The Annotated Edition
Hymn of Pan by Percy Bysshe Shelley
Pan, the god of wild nature, brags to Apollo and the Sileni about how his pipe music can make every creature and deity stop in their tracks to listen.
- Core theme
- Art
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
From the forests and highlands / We come, we come;
Editor's note
Pan opens with a triumphant procession, his woodland companions joining him from the wild places. The repeated phrase "we come" feels like a chant or a ceremonial entrance. Nature itself, from the whispering wind in the reeds to the lizards darting through the grass, falls completely silent to listen to his music. Even Tmolus, the mountain-god who once judged a music contest between Pan and Apollo, is hushed. Shelley creates a quick, vivid list of creatures to demonstrate the extent of Pan's influence over the natural world.
Liquid Peneus was flowing, / And all dark Tempe lay
Editor's note
The scene moves to the Vale of Tempe in Greece, renowned in myth for its stunning beauty. The river Peneus runs through it, with the valley lying beneath the shadow of Mount Pelion as daylight fades. All the woodland spirits—Sileni, Sylvans, Fauns, Nymphs—are lured to the riverbanks and caves by the sound of Pan's music. The stanza wraps up with a sharp twist: even Apollo, the god of music and poetry, remains quiet—not out of love, but out of *envy*. Shelley introduces this competitive tension as a foundation for the poem's deeper themes.
I sang of the dancing stars, / I sang of the daedal Earth,
Editor's note
Pan lists the grand themes of his songs — the cosmos, the Earth in all its intricate variety (with "daedal" meaning cleverly crafted, like Daedalus's work), Heaven, the wars of the Titans, Love, Death, and Birth. It’s an all-encompassing catalogue. Then the mood shifts. He recounts how he once pursued the nymph Syrinx, who turned into a reed to escape him — which he then cut to make his pipe. The instrument he plays is literally born from his loss. The line "Gods and men, we are all deluded thus" hits hard: we reach for what we love, it slips away, and that pain transforms into art. The crowd is moved to tears. Pan implies that even Apollo and the Sileni would feel the same, if they weren't too cold or too old to experience it.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The pipe / reed
- Pan's pipe is crafted from the body of Syrinx, the nymph he loved and lost. It symbolizes the notion that profound art often emerges from loss and longing—the source of beauty is also a source of sorrow. When Pan says, "It breaks in our bosom and then we bleed," the reed and the wound reflect the same experience.
- Silence of nature
- Every creature that goes still to listen isn’t merely complimenting Pan's skill. It shows that music taps into something deeper than thought — it quiets the everyday noise of the world. The silence from the animals and gods reflects a reverence that no argument or force could create.
- Apollo's envy
- Apollo is the god of poetry and music, which makes his envy of Pan an interesting statement. It implies that art rooted in raw emotion and nature can surpass the refined, divine creations. Shelley, who had mixed feelings about the classical poetic tradition, is emphasizing where true creative power originates.
- The vale of Maenalus
- Maenalus is a mountain in Arcadia, the land of Pan. The chase through its valley gives rise to the legend of the pipe. As a symbol, it captures the moment when desire becomes art — a pursuit that can never truly be finished, only changed.
- Frozen blood
- Pan's final comment — that envy or age has "frozen" the blood of Apollo and the Sileni — connects emotional coldness with artistic lifelessness. To truly feel the sorrow in the music, one must still be able to feel. This serves as a critique of those who can no longer experience grief.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Who is Pan and why does he matter in this poem?
Pan is the Greek god associated with the wild, shepherds, and rustic music. He has goat-like legs and horns and plays a set of reed pipes. In this poem, he speaks, and Shelley uses him to convey a message about art: the most powerful music arises not from divine talent (the realm of Apollo) but from deep emotion and a sense of loss.
What is the myth of Syrinx and why does it matter here?
Syrinx was a nymph whom Pan loved deeply. She fled from him, and just as he was about to catch her, the river gods transformed her into marsh reeds. Devastated, Pan cut the reeds and tied them together to create his pipes. Now, whenever he plays, he’s essentially playing the body of the one he lost. Shelley uses this story to suggest that art and grief are fundamentally connected.
Why does Pan say Apollo is listening "with envy"?
Apollo is the god of music and poetry—Pan's rival. By suggesting that Apollo envies him instead of just admiring him, Pan is asserting that his raw, emotion-driven music is actually better than Apollo's refined divine art. It's a challenge, aligning with Shelley's broader belief that genuine emotion outweighs technical perfection.
What does "daedal Earth" mean?
"Daedal" originates from Daedalus, the mythological craftsman known for constructing the labyrinth and creating wings from wax and feathers. It signifies something that is intricately and beautifully crafted. Shelley employs it to depict the Earth as an endlessly complex work of art, with every detail skillfully designed. This term serves as a compliment to nature and elevates Pan's subject matter to the highest level.
What does "It breaks in our bosom and then we bleed" mean?
Pan explores the themes of desire and loss. We reach for what we love, only to find we can't grasp it, and this yearning brings us pain. The reed "breaks" in the chest—referring to both the physical reed pipe and the metaphorical reed of longing. This line is one of the poem's most straightforward, capturing its emotional heart: beauty and sorrow originate from the same source.
Who are the Sileni, Sylvans, and Fauns?
These are minor woodland spirits from Greek and Roman mythology. Sileni, often depicted as older and drunken, are companions of Dionysus. Sylvans are the Roman spirits of the forest. Fauns are creatures that are half-human and half-goat, much like Pan. Shelley includes them to create a vivid scene filled with supernatural beings, all of whom are captivated by Pan's music.
What is the poem's structure and how does it affect the meaning?
The poem consists of three stanzas, each with twelve lines. Its quick, lilting rhythm resembles the sound of Pan's pipes—light, fast, and almost dance-like. This musical quality amplifies the impact of the dark turn in the final stanza. You’re swept away by the cheerful melody, only to find yourself in a narrative about grief and delusion. The form and content intentionally clash with each other.
Is this poem connected to Keats's "Hymn to Pan"?
Yes. In 1820, Shelley, Keats, and Thomas Love Peacock decided to each write a hymn to Pan. Keats's version can be found in Endymion. Comparing the two poems is fascinating: Keats portrays Pan as a soothing, pastoral figure, whereas Shelley's depiction is more proud, competitive, and ultimately tragic. Generally, Shelley's version is viewed as the sharper and more emotionally nuanced of the two.
Citation
Cite this poem
MLA
Shelley, Percy Bysshe. "Hymn of Pan." Storgy, https://storgy.com/poems/hymn-of-pan-percy-bysshe-shelley/.
APA
Shelley, P. B. (n.d.). Hymn of pan. Storgy. https://storgy.com/poems/hymn-of-pan-percy-bysshe-shelley/
Row A — Thesis
1 ptIn 'Hymn of Pan,' Shelley constructs a speaker whose artistic power is both triumphant and self-defeating: Pan's pipings command the silence of gods, creatures, and landscapes, yet the myth underlying the song—a pursuit that concludes only …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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