Words empty as the wind are best left unsaid.


A picture is worth a thousand words.

~Napoleon Bonaparte

Sunday, 19 June 2011

God Hermes, God Pan, and Satyr,

                                    Edited May 10, 2012          
  As M.P. Hall, 33 degree Mason said, "symbols reveal and conceal at the same time"

Blavatsky gave us a clue.

The Secret Doctrine H. Blavatsky Vol. I p. 74
"The "Dragon of Wisdom" is the One, the "Eka" (Sanskrit) or Saka. It is curious that Jehovah's name in Hebrew should also be One, Echod. "His name is Echod": say the Rabbins. The philologists ought to decide which of the two is derived from the other—linguistically and symbolically: surely, not the Sanskrit? The "One" and the Dragon are expressions used by the ancients in connection with their respective Logoi. Jehovah — esoterically (as Elohim) — is also the Serpent or Dragon that tempted Eve, and the "Dragon" is an old glyph for "Astral Light" (Primordial Principle), "which is the Wisdom of Chaos." Archaic philosophy, recognizing neither Good nor Evil as a fundamental or independent power, but starting from the Absolute ALL(Universal Perfection eternally), traced both through the course of natural evolution to pure Light condensing gradually into form, hence becoming Matter or Evil. It was left with the early and ignorant Christian fathers to degrade the philosophical and highly scientific idea of this emblem (the Dragon) into the absurd superstition called the "Devil." They took it from the later Zoroastrians, who saw devils or the Evil in the Hindu Devas, and the word Evil thus became by a double transmutation D'Evil in every tongue (Diabolos, Diable, Diavolo, Teufel). But the Pagans have always shown a philosophical discrimination in their symbols. The primitive symbol of the serpent symbolised divine Wisdom and Perfection, and had always stood for psychical Regeneration and Immortality. Hence — Hermes, calling the serpent the most spiritual of all beings; Moses, initiated in the wisdom of Hermes, following suit in Genesis; the Gnostic's Serpent with the seven vowels over its head, being the emblem of the seven hierarchies of the Septenary or Planetary Creators. Hence, also, the Hindu serpent Sesha or Ananta, "the Infinite," a name of Vishnu, whose first Vahan or vehicle on the primordial waters is this serpent.* Yet they all made a difference between the good and the bad Serpent (the Astral Light of the Kabalists) — between the former, the embodiment of divine Wisdom  in the region of the Spiritual, and the latter, Evil, on the plane of matter.* Jesus accepted the serpent as a synonym of Wisdom, and this formed part of his teaching: "Be ye wise as serpents," he says. "In the beginning, before Mother became Father-Mother, the fiery Dragon moved in the infinitudes alone" (Book of Sarparajni.) The Aitareya Brahmana calls the Earth Sarparâjni, "the Serpent Queen," and "the Mother of all that moves." Before our globe became egg-shaped (and the Universe also) "a long trail of Cosmic dust (or fire mist) moved and writhed like a serpent in Space." The "Spirit of God moving on Chaos" was symbolized by every nation in the shape of a fiery serpent breathing fire and light upon the primordial waters, until it had incubated cosmic matter and made it assume the annular shape of a serpent with its tail in its mouth — which symbolises not only Eternity and Infinitude, but also the globular shape of all the bodies formed within the Universe from that fiery mist. The Universe, as well as the Earth and Man, cast off periodically, serpent-like, their old skins, to assume new ones after a time of rest. The serpent is, surely, a not less graceful or a more unpoetical image than the caterpillar and chrysalis from which springs the butterfly, the Greek emblem of Psyche, the human soul. The "Dragon" was also the symbol of the Logos with the Egyptians, as with the Gnostics. In the "Book of Hermes," Pymander, the oldest and the most spiritual of the Logoi of the Western Continent, appears to Hermes in the shape of a Fiery Dragon of "Light, Fire, and Flame."
Pymander, the "Thought Divine" personified, says: The Light is me, I am the Nous (the mind or Manu), I am thy God, and I am far older than the human principle which escapes from the shadow ("Darkness," or the concealed Deity). I am the germ of thought, the resplendent Word, the Son of God. All that thus sees and hears in thee is the Verbum of the Master, it is the Thought (Mahat) which is God, the Father.

Let's look at Hermes wisdom and his son Pan through sculptures, paintings, and mythology.  Let's look at images first.
Hermes was depicted as either a handsome and athletic, beardless youth, or as an older bearded man. His attributes included the herald's wand or kerykeion (Latin caduceus), winged boots, and sometimes a winged travelers cap and chlamys cloak.
In the Iliad and Odyssey this tradition is not mentioned, though Hermes is characterized as a cunning thief. (Il. v. 390, xxiv. 24.

                                Museo Archeologico Nazionale di Napoli, Naples, Italy

 Museo Archeologico Nazionale di Napoli, Naples, Italy 
A portrait of Hermes (Mercury) portrays him as a youthful god with winged cap and caduceus wand.

British Museum, London, United Kingdom

Hermes Psykhostasia (Weigher of Souls) stands between Memnon and Akhilleus (not shown) in the Trojan War, weighing their respective destinies on the scales of fate.
Hermes (Mercury) is portrayed as a bearded god with enlarged phallus, winged sandals and caduceus wand.

State Hermitage Museum, St Petersburg, Russia
Themis seated on a stone counsels the enthroned god Zeus. Athene, Hermes and a tiny flying Nike and other gods (not shown) stand in the scene. Themis' stone is probably the OMphalos of Delphoi, the old seat of the prophetesses of the oracle. 

I will get later to OM. 
Heracles leads Cerberus, the hound of Hades, forth from the underworld on a chain. He is greeted by his half-sister Persephone (to the right, not shown), who has given the hero permission to remove the hound, and is accompanied by the gods Athene and Hermes. 

  A large vase painting of the birth of Dionysus shows the god rising from the thigh of Zeus. Hera stretches out her arms to grap him. Other gods stand around in observance including Eros and Aphrodite, Pan, Apollo and Artemis the three Nysiades, Hermes and Silenus.   

   Museo Gregoriano Etrusco Vaticano, Vatican City

 Hermes delivers the infant god Dionysus to the foster care of Selinus and the Nysiades. The old, white-haired god is seated on a rock. He has an XXX's ears and tail, and holds in his hand a thyrsos (pine-cone tipped staff). Of the Nysiades, one holds in her hand the frond of a flowering plan.

Hermes was the god of the birds of omen, birds dispatched from heaven under the divine inspiration of prophetic Apollo. Only seers, under the god's patronage, could distinguish birds of omen from those "idly-chattering" and interpret their divine messages.
Hermes was heaven's herald and so was naturally regarded as the source of those other winged messengers of heaven - the birds of omen.

"Apollo swore also: `Verily I will make you [Hermes] only to be an omen for the immortals and all alike, trusted and honored by my heart. Moreover, I will give you a splendid staff of riches and wealth: it is of gold, with three branches, and will keep you scatheless, accomplishing every task, whether of words or deeds that are good, which I claim to know through the utterance of Zeus.
But as for sooth-saying, noble, heaven-born child, of which you ask, it is not lawful for you to learn it, nor for any other of the deathless gods: only the mind of Zeus knows that. I am pledged and have vowed and sworn a strong oath that no other of the eternal gods save I should know the wise-hearted counsel of Zeus. And do not you, my brother, Khrysorrapis (bearer of the golden wand), bid me tell those decrees which all-seeing Zeus intends. As for men, I will harm one and profit another, sorely perplexing the tribes of unenviable men.
Whosoever shall come guided by the call and flight of birds of sure omen, that man shall have advantage through my voice, and I will not deceive him. But whoso shall trust to idly-chattering birds and shall seek to invoke my prophetic art contrary to my will, and to understand more than the eternal gods, I declare that he shall come on an idle journey; yet his gifts I would take ... '
And from heaven father Zeus himself gave confirmation to his words, and commanded that glorious Hermes should be lord over all birds of omen " - Homeric Hymn 4 to Hermes 526
"Zeus loathed them [the giants Agrios and Oreios] and sent Hermes to punish them ... [and] Hermes he changed them into birds. Polyphonte became a small owl ... she is a portent of war and sedition for mankind. Oreios became an eagle owl, a bird that presages little good to anyone when it appears ... Their female servant was changed into a woodpecker. As she was changing her shape she prayed to the gods not to become a bird evil for mankind. Hermes and Ares heard her prayer because she had by necessity done what her masters had ordered. This a bird of good omen for someone going hunting or to feasts." - Antoninus Liberalis, Metamorphoses 21

I think that I have to spend more time with mythology of Hermes and his big phallus ...... as I feel that he may bring us more clues.   I will examine Hermes's teachings in the next blog...... following Madame Blavatsky's clue.

I was looking at depiction of Hermes/Mercury. I found these images at occult website.
Mercury, Greek Hermes. Red hair again. But he doesn't look like a male. Evelyn de Morgan.

Mercury Dime (1916–1945)
The head of Hermes / Mercury appeared on the front side of all US dimes during this period


Totus Tuus - a medical management company.
Note: Totus Tuss was Pope John Paul II's apostolic motto. It means "totally yours" and expressed his strong Marian devotion.
 Delta Air Service logo circa 1929 (Now Delta Airlines)  
PAN was the god of shepherds and flocks, of mountain wilds, hunting and rustic music. He wandered the hills and mountains of Arkadia playing his pan-pipes and chasing Nymphs. His unseen presence aroused feelings of panic in men passing through the remote, lonely places of the wilds.

Pan was depicted as a man with the horns, legs and tail of a goat, and with thick beard, snub nose and pointed ears. He was often appears in the retinue of Dionysos alongside the other rustic gods. Greeks in the classical age associated his name with the word pan meaning "all". However, it true origin lies in an old Arkadian word for rustic.

Herodotus, Histories 2. 153. 1 (Greek historian C5th B.C.) :
"Among the Greeks, Herakles, Dionysos, and Pan are held to be the youngest of the gods . . . and Pan the son of Penelope, for according to the Greeks Penelope and Hermes were the parents of Pan, was [first worshipped in Greece] about eight hundred years before me [Herodotus], and thus of a later date than the Trojan war . . . Had Dionysus son of Semele and Pan son of Penelope appeared in Hellas and lived there to old age, like Herakles the son of Amphitryon, it might have been said that they too (like Herakles) were but men, named after the older Pan and Dionysus, the gods of antiquity; but as it is . . . for Pan, the Greeks do not know what became of him after his birth. It is therefore plain to me that the Greeks learned the names of these two gods later than the names of all the others, and trace the birth of both to the time when they gained the knowledge."

Virgil, Georgics 1. 16 ff (Roman bucolic C1st B.C.) :
"Pan, guardian of the sheep, leaving your native woods and glades of [Mount] Lycaeus, as you love your own Maenalus, come of your grace, Tegean lord!"
Homeric Hymn 19 to Pan 1 ff (trans. Evelyn-White) (Greek epic C7th - 4th B.C.) :
"Pan, the shepherd god (theos nomios), long-haired, unkempt.

Pausanias, Description of Greece 10. 23. 7 (Greek travelogue C2nd A.D.) :
"During the night there fell on them a panic. For causeless terrors are said to come from the god Pan."

Homeric Hymn 19 to Pan (Greek epic C7th - 4th B.C.) :
"At evening, as he [Pan] returns from the chase, he sounds his note, playng sweet and low on his pipes of reed: not even she could excel him in melody--that bird who flower-laden spring pouring forth her lament uters honey-voiced song amid the leaves.

Nonnus, Dionysiaca 17. 69 ff :
"He [the shepherd Brongos] played Pan's wellknown tune on his pipes."
Nonnus, Dionysiaca 17. 376 ff :
"The herdsman Pan sang loudly, pouring out his victorious note, drawing on the Satryoi (Satyrs) to dance drunkenly after their war."

Ovid, Fasti 1. 391 (Roman poetry C1st B.C. to C1st A.D.)
They discovered a grove suitable for party pleasures and sprawled on grass-lined couches. Liber [Dionysos] supplied wine . . . Naiades were there . . . Some generate tender fires inside the Satyri, others in you, whose brow is bound with pine [Pan]."

Pan's animals were the goat and tortoise. Plants sacred to him included the pine-tree (see the story of Pitys above), the water-reed (see the story of Syrinx), as well as the mountain beech.

In the Mystery cults of the highly syncretic Hellenistic era Pan is made cognate with Phanes/Protogonos, Zeus, Dionysus and Eros.


In 1933, the Egyptologist Margaret Murray published the book, The God of the Witches, in which she theorised that Pan was merely one form of a horned god who was worshipped across Europe by a witch-cult. This theory influenced the Neopagannotion of the Horned God, as an archetype of male virility and sexuality. In Wicca, the archetype of the Horned God is highly important, as represented by such deities as the Celtic Cernunnos, Indian Pashupati and Greek Pan.

ca 405 - 385 BC
Detail of Pan from a painting depicting the birth of Dionysus. Pan is shown with pointed ears, goat horns and a tail. He has an animal skin draped over his shoulders, and a set of pan-pipes.

Museum Collection: Museo Archeologico Nazionale di Napoli, Naples, Italy
Period: Imperial Roman
The goat-legged god Pan pursues the Nymph Pitys who is transformed into a pine tree.

Museum Collection: Antakya Museum, Antakya, Turkey
Date: C2nd - C3rd AD
Detail of Pan with a wine jug from a mosaic depicting the procession of the god Dionysus.

             Pan, Louvre, Paris

Pan poursuivant Syrinx (1804) de Gilles-Lambert Godecharle (1750-1835). Musées royaux des beaux-Arts de Belgique, Bruxelles (Belgique)

Nicolas Poussin, Bacchanal before a Statue of Pan

 Edward Coley Burne-Jones - Pan and Psyche

Sculpture of Pan


Pan (1959) by Jacob Epstein, Edinburgh Gate, Hyde Park, London

Let's look at Pan transformation.

Museo Archeologico Nazionale di Napoli, Naples, Italy, C1st AD 
The rustic god Pan sits on a mountain rock, playing a set of his namesake pan-pipes. The god is shown with the horns of a goat, but is otherwise human in form. He has an animal skin cloak draped over one arm.
He lost his horns. LOL!
 Pan's Garden, Sir Edward Coley Burne-Jones
Pan has transformed into a little angel. 


And he transformed into a dark angel?

 Nicolas Poussin, Helios and Phaeton with Saturn and the Four Seasons

Edward Burne-Jones, Music Angel

Dark angel plays music, eh?   

Another transition.

Illustration of Peter Pan playing the pipes, by F. D. Bedford from Peter and Wendy (1911)

                       Statue of Peter Pan in Kirriemuir.
          Statue of Peter Pan in Kensington GardensLondon

       Peter Pan, Queens Gardens, Perth

Nicolas Poussin,Triumph of Pan

Pan is not only loved by painters.

Alexander Pope (21 May 1688 – 30 May 1744) was an 18th-century English poet, best known for his satirical verse and for his translation of Homer.

Alexander Pope


Not proud Olympus yields a nobler sight,
Tho' gods assembled grace his tow'ring height,
Than what more humble mountains offer here,
Where, in their blessings, all those Gods appear.
See Pan with flocks, with fruits Pomona crown'd,
Here blushing Flora paints th' enamel'd ground,
Here Ceres' gifts in waving prospect stand,
And nodding tempt the joyful reaper's hand;
Rich Industry sits smiling on the plains,
And peace and plenty tell, a STUART reigns.
Arnold Böcklin, Nymph on Pan's Shoulders 1874

Rubens,  Pan and Syrinx        

Nicolas Poussin, Pan and Syrinx 1637-38
Diana and her Nymphs Surprised by the Fauns, Peter Paul Rubens

Jacob Jordaens, Pan and Syrinx
  I don't know the name of the artist but it comes from
Pan Dancing with Nymphs

Faun and Nixe, Franz von Stuck

 Music, Franz von Stuck

Let's look at Satyr.

THE SATYR were rustic fertility Daimones (Spirits) of the wilderness and countryside. They were close companions of the gods Dionysus, Rheia, Gaia, Hermes and Hephaestus; and mated with the tribes of Nymph in the mountain wilds.
Satyr were depicted as animal-like men with the tail of a horse, assine ears, upturned pug noses, reclining hair-lines, and erect members. As companions of Dionysus they were usually shown drinking, dancing, playing tambourines and flutes (the instruments of the Bacchic orgy) and sporting with Nymph. Men dressed up as Satyr formed the choruses of the so-called Satyr-plays which were performed at the festivals of the god Dionysus.

Satyr playing the aulos. Side A from an Lucanian (Metapontium) red-figure skyphos, ca. 400–390 BC

Satyr with pipes and a pipe case. Tondo of an Attic red-figure plate, 520–500 BC. From Vulci.

Attributed to Desiderio da Firenze (Florentine, documented in Padua 1532-45), Satyr and Satyress, After 1524 (?), Bronze, H. 10-5/8", Musée National de la Renaissance, Château d’Écouen

 Dionysus with drinking cup and horn is accompanied by a pair of dancing Satyrs.
Poussin, Nicolas -  Venus and Satyr

  Hirschvogel, Satyr
       Satyr and Satyress

Satyr The Louvre, Paris

Antonio Correggio, Venus and-Cupid with a Satyr

Rubens, Two Satyrs

 Satyr in the organ of the Braga Cathedral, Braga, Portugal.

 The bust of a satyr. Sculpture at the entrance of a building in Paris. Rue Madame, Paris VI.

Satyr in Coimbras Chapel, in Braga, Portugal

Johannes Peschel - Frau mit Satyr am Hotel Bellevue in Dresden.


Cornish Art Sculpture created in Cornwall (UK) by Artist Malcolm Lidbury

Mask of a satyr. Marble, Roman artwork, 2nd century CE

Sarcophagus with Scenes of Bacchus (Roman, AD 210-220). Satyr detail.                               
Jacob Jordaens-Satyr-and-Peasant

 Adolphe William Bouguereau, Nymphs and Satyr
 Let's look at Satyr transformation.

Marble relief of a maenad playing a tambourine and two satyrs (satyr blowing pipes and satyr (or young god) with his panther dance) in a Dionysiac procession at the British Museum. Roman, about AD 100. From the Villa Quintiliana on the Via Appia, south of Rome.

    Apollo And Marsyas Satyr,  Pietro Vannucci          

Jacob Jordaens,  A Satyr

Satyr turned into a little red god Pan

Love, the Misleader Evelyn De Morgan

Or red angel ? 

Evelyn de Morgan, Love Passing.

Satyr Museum Louvre

Pan pulling a thorn from the foot of a satyr. Marble, Roman copy of the 1st-2nd centuries after a Hellenistic original of the middle 1st century BC. Origin unknown.

According to Greek mythology, Arcadia of Peloponnesus was the domain of Pan, a virgin wilderness home to the god of the forest and his court of dryads, nymphs and other spirits of nature. It was one version of paradise, though only in the sense of being the abode of supernatural entities, not an afterlife for deceased mortals.
Greek mythology inspired the Roman poet Virgil to write his Eclogues, a series of poems set in Arcadia.

It reminds about paintings of Et in Arcadia Ego.

The literal word-for-word translation of the phrase is "Even in Arcadia I (am there)," "I" being death, and "Arcadia" being understood as a utopian land. It is usually interpreted as a memento mori.

Nicolas Poussin,  Et in Arcadia Ego I

 Nicolas Poussin,  Et in Arcadia Ego II

 Guercino, Et in Arcadia Ego