Editing Pan (god) (section)

==Influence==
=== Iconography ===
[[File:Arte romana, mosaico con eros, 04.JPG|thumb|upright=1|Ancient [[Roman mosaic]] showing a horned, goat-legged Pan holding a [[shepherd's crook]]. Much of [[Satan]]'s traditional iconography is apparently derived from Pan.]]
Representations of Pan have influenced conventional popular depictions of [[Satan|the Devil]].<ref>
{{cite book
 |last1                = Russell
 |first1               = Jeffrey Burton
 |author-link1         = Jeffrey Burton Russell
 |year                 = 1987
 |orig-date            = 1977
 |chapter              = Evil in the Classical World
 |title                = The Devil: Perceptions of Evil from Antiquity to Primitive Christianity
 |url                  = https://books.google.com/books?id=D2-Na937xRYC
 |series               = Cornell paperbacks
 |edition              = reprint
 |publication-place    = Ithaca
 |publisher            = Cornell University Press
 |pages                = 125, 126
 |isbn                 = 9780801494093
 |access-date          = 20 February 2024
 |quote                = The iconography of Pan and the Devil [...] coalesce: cloven hooves, goat's legs, horns, beast's ears, saturnine face, and goatee. [...] The iconographic influence of Pan upon the Devil is enormous.
}} 
</ref>

===Literary revival===
[[File:Wind in the willows.jpg|thumb|Pan depicted on the cover of ''[[The Wind in the Willows]]'']]
[[File:John Reinhard Weguelin – The Magic of Pan's Flute (1905).jpg|thumb|{{center|''The Magic of Pan's Flute'', by [[John Reinhard Weguelin]] (1905)}}]]
[[File:Sir Peter Paul Rubens, Pan Reclining, possibly c. 1610, NGA 56608.jpg|thumb|Pan Reclining, by [[Peter Paul Rubens]]. possibly {{circa | 1610}}. Held at [[National Gallery of Art]]]]
[[File:Columbia University, NYC (June 2014) - 27 cropped.jpg|thumb|''[[The Great God Pan (sculpture)|The Great God Pan]]'', by [[George Grey Barnard]]. 1899. [[Columbia University]], New York]]

In the late-eighteenth century, interest in Pan revived among liberal scholars. [[Richard Payne Knight]] discussed Pan in his ''Discourse on the Worship of Priapus'' (1786) as a symbol of creation expressed through sexuality. "Pan is represented pouring water upon the organ of generation; that is, invigorating the active creative power by the prolific element."<ref>Payne-Knight, R. ''Discourse on the Worship of Priapus'', 1786, p.73</ref>

[[John Keats]]'s [[Endymion (poem)| "Endymion"]] (1818) opens with a festival dedicated to Pan where a stanzaic hymn is sung in praise of him. Keats drew most of his account of Pan's activities from the Elizabethan poets. Douglas Bush notes, "The goat-god, the tutelary divinity of shepherds, had long been allegorized on various levels, from Christ to 'Universall Nature' [[George Sandys| (Sandys)]]; here he becomes the symbol of the romantic imagination, of supra-mortal knowledge.{{'"}}<ref>Barnard, John. ''John Keats : The Complete Poems'', p. 587, {{ISBN|978-0-14-042210-8}}.</ref>

In the late-nineteenth century Pan became an increasingly common figure in literature and art. Patricia Merivale states that between 1890 and 1926 there was an "astonishing resurgence of interest in the Pan motif".<ref>Merivale, Patricia. ''Pan the Goat-God: his Myth in Modern Times'', Harvard University Press, 1969, p.vii.</ref> He appears in poetry, in novels and children's books, and is referenced in the name of the character [[Peter Pan]].<ref>{{cite book|author=Lurie, Alison |title=Afterword in ''Peter Pan''|publisher=[[Signet Books|Signet]]|date= 2003|page= 198|isbn= 9780451520883|url= https://books.google.com/books?id=6m9UTvQq7ZsC&pg=PA198}}</ref> In the [[Peter Pan]] stories, Peter represents a golden age of pre-civilisation in both the minds of very young children (before enculturation and education), and in the natural world outside the influence of humans. Peter Pan's character is both charming and selfish - emphasizing our cultural confusion about whether human instincts are natural and good, or uncivilised and bad. [[J. M. Barrie]] describes Peter as 'a betwixt and between', part animal and part human, and uses this device to explore many issues of human and animal psychology within the Peter Pan stories.<ref>{{cite book|title=Peter Pan and the Mind of J M Barrie |last= Ridley|first= Rosalind|publisher= Cambridge Scholars Publishing|year= 2016|isbn= 978-1-4438-9107-3|location= UK}}</ref>

[[Arthur Machen]]'s 1894 novella ''[[The Great God Pan]]'' uses the god's name in a simile about the whole world being revealed as it really is: "seeing the Great God Pan". The novella is considered by many (including [[Stephen King]]) as being one of the greatest horror-stories ever written.<ref>{{cite book |url= https://americanliterature.com/author/arthur-machen/novella/the-great-god-pan/summary |title= The Great God Pan by Arthur Machen |website= American Literature |access-date=18 May 2021}}</ref>

In an article in [[Hellebore (magazine)|''Hellebore'']] magazine, [[Melissa Edmundson]] argues that women writers from the nineteenth century used the figure of Pan "to reclaim agency in texts that explored female empowerment and sexual liberation". In [[Eleanor Farjeon]]'s poem "Pan-Worship", the speaker tries to summon Pan to life after feeling "a craving in me", wishing for a "spring-tide" that will replace the stagnant "autumn" of the soul. A dark version of Pan's seductiveness appears in [[Margery Lawrence]]'s ''Robin's Rath'', both giving and taking life and vitality.

Pan is the eponymous "Piper at the Gates of Dawn" in the seventh chapter of [[Kenneth Grahame]]'s ''[[The Wind in the Willows]]'' (1908). Grahame's Pan, unnamed but clearly recognisable, is a powerful but secretive nature-god, protector of animals, who casts a spell of forgetfulness on all those he helps. He makes a brief appearance to help Rat and Mole recover the Otter's lost son Portly.

The goat-footed god entices villagers to listen to his pipes as if in a trance in [[Lord Dunsany]]'s novel ''The Blessing of Pan'' (1927). Although the god does not appear within the story, his energy invokes the younger folk of the village to revel in the summer twilight, while the vicar of the village is the only person worried about the revival of worship of the old pagan god.

Pan features as a prominent character in [[Tom Robbins]]' ''[[Jitterbug Perfume]]'' (1984).

The British writer and editor Mark Beech of Egaeus Press published in 2015 the [[limited-edition]] anthology ''Soliloquy for Pan''<ref>{{cite book|last1=Beech|first1=Mark|title=Soliloquy for Pan|date= 2015|publisher= Egaeuspress|location= UK |isbn= 978-0-957160682|pages= 350 pp|edition= Illustrated. First ed. limited to 300 copies}}</ref> which includes essays and poems such as "The Rebirthing of Pan" by Adrian Eckersley, "Pan's Pipes" by [[Robert Louis Stevenson]], "Pan with Us" by [[Robert Frost]], and "The Death of Pan" by [[Lord Dunsany]]. Some of the detailed illustrated depictions of Pan included in the volume are by the artists [[Giorgio Ghisi]], [[Sir James Thornhill]], [[Bernard Picart]], [[Agostino Veneziano]], [[Vincenzo Cartari]], and [[Giovanni Battista Tiepolo]].

In the [[Percy Jackson & the Olympians |Percy Jackson novels]], author [[Rick Riordan]] uses "The Great God Pan is dead" quote as a plot point in the novel ''[[The Sea of Monsters]]'', and in ''[[The Battle of the Labyrinth]]'' Pan is revealed to be in a state of half-death.

=== Revival in music ===
Pan inspired pieces of classical music by [[Claude Debussy]]. [[Syrinx (Debussy) |''Syrinx'']], written as part of [[incidental music]] to the play ''Psyché'' by [[Gabriel Mourey]], was originally called "Flûte de Pan". ''[[Prélude à l'après-midi d'un faune]]'' was based on a poem by [[Stéphane Mallarmé]].

The story of Pan is the inspiration for the first movement in [[Benjamin Britten]]'s work for solo oboe, [[Six Metamorphoses after Ovid]] first performed in 1951. Inspired by characters from [[Ovid]]'s fifteen-volume work [[Metamorphoses]], Britten titled the movement, "Pan: who played upon the reed pipe which was Syrinx, his beloved."

The British rock band [[Pink Floyd]] named its first album ''[[The Piper at the Gates of Dawn]]'' in reference to Pan as he appears in ''[[The Wind in the Willows]]''. Andrew King, Pink Floyd's manager, said [[Syd Barrett]] "thought Pan had given him an understanding into the way nature works. It formed into his holistic view of the world."<ref name=":0">{{Cite journal |last= Soar |first= Katy |date= 2022 |title= The Piper at the Gates of Dawn |journal= Hellebore |volume= 8 |issue=The Unveiling Issue |pages=10–19}}</ref>

[[Brian Jones]], a founding member of [[The Rolling Stones]], strongly identified with Pan.<ref name=":0" /> He produced the live album ''[[Brian Jones Presents the Pipes of Pan at Joujouka]]'', about a Moroccan festival that evoked the ancient Roman rites of Pan.

Musician [[Mike Scott (Scottish musician) |Mike Scott]] of the [[The Waterboys| Waterboys]] refers to Pan as an archetypal force within us all, and talks about his search for “The Pan Within", a theme also reflected in the song’s sequel, “The Return of Pan".<ref name=":1">{{Cite journal |last=Soar |first=Katy |date=2020 |title=The Great Pan in Albion |journal= Hellebore |volume= 2 |issue=The Wild Gods Issue |pages=14–27}}</ref>

=== Revived worship ===
In the English town of [[Painswick]] in [[Gloucestershire]], a group of eighteenth-century gentry, led by Benjamin Hyett, organised an annual procession dedicated to Pan, during which a statue of the deity was held aloft, and people shouted "Highgates! Highgates!" Hyett also erected temples and follies to Pan in the gardens of his house and a "Pan's lodge", located over Painswick Valley. The tradition died out in the 1830s, but was revived in 1885 by a new vicar, W. H. Seddon, who mistakenly believed that the festival had been ancient in origin. One of Seddon's successors, however, was less appreciative of the pagan festival and put an end to it in 1950, when he had Pan's statue buried.<ref>Hutton, Ronald. ''The Triumph of the Moon: A History of Modern Pagan Witchcraft'' pp 161–162.</ref>

Occultists [[Aleister Crowley]] and [[Victor Benjamin Neuburg |Victor Neuburg]] built an altar to Pan on Da'leh Addin, a mountain in Algeria, where they performed a magic ceremony to summon the god. In the final rite of the 1910 ritual play [[Rites of Eleusis |''The Rites of Eleusis'']], written by Crowley, Pan "pulls back the final veil, revealing the child Horus, who represents humanity's eternal and divine element."<ref name=":1" />

=== Neopaganism ===
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 hypothesis| witch-cult]].<ref name="T">{{cite book|author=Hutton, Robert|title=The Triumph of the Moon: A History of Modern Pagan Witchcraft |url= https://archive.org/details/triumphofmoonhis00hutt|url-access= registration|publisher= Oxford University Press|date= 1999|isbn= 978-0-19-820744-3}}</ref> This theory influenced the [[Neopaganism |Neopagan]] notion 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]], the Hindu [[Pashupati]], and the Greek Pan.