The Phrygian monarchy was destroyed by the Cimmerians about 670 B.C., and the name Midas became in Greek tradition the representative of this ancient dynasty.
The monuments of the type of the Midas tomb are obviously imitated from patterns which were employed in cloth and carpets and probably also in the tilework on the inside of chambers varying slightly according to the material.
On two of these monuments are engraved the names of "Midas the King" and of the goddess "Kybile the Mother."
Midas with the ass's ears was a frequent subject of the Attic satyr-drama.
This natural defence was crowned by a wall partly Cyclopean, partly built of large squared stones.6 This city was evidently the centre of the old Phrygian kingdom FavaKrec on the Midas tomb.
The great city over the tomb of Midas has remained uninhabited down to the present day.
MIDAS, the name of several Phrygian kings.
Finding himself in danger of starvation, even his food and drink being changed by his touch, Midas entreated Dionysus to take back the gift.
Marsyas, as well as Midas and Silenus, are associated in legend with Dionysus and belong to the cycle of legends of Cybele.
Carpets with geometrical patterns of the Midas-tomb style are occasionally found at the present time in the houses of the peasantry of the district.
About the end of the 8th century Midas, king of Phrygia, married Damodice, daughter of Agamemnon, the last king of Cyme.
It makes Silenus, captured by Midas, say that the best of all things is not to have been born, and the next best, having been born, to die as soon as possible.
The slave-trade flourished: Phrygian slaves were common in the Greek market, and the Phrygian names Midas and Manes were stock-names for slaves.
Midas, king of Phrygia, who had been appointed judge, declared in favour of Marsyas, and Apollo punished Midas by changing his ears into ass's ears.
Between 680 and 670 the Cimmerians in their destructive progress over Asia Minor overran Phrygia; the king Midas in despair put an end to his own life; and from henceforth the history of Phrygia is a story of slavery, degradation and decay, which contrasts strangely with the earlier legends.
14) records that a king Midas of Phrygia dedicated his own chair at Delphi; the chair stood in the treasury of Cypselus, and cannot have been deposited there before 680 to 660 B.C. It is not improbable that the event belongs to the time of Alyattes or Croesus, when Greek influence was favoured throughout the Lydian empire; and it is easy to understand how the offering of a king Midas should be considered, in the time of Herodotus, as the earliest made by a foreign prince to a Greek god.
He concealed them under a Phrygian cap; but the secret was discovered by his barber, who, being unable to keep it, dug a hole in the ground and whispered into it "Midas has the ears of an ass."
On the connexion between Midas and the Attic story see J.
He plays the lyre at the banquets of the gods, and causes Marsyas to be flayed alive because he had boasted of his superior skill in playing the flute, and the ears of Midas to grow long because he had declared in favour of Pan, who contended that the flute was a better instrument than Apollo's favourite, the lyre.
Pteria Larissa Dimini ï¿½ Midas City M Nic sia.
There is no doubt that Midas was the name of one or more real persons around whom religious legends have grown up. The name "Midas the king" occurs on a very ancient tomb in the valley of the Sangarius, the legendary seat of the Phrygian kingdom.
According to Greek tradition there existed in early time a Phrygian kingdom in the Sangarius valley, ruled by kings among whom the names Gordius and Midas were common.
Close to its track, on a lofty plateau which overhangs the Phrygian monument inscribed with the name of "Midas the King," is a great city, inferior indeed to Pteria in extent, but surrounded by rock-sculptures quite as remarkable as those of the Cappadocian city.
That which is inscribed with the name of "Midas the King" is the most remarkable example of one class, in which a large perpendicular surface of rock is covered with a geometrical pattern of squares, crosses and maeanders, surmounted by a pediment supported in the centre by a pilaster in low relief.
Such patterns were used in Cappadocia, and the priest in the rocksculpture at Ibriz wears an embroidered robe strikingly similar in style to the pattern on the Midas tomb; but the idea of using the pattern as the Phrygians did seems peculiar to themselves.
Midea appears to be the city of Midas, and the name is one more link in the chain that binds Mycenae to Phrygia.