the boy grew up, she awarded him royal power.

Jacob Jordaens. Cecrops' daughters find baby Erichthonius
Athena was identified with the daughters of Kekrops - Pandrosa (“all-moist”) and Aglavra (“light-air”), or Agravla (“field-furrowed”)

The image of an owl, an attribute of Athena, was minted on Athenian silver coins, and everyone who accepted the “owl” in exchange for goods seemed to be paying tribute to Athena herself.

Silver Athenian tetradrachm with the image of an owl, symbol of the goddess Athena. 5 or 4 c. BC

"Athena". Relief image on a silver dish, 1st century. n. e., Berlin, State museums

Not a single thing an important event could not have happened without the intervention of Athena.
Athena helped Prometheus steal fire from Hephaestus's forge.
Her touch alone was enough to make a person beautiful (she raised Odysseus to stature, endowed him with curly hair, clothed him with strength and attractiveness;). She endowed Penelope with amazing beauty on the eve of the meeting of the spouses

Gustav Klimt
Kunsthistorisches Museum in Vienna, Austria, 1890-91

Athena patronized heroes - warriors and artisans - potters, weavers, needlewomen, and She herself was called Ergana ("worker") - her own products - original works art, such as the cloak woven for the hero Jason.

Pallas Athena. 1898, Franz von Stuck.

Agricultural holidays were dedicated to her: procharisteria (in connection with the germination of bread), plintheria (the beginning of the harvest), arrephoria (giving dew for crops), callinteria (ripening of fruits), scirophoria (aversion to drought).

MARSIAS

Apollo cruelly punished the Phrygian satyr Marsyas because Marsyas dared to compete with him in music. Kifared1 Apollo could not bear such insolence. One day, wandering through the fields of Phrygia, Marsyas found a reed flute. The goddess Athena abandoned her, noticing that playing the flute she had invented was disfiguring her divinely beautiful face. Athena cursed her invention and said:
- Let the one who picks up this flute be severely punished.
Not knowing anything about what Athena said, Marsyas picked up the flute and soon learned to play it so well that everyone listened to this simple music. Marsyas became proud and challenged the patron of music, Apollo, to a competition.

Marsyas finds the flute abandoned by Athena. (Drawing on the vase.)

Apollo came to the call in a long, lush robe, in laurel wreath and with a golden cithara in his hands.

1 To-there is one who plays the cithara.

40

How insignificant the forest and field dweller Marsyas, with his pathetic reed flute, seemed before the majestic, beautiful Apollo! How could he extract from the flute such wondrous sounds as those that flew from the golden strings of the cithara of the leader of the muses, Apollo! Apollo won. Angered by the challenge, he ordered the unfortunate Marsyas to be hanged by the hands and flayed alive. This is how Marsyas paid for his courage. And the skin of Marsyas was hung in a grotto near Kelen in Phrygia and they later said that it always began to move, as if dancing, when the sounds of the Phrygian reed flute reached the grotto, and remained motionless when the majestic sounds of the cithara were heard.

Prepared according to the edition:

Satyr Marsyas and Apollo (myth of ancient Greece)

Noble and generous beautiful Apollo, but he does not tolerate anyone daring to compete with him, as the mocking satyr Marsyas once did to his grief.

Wandering through the fields and forests of Phrygia, Marsyas once found a reed flute. This flute belonged to Pallas Athena, she made it herself and loved to play it sometimes, taking a break from military worries. But one day she looked at her reflection in the mirror shield and indignantly threw her favorite pipe into the bushes. It seemed to her that playing the flute was spoiling her beautiful face.
“Let anyone who finds and picks up this flute be severely punished,” she exclaimed.
That’s where Marsyas found her. He, of course, knew nothing about Athena’s curse and soon learned to play this wonderful instrument so well that everyone listened to his amazing performance. Marsyas became completely proud, he began to brag and tell everyone that he played no worse than Apollo himself and was ready to challenge him to a competition.
Apollo heard the arrogant words of Marsyas, but did not show how angry the arrogance of the foolish satyr angered him. He came to the satyr's call. Apollo raised his golden cithara and began to play. Everything around was plunged into deep silence, and only the wondrous sounds of enchanting music disturbed the air frozen with amazement. And then Marsyas began to play. It was also very Beautiful music, and Marsyas played beautifully. But how could he compare with the golden-voiced god! Everyone who was at this unusual competition unanimously decided that Apollo won. Angered by the insolence of the immodest satyr, Apollo ordered him to be hanged by his hands on a high tree so that he would never be able to pick up a flute again.

myths Ancient Hellas in different interpretations

Today in one diary I read a very interesting interpretation of one of the myths of Ancient Hellas, searched on the Internet and found several more, and they are quite different, but... Why do I still want to introduce you to all these interpretations? It seems to me that everyone can see something different and important for themselves, and despite the fact that the interpretation for which I wanted to compose this post is not entirely correct, it mixes two myths about Marsyas and Pan, it is still especially important. Why? While reading, I suddenly realized that the perception of each of us depends on the environment in which we grow up, on what is absorbed with mother’s milk, what is often perceived by us as native and what is alien, but I suppose that over time tastes change, it depends on the environment habitat and many things are seen differently, and yet, what is from childhood is native, which sometimes leaves its mark on perception in general. But we come into the world without all this... What if we throw off all this that interferes with a different vision? Just try to see through the eyes of a newborn?

So the myths...

Marsyas

Marsyas, in Greek mythology son of the river god Eager, satyr or strong, originally from Phrygia. An ancient deity of the circle of Cybele, supplanted by Apollo. One day Athena made a flute and decided to play it at a feast of the gods. She couldn't understand why Hera and Aphrodite were laughing while the other gods liked her music. Alone, she went into the Phrygian forest, sat over a stream and began to play, watching her reflection in the water. She immediately realized how funny she looked with her tense face and ugly swollen cheeks. According to myth, Marsyas picked up the flute thrown by Athena (Pausanias, I 24, 1). Marsyas achieved extraordinary skill in playing the flute and, becoming proud, challenged Apollo himself to a competition. Angered by this, Apollo challenged Marsyas to a competition, the winner of which could punish the loser at his discretion.

The daring rivalry ended with the muses, as mediators in the dispute, deciding it in favor of the god playing the cithara. Apollo not only defeated Marsyas, whose music was distinguished by a purely Phrygian ecstatic-frenzied character (a flute with tambourines and rattles accompanies the orgies of Cybele and Dionysus), but also flayed the unfortunate man. According to legend, the skin of Marsyas, torn from him by God, hangs in Phrygia, in Keleni, at the source of the Meander River (Herodotus, VII 26; Xenophon, Anabasis, I 2, 8); at the sound of a flute, the skin begins to move, but remains motionless at the sound of songs in honor of Apollo (Aelian, Barbarian History, XIII 21). Marsyas, like a satyr of the forest thickets at Kelen, was mourned by the nymphs, Silenians and forest relatives. His blood turned into the stream of the same name (Ovid, Metamorphoses, VI 382-400), his flute was carried away by this stream into the river Maeander, thrown out of the water in Sicyon and presented as a gift to Apollo (Pausanias, II 7, 9). The myth about the competition between Apollo and Marsyas reflected First stage the struggle between the antagonistic deities Apollo and Dionysus.

Popular subjects in ancient art (vases, gems, reliefs) are “Marsyas picks up the flute thrown by Athena,” “The contest between Apollo and the strong Marsyas,” and “The Punishment of the satyr Marsyas.” Ancient artists were often inspired by the fate of Marsyas; for example, Myron, an older contemporary of Phidias, depicted the satyr being scared away by Athena from a double flute, to which he reaches out his hand. In Rome and the Roman colonies, statues of Marsyas stood in the markets as emblems of freedom.

The Myth of Marcia

How Marsyas found the flute

One summer day, the young shepherd Marsyas, lying on the green grass, heard the sounds of music in the distance, so tender and exciting that he held his breath and began to listen. It was Minerva, sitting on the bank of a stream, learning to play the flute, but, bending over the clear water, she saw her puffy cheeks and distorted features and indignantly threw the flute into the water, vowing never to touch it again.
Enchanting music fell silent, and the young man woke up and looked around. Then he noticed a flute floating past him on the river. He immediately grabbed it, pressed it to his lips, and before he could breathe air into his chest, the divine melody began to flow again. Having taken possession magic instrument, Marsyas completely forgot about his duties as a shepherd. Soon he achieved unprecedented perfection in playing the flute, became terribly proud and began to boast that he played no worse than Apollo himself. It got to the point that he challenged the sun god himself to a competition.

Musical competition between Marsyas and Apollo

Wanting to punish Marcia For his boasting, Apollo, accompanied by nine muses, patronesses of poetry and music, appeared before the shepherd and offered to confirm his words with deeds. The muses suggested that Marcius start first, and he charmed everyone with his playing.
The Muses gave him the praise he deserved, and then invited Apollo to surpass his opponent if he succeeded. God grabbed his golden lyre and played on its strings. Before making a final decision, the muses decided to listen to the rivals again, and they began to play again, but this time Apollo added his divine voice to the sounds of the lyre, and all those present, including the muses, recognized him as the winner.
According to the condition, which stated that the winner would flay his opponent alive, Apollo tied Marcia to the tree and severely punished him. When the mountain nymphs learned about terrible death their favorite, they burst into tears and shed such streams of tears that they turned into a river called Marsyas, in memory of the wonderful musician.

Apollo and Midas

Jordaens, Contest of Pan with Apollo

One can only be surprised at how uniquely myth and reality were intertwined in ancient Greek ideas. All the information that has been preserved about Hyagnis does not give any reason to connect him with mythology. This is a living musician in the flesh, personifying the beginning of the Hellenic musical history. It would seem that the mythological era should have ended by the time of Hyagnis's life. But, oddly enough, specific data from which one could make any assumptions about artistic activity his son Marcias are completely missing. The only exceptions are some passing remarks scattered throughout the sources. It is reported that he allegedly invented the phorbea, which, as stated, could have various purposes and, among other things, reduce or completely eliminate the distortion of the auletes' face when playing. Plutarch (“On the Suppression of Anger”) even cites a verse by an unknown poet dedicated to the introduction of phorbeia into musical usage: “Hid the ugliness of the swollen cheeks with soft gold, And put a strap on the lips, fastened at the back”

According to Athenaeus, Euphorion, who served as a librarian in Antioch, in his book On Musicians, claimed that the syringa, consisting of a series of tubes held together with wax, was invented by Marsyas. All other evidence is concentrated in famous myth. It was started by Athena, who, having tried to play the aulos, accidentally looked into the stream and, seeing her face distorted with a grimace, threw the instrument away in disgust. They even say that she predicted many misfortunes for those who would pick up the aulos and play on it. So strong was the goddess’s hatred for the instrument, because of which her beautiful face was momentarily disfigured.

The satyr Marsyas, walking through the boundless fields and forests of his native Phrygia, came across an aulos discarded by Athena and, consumed by curiosity, took it in his hands, put it to his lips and began to blow air into the instrument. Wonderful sounds were heard. It must be assumed that Marsyas, who along with the genes of his father absorbed outstanding musical abilities, had a more noble and sublime sound of aulos than the warrior Athena, whose genius abilities were infinitely far from music. As for Marcia's facial expression, several circumstances need to be taken into account.

Firstly, Marsyas was not able to see the reflection of his face, since he did not look into the stream every minute, like a woman.

Secondly, the appearance of the strong Marcius did not in any way resemble the ideal of beauty. Apuleius (“Metamorphoses” III 19) describes him as follows: “... looks like a wild beast, ferocious, shaggy, his beard is covered in dirt, all overgrown with hair and stubble.” In other words, a typical satyr. His face, of course, was not distinguished by sophistication, tenderness and “correct” features. Therefore, another grimace, which arose when testing the aulos and increased the number of wrinkles, did not change the appearance of Marsyas and did not add anything new to it.

Or maybe Marsyas began to use the phorbeia he invented from the very beginning? Thirdly - and this is the most important thing, although, unfortunately, not mentioned in any of the versions of the myth - Marsyas, a professional musician, family traditions introduced to the instrument from childhood, he should not, like the amateur Athena, when playing the aulos, puff out his cheeks so much that his eyes seemed to be filled with blood and seemed to “roll out” of their sockets. He, like any professional, should have known that sound quality does not depend on the amount of air collected in the mouth, “behind the cheeks,” but depends on many other reasons, well famous musicians. Therefore, there was no point in filling his mouth with air to capacity and puffing out his cheeks.

In short, Marsyas not only began to make wonderful sounds on the aulos, but also generally mastered the instrument brilliantly, and his skill became so high that he even risked measuring his strength with Apollo himself. Marsyas thought this way: let him play the lyre, and I - the aulos; Of course, these are instruments of different nature, and the skill of the performer on them manifests itself in different ways. But the goal of any musician is to have an artistic impact on the listener. So, in order to determine which of us plays better, me or Apollo, isn’t it possible to evaluate precisely the degree of emotional impact music performed? And Marsyas became more and more confident in his desire to compete with God. And then Athena’s fateful prediction came true.

Apollo was furious when he learned that the strong and unknown Marsyas decided to compete with him - with the best musician peace. The impudence of this Marcia has no limits. Apollo was especially outraged by the fact that during the competition Marsyas decided to play not the noble cithara, but the base and rude aulos, suitable only for accompanying obscene dances and shameless songs of the dissolute company of Dionysus. After all, this is an insult to the divine lyre, intended for high purposes. In addition, it is absolutely incomprehensible how this Phrygian imagines competition. Custom requires that musicians' performances be judged according to the same criteria. Only in this case can the best be revealed. But how will the same criteria apply to musicians playing the different instruments? It's like comparing the step of a turtle and the flight of a bird. A lyre player must have certain qualities, and an aulet must have others. Perhaps he wants the artistic level to be compared performed works? Does he really doubt that I, Apollo, will create a play more brilliant than him? Well, if this impudent and upstart Marsyas decided to act contrary to the established order, if he questioned even the authority of the best and most important of the musicians, and, finally, if he decided to oppose the uncouth peasant aulos to the beautiful lyre, then he will get his due in full.

Then, having subdued his anger, Apollo nevertheless decided to prepare for the competition. But his preparation did not consist of intensive practice on the instrument. He didn't care. Could anyone play better than Apollo himself? Could anyone have improvised it better? Therefore, it does not matter whether he practices the lyre or not. The outcome of the fight is predetermined and that’s not the point. Now we need to arrange the competition in such a way that no one doubts its natural and logical outcome.

As in any competition, a jury is needed to make an impartial decision. After all, you need to protect yourself from all sorts of rumors and malicious conversations. There will definitely appear those who will whisper all sorts of nonsense to people: “Of course, he is a god, everything is subject to him, and he won the competition not because of his art, but because of his divine origin.” To avoid such slander, the competition needs a judge whose decision would not raise even a shadow of doubt in anyone’s mind. Who can be such a judge? Of course, for the sake of credibility, the competition should be judged by the muses. It is common knowledge that no one understands creativity better than them. Their word will be the most convincing. So, it has been decided: the jury will consist of muses. However, won't someone have the bad idea that the muses proclaimed the victory of Apollo for the reason that they live together on Olympus? Of course, the authority of the muses is too high, but still... And Apollo was struck by a great idea: it is necessary to introduce one of the compatriots of this rogue Marsyas into the jury. There is no doubt that Apollo’s superiority will be obvious to everyone. But if the decision of the muses is confirmed by fellow countryman Marcia, then no gossip is possible. It was not difficult for Apollo to find a worthy Phrygian. He turned out to be the Phrygian king Midas, distinguished by the fairness of his decisions and good nature.

On the appointed day, the jury and countless listeners gathered. The competition itself did not last long. They say that after each of the contestants played, the superiority of Apollo immediately became clear to the muses. How could it be otherwise? When Apollo played, the muses listened to the pleasant sounds of the lyre, which they knew, felt and understood well. After all, such music has always sounded in their native Helikon. Familiar places and faces passed before their mind's eye, memories infinitely close to their hearts. They empathized with the music created by Apollo because its movement corresponded to the beat of their hearts. When the aulos sounded, the muses seemed to be torn out of their native soil and in an instant found themselves in some incomprehensible chaos of sounds, as if rushing towards each other with incredible speed: the sounds collided, scattered in different directions, swirled, jumped out of the formed circle with them, then everything started all over again, and this cycle had no end. In the name of what was this done? What was the point in all this rapid whirlwind, where neither beginning nor end could be found? And the sound of the aulos itself was rough and harsh.

In the upper register he nasalized, and in the lower register he rasped. For the muses there was no doubt that by giving the palm to Apollo, they thereby affirmed the victory of high art. Marsyas was ridiculed, and Apollo was glorified. Everything was moving towards the outcome planned by Apollo.

However, at the very end, when the jury and listeners began to disperse, the Phrygian king Midas suddenly asked to speak. Shyly smiling, embarrassed and blushing, he said that he liked the acting and music of Marsyas more than Apollo. There was an awkward pause. But Midas’s words could not influence the muses’ impression of the competition, and it was even more impossible to change their decision. All the listeners continued to disperse, returning to their daily affairs. And when almost no one was left, Apollo, in retaliation for such a daring statement, awarded Midas with donkey ears. Let them show off on his head and let everyone know that he understands as much about music as any donkey. As the proverb says: “The sounds of the lyre are unnecessary for a donkey.” So Midas remained with this gift from Apollo for the rest of his life.