A Book of Myths - Jean Lang (read me like a book .TXT) 📗

E. B. Browning.

Were we to take the whole of that immense construction of fable that was once the religion of Greece, and treat it as a vast play in which there were many thousands of actors, we should find that one of these actors appeared again and again. In one scene, then in another, in connection with one character, then with another, unexpectedly slipping out from the shadows of the trees from the first act even to the last, we should see Pan—so young and yet so old, so heedlessly gay, yet so infinitely sad.

If, rather, we were to regard the mythology of Greece as a colossal and wonderful piece of music, where the thunders of Jupiter and the harsh hoof-beats of the fierce black steeds of Pluto, the king whose coming none can stay, made way for the limpid melodies of Orpheus and the rustling whisper of the footfall of nymphs and of fauns on the leaves, through it all we should have an ever-recurring motif—the clear, magical fluting of the pipes of Pan.

We have the stories of Pan and of Echo, of Pan and of Midas, of Pan and Syrinx, of Pan and Selene, of Pan and Pitys, of Pan and Pomona. Pan it was who taught Apollo how to make music. It was Pan who spoke what he deemed to be comfort to the distraught Psyche; Pan who gave Diana her hounds. The other gods had their own special parts in the great play that at one time would have Olympus for stage, at another the earth. Pan was Nature incarnate. He was the Earth itself.

Many are the stories of his genealogy, but the one that is given in one of the Homeric hymns is that Hermes, the swift-footed young god, wedded Dryope, the beautiful daughter of a shepherd in Arcadia, and to them was born, under the greenwood tree, the infant, Pan. When Dryope first looked on her child, she was smitten with horror, and fled away from him. The deserted baby roared lustily, and when his father, Hermes, examined him he found a rosy-cheeked thing with prick ears and tiny horns that grew amongst his thick curls, and with the dappled furry chest of a faun, while instead of dimpled baby legs he had the strong, hairy hind legs of a goat. He was a fearless creature, and merry withal, and when Hermes had wrapped him up in a hare skin, he sped to Olympus and showed his fellow-gods the son that had been born to him and the beautiful nymph of the forest. Baby though he was, Pan made the Olympians laugh. He had only made a woman, his own mother, cry; all others rejoiced at the new creature that had come to increase their merriment. And Bacchus, who loved him most of all, and felt that here was a babe after his own heart, bestowed on him the name by which he was forever known—Pan, meaning All.

Thus Pan grew up, the earthly equal of the Olympians, and, as he grew, he took to himself the lordship of woods and of solitary places. He was king of huntsmen and of fishermen, lord of flocks and herds and of all the wild creatures of the forest. All living, soulless things owned him their master; even the wild bees claimed him as their overlord. He was ever merry, and when a riot of music and of laughter slew the stillness of the shadowy woods, it was Pan who led the dancing throng of white-limbed nymphs and gambolling satyrs, for whom he made melody from the pipes for whose creation a maid had perished.

Round his horns and thick curls he presently came to wear a crown of sharp pine-leaves, remembrance of another fair nymph whose destruction he had brought about.

Pitys listened to the music of Pan, and followed him even as the children followed the Pied Piper of later story. And ever his playing lured her further on and into more dangerous and desolate places, until at length she stood on the edge of a high cliff whose pitiless front rushed sheer down to cruel rocks far below. There Pan’s music ceased, and Pitys knew all the joy and the sorrow of the world as the god held out his arms to embrace her. But neither Pan nor Pitys had remembrance of Boreas, the merciless north wind, whose love the nymph had flouted.

Ere Pan could touch her, a blast, fierce and strong as death, had seized the nymph’s fragile body, and as a wind of March tears from the tree the first white blossom that has dared to brave the ruthless gales, and casts it, torn and dying, to the earth, so did Boreas grip the slender Pitys and dash her life out on the rocks far down below. From her body sprang the pine tree, slender, erect, clinging for dear life to the sides of precipices, and by the prickly wreath he always wore, Pan showed that he held her in fond remembrance.

Joy, and youth, and force, and spring, was Pan to all the creatures whose overlord he was. Pan meant the richness of the sap in the trees, the lushness of grass and of the green stems of the blue hyacinths and the golden daffodils; the throbbing of growth in the woodland and in the meadows; the trilling of birds that seek for their mates and find them; the coo of the doves on their nests of young; the arrogant virility of bulls and of stags whose lowing and belling wake the silence of the hills; the lightness of heart that made the nymphs dance and sing, the fauns leap high, and shout aloud for very joy of living. All of these things was Pan to those of his own kingdom.

Yet to the human men and women who had also listened to his playing, Pan did not mean only joyousness. He was to them a force that many times became a terror because of its sheer irresistibleness.

While the sun shone and the herdsmen could see the nodding white cotton-grass, the asphodel, and the golden kingcups that hid the black death-traps of the pitiless marshes, they had no fear of Pan. Nor in the daytime, when in the woods the sunbeams played amongst the trees and the birds sang of Spring and of love, and the syrinx sent an echo from far away that made the little silver birches give a whispering laugh of gladness and the pines cease to sigh, did man or maid have any fear. Yet when darkness fell on the land, terror would come with it, and, deep in their hearts, they would know that the terror was Pan. Blindly, madly, they would flee from something that they could not see, something they could barely hear, and many times rush to their own destruction. And there would be no sweet sound of music then, only mocking laughter. Panic was the name given to this fear—the name by which it still is known. And, to this day, panic yet comes, and not only by night, but only in very lonely places. There are those who have known it, and for shame have scarce dared to own it, in highland glens, in the loneliness of an island in the western sea, in a green valley amongst the “solemn, kindly, round-backed hills” of the Scottish Border, in the remoteness of the Australian bush. They have no reasons to give—or their reasons are far-fetched. Only, to them as to Mowgli, Fear came, and the fear seemed to them to come from a malignant something from which they must make all haste to flee, did they value safety of mind and of body. Was it for this reason that the Roman legionaries on the Great Wall so often reared altars in that lonely land of moor and mountain where so many of them fought and died—