126 : MYTHOLOGY AND RELIGIOUS RITES. 
that of a goat, small horns projected from his forehead, ane me ook a veurved 
apa long beard, goat’s feet and tail. . 
‘With so few prepossessing qualities, his amorous. ciplaticl ‘were not suc- 
eteastele He loved the Naiad Syrinx, but she fled from him, and when 
about to grasp her, the gods changed her into a reed. Presently the winds 
murmured gently through the reeds, and the sweet tones sounded like the 
echo of his lamentations for the loss of the loved one.. He therefore eut 
from among the reeds several pieces of different lengths, which he tied 
together, and which produced enchanting music when the wind blew into 
them. In this way he discovered the seven-tubed Syrinx or pastoral pipe, 
upon which he subsequently became a proficient player... He instructed 
Olympos, the pupil of the unfortunate Marsyas, in the art of playing on 
this: pipe (pl. 24, jig. 16). His principal attributes were the crooked 
shepherd’s staff and the Syrinx. On a coin (pl. 25, fig. 3) he is represented 
sitting on a rock, holding the staff, while the Syrinx lies at his feet. The 
letters OA YM signify coin of the Olympians, and AR Arcadia, the district 
in which he was particularly honored. 
Pan finally’ succeeded in obtaining for a wife the nymph ga, and 
became the progenitor of a long line of descendants called Panisks or 
Panines, who were formed like himself. 
Shortly after Pan’s birth, when Hermes showed him to the gods chee 
in hare-skins, Dionysos techie very fond of him. Afterwards, when 
Dionysos made his expedition to India, Pan accompanied him, and saved 
him by his shrewdness from falling into captivity. Dionysos and his flock 
of companions were completely inclosed by a large Indian army, who were 
hostilely disposed towards him, and might at every moment be expected to 
attack him. Pan advised Dionysos to set up a terrific howl, himself 
accompanying it with the discordant sounds of a horn; the Indians who, 
by the noise, supposed Dionysos attended by an overwhelming force, fled 
in terror, and permitted the enemy to escape. Ever since then a fright so 
intense as to deprive one of his self-possession is called a panic, and has 
become the. subject of artistical representation (pl. 24, jig.17a6). The 
picture from which these figures are taken exhibits two heads of Pan 
admirably characterized (of which we have only copied one, jig. 17a), and 
between them the head of an old man (jig. 17b), whose bristling hair, 
gaping mouth, and staring eyes clearly denote him as suffering under the 
extreme of terror. 
12. SmteNnos was usually grouped with Pan not so much on account of his 
exterior as from his mythological relations to Dionysos. He was tutor and 
counsellor of the latter, and at a later period not only his constant com- 
panion, but also the leader of the whole Dionysan chorus, and was classed 
with the field and mountain gods. The artists represented him as an old 
man with a flat nose, bald head, thin beard, the body of medium size, the 
flesh bloated and spongy, the breast hairy, the head drooping, the eyes 
small and sleepy, so that his whole figure realizes the conception of a little 
jovial old toper, and blends the opposites of jest and earnest, sublimity and 
meanness. It is contrast personified, yet so that the irony appears its 
346 
