Pan

Pan, in Greek religion and mythology, is the companion of the nymphs, god of shepherds and flocks, of mountain wilds, hunting and rustic music. His name originates within the Greek language, from the word paein, meaning "to pasture". He has the hindquarters, legs, and horns of a goat, in the same manner as a faun. With his homeland in rustic Arcadia, he is recognized as the god of fields, groves, and wooded glens; because of this, Pan is connected to fertility and the season of spring. The ancient Greeks also considered Pan to be the god of theatrical criticism. In Roman mythology Pan's counterpart was the nature spirit Faunus. In the 18th and 19th centuries, Pan became a significant figure in the Romantic movement of western Europe, and also in the 20th-century Neopagan movement.

Origins
The parentage of Pan is unclear; in some myths he is the son of Zeus, though generally he is the son of Hermes or Dionysus, with whom his mother is said to be a nymph, sometimes Dryope or, in Nonnus, Dionysiaca, a Penelope of Mantineia in Arcadia. Following Plato's inventive etymology, his name is sometimes mistakenly thought to be identical to the Greek word pan, meaning "all", when it is more likely to be cognate with paein, "to pasture". Probably the beginning of the linguistic misunderstanding is the Homeric Hymn to Pan, which describes him as delighting all the gods, and thus getting his name. Like other nature spirits, Pan appears to be older than the Olympians, if it is true that he gave Artemis her hunting dogs and taught the secret of prophecy to Apollo.

Following the Titans' assault on Mount Olympus, Pan claimed credit for the victory of the gods because he had inspired disorder and fear in the attackers resulting in the word 'panic' to describe these emotions. Of course, Pan was later known for his music, capable of arousing inspiration, sexuality, or panic, depending on his intentions. In the Battle of Marathon (490 BC), it is said that Pan favored the Athenians and so inspired panic in the hearts of their enemies, the Persians.

Mythology
One of the famous myths of Pan involves the origin of his pan flute, fashioned from lengths of hollow reed. Syrinx was a lovely water-nymph of Arcadia, daughter of Landon, the river-god. As she was returning from the hunt one day, Pan met her. To escape from his importunities, the fair nymph ran away and didn't stop to hear his compliments. He pursued from Mount Lycaeum until she came to her sisters who immediately changed her into a reed. When the air blew through the reeds, it produced a plaintive melody. The god, still infatuated, took some of the reeds, because he could not identify which reed she became, and cut seven pieces (or according to some versions, nine), joined them side by side in gradually decreasing lengths, and formed the musical instrument bearing the name of his beloved Syrinx. Henceforth Pan was seldom seen without it.

Pan is famous for his sexual powers, and is often depicted with an erect phallus. Diogenes of Sinope, speaking in jest, related a myth of Pan learning masturbation from his father, Hermes, and teaching the habit to shepherds. Pan's greatest conquest was that of the moon goddess Selene. He accomplished this by wrapping himself in a sheepskin to hide his hairy black goat form, and drew her down from the sky into the forest where he seduced her.

Once Pan had the audacity to compare his music with that of Apollo, and to challenge Apollo, the god of the lyre, to a trial of skill. [Tmolus, the mountain-god, was chosen to referee. Pan blew on his pipes, and with his rustic melody gave great satisfaction to himself and his faithful follower, Midas, who happened to be present. Then Apollo struck the strings of his lyre. Tmolus at once awarded the victory to Apollo, and all but Midas agreed with the judgement. He dissented, and questioned the justice of the award. Apollo would not suffer such a depraved pair of ears any longer, and turned Midas' ears into those of a donkey. In another version of the myth the first round of the contest was a tie so they were forced to go to a second round. In this round, Apollo demanded that they play standing on their heads. Apollo, playing on the lyre, was unaffected, however Pan's pipe couldn't be played while upsidedown, so Apollo won the contest.

Influence
In the late 18th 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."

In the English town of Painswick in Gloucestershire, a group of 18th century gentry led by Benjamin Hyett, organised an annual procession dedicated to Pan. 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 the 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.

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". He appears in poetry, in novels and childrens' books such as The Wind in the Willows during this period. Pan is "The Piper at the Gates of Dawn", the title of the seventh chapter of the book.