by Douglas Bishop
The Creation of the First Pan Flute
Greek legend

Pan, the god of nature in Greek mythology, was tending his flocks in Arcadia one day when he spied a beautiful nymph and fell in love with her. The nymph, Syrinx, turned and saw the abominably ugly Pan and, without heeding his loud admissions of love, turned and fled in terror, with Pan in pursuit. Coming to the bank of the Ladon river, Syrinx called upon her sister nymphs to save her. Casting herself into the river in despair, Syrinx was transformed into a bed of marsh reeds. Upon coming to the riverbank and finding no nymph, Pan sat next to the river and wept his sorrow. In the midst of his grief, Pan noticed the bed of reeds that had been Syrinx's body was delicately swaying in the wind, making a mournful moaning sound, for the wind had broken the tops of some of the reeds. Pulling the reeds up, Pan cut them into pieces and bound them together to create a musical instrument, which he named "Syrinx", in memory of his lost love. "Syrinx" is still the Greek name of the instrument known today as the pan flute ( Read the legend as written by the Roman poet Ovid).
The Musical Duel of Pan and Apollo
Greek legend

    Pan, the Greek god of shepherds and nature in Greek mythology, was a great musician who is known for his invention of the syrinx, or Greek pan flute. The sound of his pipes was so sweet that he grew proud, and believing himself greater than the chief musician of the gods, Apollo, the sun-god, he challenged Apollo to a musical duel. Apollo consented to the test, for he wished to punish Pan's vanity, while overlooking his own well-known arrogance. Pan and Apollo chose the mountain Tmolus to be the judge of the contest, since no one is so old and wise as the hills.
    When Pan and Apollo came before Tmolus for the duel, their followers came with them, to hear, and one of those who came with Pan was a mortal named Midas. First Pan played; he blew on his reed pipes, and out came a tune so wild and yet so coaxing that the birds hopped from the trees to get near; the squirrels came running from their holes; and the very trees swayed as if they wanted to dance. The fauns laughed aloud for joy as the melody tickled their furry little ears, and Midas thought it was the sweetest music in the world.
    Then Apollo rose, and in his hands he held his golden lyre. When he touched the strings of the lyre, such music stole upon the air as never god nor mortal heard before. The wild creatures of the wood crouched still as stone; the trees kept every leaf from rustling; earth and air were as silent as a dream. When Apollo stopped playing, it was like bidding farewell to one's father and mother.
    When the spell of Apollo's music was broken, the hearers fell at Apollo's feet and proclaimed him the winner. All but Midas, who alone would not admit that the music was better than Pan's. "If thine ears are so dull, mortal," said Apollo, "they shall take the shape that best suits them." Apollo touched the ears of Midas, and they grew long, pointed, and furry. They were the ears of an ass!

The Tale of the Mong Pan Flute, the Crenh of Vietnam
Mong legend, translated by Dinh Tien Binh

    According to Mong mythology, there once lived a happy couple residing high on a remote mountainside. The couple had six healthy boys who grew up to be very hard-working and were loved by all the villagers, especially the local girls. One day the father passed away. Stricken by grief, the boys sat motionless around his body, letting out heartrending cries. The boys could not bring themselves to leave their fatherís body in the forest for the birds and wild animals, as was required by the local tradition, and so they decided to keep him close to them at home. Their cries of grief moved even the wild animals. The birds stopped singing. The bests stopped their nightly howling. The boys cried and cried until their fatherís body began to decompose and they grew faint from thirst and hunger. Unwilling to stop mourning, the boys thought of replacing their fading voices with bamboo pipes. The eldest son made the longest and biggest flute and the youngest the shortest and smallest. Day after day and night after night they played their flutes until the body had deteriorated so much they had to bury it in the jungle. Shortly afterward, the mother and the youngest son died of exhaustion. The boys continued their mourning, and while to an outsider the sound may have seemed the same, to the brothers something was missing. In order to preserve their original sound, the brothers went to the forest and selected some wood from of the po-mu tree to make a flute holder so that one person could play all six flutes at one time, and the crenh or Mong pan-pipes were born.
Pan's Pipes
by Robert Louis Stevenson

    The world in which we live has been variously said and sung by the most ingenious poets and philosophers: these reducing it to formulae and chemical ingredients, those striking the lyre in high-sounding measures for the handiwork of God. What experience supplies is of a mingled tissue, and the choosing mind has much to reject before it can get together the materials of a theory. Dew and thunder, destroying Atilla and the Spring lambkins, belong to an order of contrasts which no repetition can assimilate. There is an uncouth, outlandish strain throughout the web of the world, as from a vexatious planet in the house of life. Things are not congruous and wear strange disguises: the consummate flower is fostered out of dung, and after nourishing itself awhile with heaven's delicate distillations, decays again into indistinguishable soil; and with Caesar's ashes, Hamlet tells us, the urchins make dirt pies and filthily besmear their countenance. Nay, the kindly shine of summer, when tracked home with the scientific spyglass, is found to issue from the most portentous nightmare of the universe - the great, conflagrant sun: a world of hell's squibs, tumultuary, roaring aloud, inimical to life. The sun itself is enough to disgust a human being of the scene which he inhabits; and you would not fancy there was a green or habitable spot in a universe thus awfully lighted up. And yet it is by the blaze of such a conflagration, to which the fire of Rome was but a spark, that we do all our fiddling, and hold domestic tea-parties at the arbour door.

    The Greeks figured Pan, the god of Nature, now terribly stamping his foot, so that armies were dispersed; now by the woodside on a summer noon trolling on his pipe until he charmed the hearts of upland ploughmen. And the Greeks, in so figuring, uttered the last word of human experience. To certain smoke-dried spirits matter and motion and elastic aethers, and the hypothesis of this or that other spectacled professor, tell a speaking story; but for youth and all ductile and congenial minds, Pan is not dead, but of all the classic hierarchy alone survives in triumph; goat-footed, with a gleeful and an angry look, the type of the shaggy world: and in every wood, if you go with a spirit properly prepared, you shall hear the note of his pipe.

    For it is a shaggy world, and yet studded with gardens; where the salt and tumbling sea receives clear rivers running from among reeds and lilies; fruitful and austere; a rustic world; sunshiny, lewd, and cruel. What is it the birds sing among the trees in pairing-time? What means the sound of the rain falling far and wide upon the leafy forest? To what tune does the fisherman whistle, as he hauls in his net at morning, and the bright fish are heaped inside the boat? These are all airs upon Pan's pipe; he it was who gave them breath in the exultation of his heart, and gleefully modulated their outflow with his lips and fingers. The coarse mirth of herdsmen, shaking the dells with laughter and striking out high echoes from the rock; the tune of moving feet in the lamplit city, or on the smooth ballroom floor; the hooves of many horses, beating the wide pastures in alarm; the song of hurrying rivers; the colour of clear skies; and smiles and the live touch of hands; and the voice of things, and their significant look, and the renovating influence they breathe forth - these are his joyful measures, to which the whole earth treads in choral harmony. To this music the young lambs bound as to a tabor, and the London shop-girl skips rudely in the dance. For it puts a spirit of gladness in all hearts; and to look on the happy side of nature is common, in their hours, to all created things. Some are vocal under a good influence, are pleasing whenever they are pleased, and hand on their happiness to others, as a child who, looking upon lovely things, looks lovely. Some leap to the strains with unapt foot, and make a halting figure in the universal dance. And some, like sour spectators at the play, receive the music into their hearts with an unmoved countenance, and walk like strangers through the general rejoicing. But let him feign never so carefully, there is not a man but has his pulses shaken when Pan trolls out a stave of ecstasy and sets the world a-singing.

    Alas if that were all! But oftentimes the air is changed; and in the screech of the night wind, chasing navies, subverting the tall ships and the rooted cedar of the hills; in the random deadly levin or the fury of headlong floods, we recognise the "dread foundation" of life and the anger in Pan's heart. Earth wages open war against her children, and under her softest touch hides treacherous claws. The cool waters invite us in to drown; the domestic hearth burns up in the hour of sleep, and makes an end of all. Everything is good or bad, helpful or deadly, not in itself, but by its circumstances. For a few bright days in England the hurricane must break forth and the North Sea pay a toll of populous ships. And when the universal music has led lovers into the paths of dalliance, confident of Nature's sympathy, suddenly the air shifts into a minor, and death makes a clutch from his ambuscade below the bed of marriage. For death is given in a kiss; the dearest kindnesses are fatal; and into this life, where one thing preys upon another, the child too often makes its entrance from the mother's corpse. It is no wonder, with so traitorous a scheme of things, if the wise people who created for us the idea of Pan thought that of all fears the fear of him was the most terrible, since it embraces all. And still we preserve the phrase: a panic terror. To reckon dangers too curiously, to hearken too intently for the threat that runs through all the winning music of the world, to hold back the hand from the rose because of the thorn, and from life because of death: this it is to be afraid of Pan. Highly respectable citizens who flee life's pleasures and responsibilities and keep, with upright hat, upon the midway of custom, avoiding the right hand and the left, the ecstasies and the agonies, how surprised they would be if they could hear their attitude mythologically expressed, and knew themselves as tooth-chattering ones, who flee from Nature because they fear the hand of Nature's God! Shrilly sound Pan's pipes; and behold the banker instantly concealed in the bank parlour! For to distrust one's impulses is to be recreant to Pan.

    There are moments when the mind refuses to be satisfied with evolution, and demands a ruddier presentation of the sum of man's experience. Sometimes the mood is brought about by laughter at the humorous side of life, as when, abstracting ourselves from earth, we imagine people plodding on foot, or seated in ships and speedy trains, with the planet all the while whirling in the opposite direction, so that, for all their hurry, they travel back-foremost through the universe of space. Sometimes it comes by the spirit of delight, and sometimes by the spirit of terror. At least, there will always be hours when we refuse to be put off by the feint of explanation, nicknamed science; and demand instead some palpitating image of our estate, that shall represent the troubled and uncertain element in which we dwell, and satisfy reason by the means of art. Science writes of the world as if with the cold finger of a starfish; it is all true; but what is it when compared to the reality of which it discourses? where hearts beat high in April, and death strikes, and hills totter in the earthquake, and there is a glamour over all the objects of sight, and a thrill in all noises for the ear, and Romance herself has made her dwelling among men? So we come back to the old myth, and hear the goat-footed piper making the music which is itself the charm and terror of things; and when a glen invites our visiting footsteps, fancy that Pan leads us thither with a gracious tremolo; or when our hearts quail at the thunder of the cataract, tell ourselves that he has stamped his hoof in the nigh thicket.