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Justice League Heroes
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Justice League Heroes
Developer(s)
Snowblind Studios
Publisher(s)
Warner Bros. Games
Engine
Dark Alliance Engine
Platform(s)
Xbox, PlayStation 2, PlayStation Portable, Nintendo DS
Release
PS2, Xbox, DS
NA: October 17, 2006
PSP
NA: November 22, 2006
EU: December 8, 2006
AU: December 22, 2006
Genre(s)
Action role-playing
Mode(s)
Single-player, multiplayer
Justice League Heroes is a console video game for the Xbox and PlayStation 2 platforms. It is based on DC Comics' premier superhero team, the Justice League of America. It was developed by Snowblind Studios, published by Warner Bros. Games in conjunction with DC Comics and was distributed in Europe by Eidos Interactive. It is based on the long-running comic book series, (as opposed to other recent Justice League games which are adaptations of other media besides the source material) and was written by veteran comic book and Justice League of America writer Dwayne McDuffie.[1] It uses the Dark Alliance Engine.[2]
Three handheld Justice League Heroes games were released at the same time for the Game Boy Advance, Nintendo DS and PlayStation Portable. The Nintendo DS game shares a similar visual style and gameplay mechanics to the console game, but serves as a prequel to its story. This version was developed by Sensory Sweep Studios. The GBA version is titled Justice League Heroes: The Flash and focused primarily on The Flash. The game featured 2D sidescrolling action gameplay and a sidestory to the console game's plot. This version was developed by WayForward Technologies.
Contents
[hide]
1 Plot
2 Gameplay
3 Characters
4 Reception
5 References
6 External links
Plot[edit]
The game starts with Superman and Batman foiling an attack on S.T.A.R. Labs by robots controlled by Brainiac. After Batman and Superman defeat what they think is Brainiac, they discover that they have merely been diverted by a duplicate while another has raided the vaults of the Lab, taking Kryptonian DNA and a chunk of meteorite. Meanwhile, Zatanna and J'onn Jonzz (the Martian Manhunter) face off against Queen Bee and her drones, who are being assisted in their gradual conversion of Metropolis by some of Brainiac's robots. After Metropolis has been saved, the League responds to a series of attempted nuclear missile hijackings; firstly, The Key attempts to hijack a missile before he is subdued by the Flash and Green Lantern (John Stewart), followed by an attempt by Killer Frost which is foiled by Zatanna and Wonder Woman. Despite the League's efforts, one missile is launched undetected during a worldwide communications blackout caused by Brainiac.
However, the League realize it has been upgraded; capable of breaking Earth's orbit, the missile has actually been fired at Mars in an effort to free the White Martians, who will invade Earth upon being reawakened. Superman and J'onn J'onnz travel to Mars to stop them from escaping; but this has been yet another diversion from Brainiac who, anticipating their success, took the opportunity to steal vital equipment from the White Martians. Brainiac has also freed Gorilla Grodd from imprisonment, who intends to take revenge on his jailors and humanity with use of his Earthquake Machine. While Wonder Woman assists Superman in stopping the few White Martian vessels that managed to escape Mars and J'onn Jonnz returns to the Watchtower, the rest of the League (including any unlocked characters the player may have accessed by this point) work together to stop Grodd. Alone on the Watchtower, J'onn is ambushed by Doomsday who takes him prisoner and takes over control of the Watchtower while Brainiac steals a Mother Box from the League's vaults. Regrouping in an emergency bunker, the League manage to retake the Watchtower, free J'onn and defeat Doomsday, before confronting the real Brainiac in his lair.
Seemingly defeated, Brainiac suddenly returns to life as the Mother Box he has stolen activates - and screaming, he is disintegrated and replaced by Darkseid, released from an interdimensional prison created by a Sensory Matrix Field Generator, who has been manipulating Brainiac all throughout. Confronting the League, Darkseid - his powers augmented by the Mother Box - sentences the league to his fate by banishing them to another dimension with his Omega Beams all except Superman. He then proceeds to transform Earth into a new Apokolips and holds Superman prisoner in a Kryptonite jail. The rest of the league land in an alternate dimension, and are separated upon entry. Batman and Zatanna, Wonder Woman and Flash, and J'onn J'onnzz and Green Lantern all must fight separate groups of alien entities to survive and escape. Along the way, Green Lantern picks up a strange radiation that will allow them to survive Darkseid's Omega Beams. Regrouping, the League returns to Apokolips Earth, rescues Superman, and they defeat Darkseid by knocking him into the Sensory Matrix Field Generator, imprisoning him once again in his interdimensional prison and restoring Earth to normal. Back at the Watchtower, with the Sensory Matrix Field Generator locked away in the League's vaults, Batman informs the others that if a danger like this should happen again, they would be there.
There are an additional four supervillains unique to the Nintendo versions of the game: both the GBA and DS versions feature Circe and Zoom, while the DS also includes General and Prometheus.
Gameplay[edit]
The game features most of the best known superheroes from the DC Universe, including Superman, Batman, and Wonder Woman among others. Each level consists of two members of the Justice League battling a variety of villains and their henchmen. When the game is being played by a single player, the player can freely switch between both of the two Justice League members and play as whichever one he or she prefers. In a two player game, the players can only switch which characters they control by mutual consent. There was another Justice League game in development from Midway Games that was canceled in 2004 but, according to Warner Bros., this game is "totally unrelated to the current project.[3]
Upon starting a new game, there are seven different characters that the player has immediate access to but more characters (as well as alternative costumes) can be unlocked as the game progresses. These unlockable characters can only be used on levels in which the player(s) can choose which characters to take whereas the costumes can be used at any time.
There are also initially three difficulties (Easy, Medium, Hard) and then upon completion of Hard, Elite is unlocked, and then upon completion of Elite, Superhero is unlocked. In each successive difficulty level, the opponents do more damage to the superheroes and also have more health/life, offsetting the gains in skills. On Superhero difficulty, many of the opponents will kill most superheroes in one hit, so you must have mastered a number of skills and strategies before you deal with them.
Characters[edit]
Playable Characters
Available
Unlockable
Batmanc
The Flash
Green Lantern (John Stewart)b
Martian Manhunterad
Supermana
Wonder Womana
Zatannab
Aquamanb
Black Canaryae
Green Arrowab
Green Lantern (Hal Jordan)f
Green Lantern (Kyle Rayner)f
Hawkgirlb
Huntressb
Supergirle
Villains
Brainiac
Circeg
Darkseidh
Doomsdayh
Generalg
Gorilla Grodd
Killer Frostf
The Keyi
Prometheusg
Queen Beei
White Martiansh
Zoomg
^a "Striker" in the Game Boy Advance version
^b "Striker" in the Nintendo DS version
^c Appears as a non-player character in the Game Boy Advance version
^d Appears as a non-player character in the Nintendo DS version
^e Exclusive to the PSP version
^f Does not appear in the Nintendo DS version
^g Exclusive to the Game Boy Advance and Nintendo DS versions
^h Exclusive to the PSP, PS2 and Xbox versions
^i Does not appear in the Game Boy Advance version
Each of the seven main characters has a least two skins that can be purchased in the same manner as the unlockable characters. These alternative costumes vary the characters game stats by small amounts and recreate classic or alternative costumes from the character's history. For example, Superman and the Flash can be made to look like their older counterparts from the Earth-Two universe (Jay Garrick included), while one of the alternative costumes for Batman is the famous blue and grey costume with the yellow elliptic bat emblem on his chest, as well as the Batman Beyond suit. The unlockable Green Lanterns have exactly the same powers as John Stewart and are effectively just changes to the costume, voice, and minor visual differences in their powers and combat animations and fight idles: John Stewart has a rectangular shield, Rayner a triangular one.
Reception[edit]
This section needs expansion. You can help by adding to it. (January 2010)
The PlayStation Portable version was praised for customization and co-op game play. It also received better reviews by both fans and critics than the console versions.[4][5][6] The game was unfavorably compared to the similar multi-player Marvel game X-Men: Legends, which allows the player to choose any character on any level, while Justice League Heroes contains several levels where the choice was taken away. The DS version was not received as well by many fans,[7] with Nintendo Power giving it a 3.5, GameSpot a 5/10[8] and IGN a 4.4.[9] The GBA version received generally positive critical response.[10]
References[edit]
Jump up ^ "Dwayne McDuffie Takes Control Of The Game With "Justice League Heroes"". Comic Book Resources. Retrieved 2015-10-18.
Jump up ^ "JLA Heroes and the Dark Alliance Engine". 411mania.org. Retrieved 24 June 2011.
Jump up ^ "Justice League Heroes News". GameSpot. Retrieved 2015-10-18.
Jump up ^ Provo, Frank (2006-10-31). "Justice League Heroes Review". GameSpot. Retrieved 2015-10-18.
Jump up ^ Hilary Goldstein (2006-10-18). "Justice League Heroes Review - IGN - Page 3". Ps2.ign.com. Retrieved 2015-10-18.
Jump up ^ "GameSpy: Justice League Heroes - Page 1". Ps2.gamespy.com. Retrieved 2015-10-18.
Jump up ^ "Justice League Heroes for DS". GameRankings. 2006-10-17. Retrieved 2015-10-18.
Jump up ^ Provo, Frank (2006-10-31). "Justice League Heroes Review". GameSpot. Retrieved 2015-10-18.
Jump up ^ "Justice League Heroes Review - IGN". Ds.ign.com. 2006-11-08. Retrieved 2015-10-18.
Jump up ^ "Justice League Heroes: The Flash for Game Boy Advance". GameRankings. 2006-10-17. Retrieved 2015-10-18.
External links[edit]
Official website
Developer's site - Snowblind Studios
[show]
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Pan (god)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Pan
God of nature, the wild, shepherds, flocks, of mountain wilds, and is often associated with sexuality
Pan teaching his eromenos, the shepherd Daphnis, to play the pan flute, Roman copy of Greek original c. 100 BC, second century AD, found in Pompeii,
Abode
Arcadia
Symbol
Pan flute, goat
Personal information
Consort
Syrinx, Echo, Pitys
Children
Silenos, Iynx, Krotos, Xanthus (out of Twelve)
Parents
many variations including: Hermes and Driope, Aphrodite, or Penelope
Siblings
Satyrs, Laertes, Circe, Maenads
Roman equivalent
Faunus
Mask of the god Pan, detail from a bronze stamnoid situla, 340-320 BC, part of the Vassil Bojkov collection, Sofia, Bulgaria
Greek deities
series
Primordial deities
Titans and Olympians
Aquatic deities
Chthonic deities
Mycenaean deities
Other deities
Anemoi
Apate
Asclepius
Iris
Leto
Keres
Muses
Nymphes
Pan
Psyche
v
t
e
In ancient Greek religion and mythology, Pan (/pæn/;[1] Ancient Greek: Πάν, Pan) is the god of the wild, shepherds and flocks, nature of mountain wilds, rustic music and impromptus, and companion of the nymphs.[2] He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, wooded glens and often affiliated with sex; 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.[3] The word panic ultimately derives from the god's name.
In Roman religion and myth, Pan's counterpart was Faunus, a nature god who was the father of Bona Dea, sometimes identified as Fauna; he was also closely associated with Sylvanus, due to their similar relationships with woodlands. 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.[4]
Contents
[hide]
1 Origins
2 Worship
3 Mythology
3.1 Parentage
3.2 Battle with Typhon
3.3 Nymphs
3.4 Panic
3.5 Erotic aspects
3.6 Music
3.7 Capricornus
3.8 Epithets
3.9 All of the Pans
4 "The Great God Pan is dead"
5 Influence
5.1 Revivalist imagery
5.2 Identification with Satan
5.3 Neopaganism
6 See also
7 Notes
8 Sources
9 External links
Origins[edit]
Many modern scholars consider Pan to be derived from the reconstructed Proto-Indo-European god *Péh2usōn, whom these scholars believe to have been an important pastoral deity[5] (*Péh2usōn shares an origin with the modern English word "pasture").[6] The Rigvedic god Pushan is believed to be a cognate of Pan. The connection between Pan and Pushan was first identified in 1924 by the German scholar Hermann Collitz.[7][8] According to Edwin L. Brown, the name Pan is probably a cognate with the Greek word ὀπάων "companion".[9]
In his earliest appearance in literature, Pindar's Pythian Ode iii. 78, Pan is associated with a mother goddess, perhaps Rhea or Cybele; Pindar refers to maidens worshipping Cybele and Pan near the poet's house in Boeotia.[10]
Worship[edit]
The worship of Pan began in Arcadia which was always the principal seat of his worship. Arcadia was a district of mountain people, culturally separated from other Greeks. Arcadian hunters used to scourge the statue of the god if they had been disappointed in the chase.[11]
Being a rustic god, Pan was not worshipped in temples or other built edifices, but in natural settings, usually caves or grottoes such as the one on the north slope of the Acropolis of Athens. These are often referred to as the Cave of Pan. The only exceptions are the Temple of Pan on the Neda River gorge in the southwestern Peloponnese – the ruins of which survive to this day – and the Temple of Pan at Apollonopolis Magna in ancient Egypt.[12] In the 4th century BC Pan was depicted on the coinage of Pantikapaion.[13]
Representations of Pan on 4th-century BC gold and silver Pantikapaion coins.
Mythology[edit]
Parentage[edit]
The parentage of Pan is unclear;[14] generally he is the son of Hermes, although occasionally in some myths he is the son of Zeus, or Dionysus, with whom his mother is said to be a wood nymph, sometimes Dryope or, even in the 5th-century AD source Dionysiaca by Nonnus (14.92), Penelope of Mantineia in Arcadia. In some early sources such as Pindar, his father is Apollo via Penelope, the wife of Odysseus.[15] Herodotus (2.145), Cicero (ND 3.22.56), Apollodorus (7.38) and Hyginus (Fabulae 224) all make Hermes and Penelope his parents. Pausanias 8.12.5 records the story that Penelope had in fact been unfaithful to her husband, who banished her to Mantineia upon his return. Other sources (Duris of Samos; the Vergilian commentator Servius) report that Penelope slept with all 108 suitors in Odysseus' absence, and gave birth to Pan as a result.[16] This myth reflects the folk etymology that equates Pan's name (Πάν) with the Greek word for "all" (πᾶν).[17]
In the mystery cults of the highly syncretic Hellenistic era,[18] Pan is made cognate with Phanes/Protogonos, Zeus, Dionysus and Eros.[19]
Accounts of Pan's genealogy are so varied that it must lie buried deep in mythic time. 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. Pan might be multiplied as the Pans (Burkert 1985, III.3.2; Ruck and Staples, 1994, p. 132[20]) or the Paniskoi. Kerenyi (p. 174) notes from scholia that Aeschylus in Rhesus distinguished between two Pans, one the son of Zeus and twin of Arcas, and one a son of Cronus. "In the retinue of Dionysos, or in depictions of wild landscapes, there appeared not only a great Pan, but also little Pans, Paniskoi, who played the same part as the Satyrs".
Battle with Typhon[edit]
The goat-god Aegipan was nurtured by Amalthea with the infant Zeus in Crete. In Zeus' battle with Typhon, Aegipan and Hermes stole back Zeus' "sinews" that Typhon had hidden away in the Corycian Cave.[21] Pan aided his foster-brother in the battle with the Titans by letting out a horrible screech and scattering them in terror. According to some traditions, Aegipan was the son of Pan, rather than his father.
Nymphs[edit]
One of the famous myths of Pan involves the origin of his pan flute, fashioned from lengths of hollow reed. Syrinx was a lovely wood-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.
Echo was a nymph who was a great singer and dancer and scorned the love of any man. This angered Pan, a lecherous god, and he instructed his followers to kill her. Echo was torn to pieces and spread all over earth. The goddess of the earth, Gaia, received the pieces of Echo, whose voice remains repeating the last words of others. In some versions, Echo and Pan had two children: Iambe and Iynx. In other versions, Pan had fallen in love with Echo, but she scorned the love of any man but was enraptured by Narcissus. As Echo was cursed by Hera to only be able to repeat words that had been said by someone else, she could not speak for herself. She followed Narcissus to a pool, where he fell in love with his own reflection and changed into a narcissus flower. Echo wasted away, but her voice could still be heard in caves and other such similar places.
Pan also loved a nymph named Pitys, who was turned into a pine tree to escape him.
Panic[edit]
Disturbed in his secluded afternoon naps, Pan's angry shout inspired panic (panikon deima) in lonely places.[22][23] Following the Titans' assault on Olympus, Pan claimed credit for the victory of the gods because he had frightened the attackers. 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.[24]
Erotic aspects[edit]
Pan having sex with a goat, statue from Villa of the Papyri, Herculaneum.
Pan is famous for his sexual powers, and is often depicted with a phallus. Diogenes of Sinope, speaking in jest, related a myth of Pan learning masturbation from his father, Hermes, and teaching the habit to shepherds.[25]
Pan's greatest conquest was that of the moon goddess Selene. He accomplished this by wrapping himself in a sheepskin[26] to hide his hairy black goat form, and drew her down from the sky into the forest where he seduced her.
Music[edit]
"Sweet, piercing sweet was the music of Pan's pipe" reads the caption on this depiction of Pan (by Walter Crane)
In two late Roman sources, Hyginus[27] and Ovid,[28] Pan is substituted for the satyr Marsyas in the theme of a musical competition (agon), and the punishment by flaying is omitted.
Pan once 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 umpire. Pan blew on his pipes and gave great satisfaction with his rustic melody to himself and to 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 judgment. Midas 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 the competitors were forced to hold a second round. In this round, Apollo demanded that they play their instruments upside-down. Apollo, playing the lyre, was unaffected. However, Pan's pipe could not be played while upside down, so Apollo won the contest.
Capricornus[edit]
The constellation Capricornus is traditionally depicted as a sea-goat, a goat with a fish's tail (see "Goatlike" Aigaion called Briareos, one of the Hecatonchires). A myth reported as "Egyptian" in Hyginus' Poetic Astronomy[29] that would seem to be invented to justify a connection of Pan with Capricorn says that when Aegipan — that is Pan in his goat-god aspect —[30] was attacked by the monster Typhon, he dove into the Nile; the parts above the water remained a goat, but those under the water transformed into a fish.
Epithets[edit]
Aegocerus "goat-horned" was an epithet of Pan descriptive of his figure with the horns of a goat.[31]
All of the Pans[edit]
Marble table support adorned by a group including Dionysos, Pan and a Satyr; Dionysos holds a rhyton (drinking vessel) in the shape of a panther; traces of red and yellow colour are preserved on the hair of the figures and the branches; from an Asia Minor workshop, 170-180 AD, National Archaeological Museum, Athens, Greece
Pan could be multiplied into a swarm of Pans, and even be given individual names, as in Nonnus' Dionysiaca, where the god Pan had twelve sons that helped Dionysus in his war against the Indians. Their names were Kelaineus, Argennon, Aigikoros, Eugeneios, Omester, Daphoenus, Phobos, Philamnos, Xanthos, Glaukos, Argos, and Phorbas.
Two other Pans were Agreus and Nomios. Both were the sons of Hermes, Agreus' mother being the nymph Sose, a prophetess: he inherited his mother's gift of prophecy, and was also a skilled hunter. Nomios' mother was Penelope (not the same as the wife of Odysseus). He was an excellent shepherd, seducer of nymphs, and musician upon the shepherd's pipes. Most of the mythological stories about Pan are actually about Nomios, not the god Pan. Although, Agreus and Nomios could have been two different aspects of the prime Pan, reflecting his dual nature as both a wise prophet and a lustful beast.
Aegipan, literally "goat-Pan," was a Pan who was fully goatlike, rather than half-goat and half-man. When the Olympians fled from the monstrous giant Typhoeus and hid themselves in animal form, Aegipan assumed the form of a fish-tailed goat. Later he came to the aid of Zeus in his battle with Typhoeus, by stealing back Zeus' stolen sinews. As a reward the king of the gods placed him amongst the stars as the Constellation Capricorn. The mother of Aegipan, Aix (the goat), was perhaps associated with the constellation Capra.
Sybarios was an Italian Pan who was worshipped in the Greek colony of Sybaris in Italy. The Sybarite Pan was conceived when a Sybarite shepherd boy named Krathis copulated with a pretty she-goat amongst his herds.
"The Great God Pan is dead"[edit]
Pan, painted by Mikhail Vrubel in 1900.
According to the Greek historian Plutarch (in De defectu oraculorum, "The Obsolescence of Oracles"),[32] Pan is the only Greek god (other than Asclepius) who actually dies. During the reign of Tiberius (A.D. 14–37), the news of Pan's death came to one Thamus, a sailor on his way to Italy by way of the island of Paxi. A divine voice hailed him across the salt water, "Thamus, are you there? When you reach Palodes,[33] take care to proclaim that the great god Pan is dead." Which Thamus did, and the news was greeted from shore with groans and laments.
Christian apologists such as G. K. Chesterton have repeated and amplified the significance of the "death" of Pan, suggesting that with the "death" of Pan came the advent of theology. To this effect, Chesterton once said, "It is said truly in a sense that Pan died because Christ was born. It is almost as true in another sense that men knew that Christ was born because Pan was already dead. A void was made by the vanishing world of the whole mythology of mankind, which would have asphyxiated like a vacuum if it had not been filled with theology."[34][35][36] It was interpreted with concurrent meanings in all four modes of medieval exegesis: literally as historical fact, and allegorically as the death of the ancient order at the coming of the new.[original research?] Eusebius of Caesarea in his Praeparatio Evangelica (book V) seems[dubious – discuss] to have been the first Christian apologist to give Plutarch's anecdote, which he identifies as his source[citation needed], pseudo-historical standing, which Eusebius buttressed with many invented passing details that lent verisimilitude.[citation needed]
In more modern times, some have suggested a possible a naturalistic explanation for the myth. For example, Robert Graves (The Greek Myths) reported a suggestion that had been made by Salomon Reinach[37] and expanded by James S. Van Teslaar[38] that the sailors actually heard the excited shouts of the worshipers of Tammuz, Thamus Panmegas tethneke, "All-great Tammuz is dead!", and misinterpreted them as a message directed to an Egyptian sailor named 'Thamus': "Great Pan is Dead!" Van Teslaar explains, "[i]n its true form the phrase would have probably carried no meaning to those on board who must have been unfamiliar with the worship of Tammuz which was a transplanted, and for those parts, therefore, an exotic custom."[39] Certainly, when Pausanias toured Greece about a century after Plutarch, he found Pan's shrines, sacred caves and sacred mountains still very much frequented. However, a naturalistic explanation might not be needed. For example, William Hansen[40] has shown that the story is quite similar to a class of widely known tales known as Fairies Send a Message.
The cry "Great Pan is dead" has appealed to poets, such as John Milton, in his ecstatic celebration of Christian peace, On the Morning of Christ's Nativity line 89,[41] and Elizabeth Barrett Browning.[42]
One remarkable commentary of Herodotus[43] on Pan is that he lived 800 years before himself (c. 1200 BCE), this being already after the Trojan War.
Influence[edit]
Revivalist imagery[edit]
Pan depicted on the cover of The Wind in the Willows
The Magic of Pan's Flute, by John Reinhard Weguelin (1905)
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."[44]
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, 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 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.[45]
John Keats's "Endymion" opens with a festival dedicated to Pan where a stanzaic hymn is sung in praise of him. "Keats's account of Pan's activities is largely drawn 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" (Sandys); here he becomes the symbol of the romantic imagination, of supra-mortal knowledge.'"[46]
In the late 19th 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".[47] He appears in poetry, in novels and children's books, and is referenced in the name of the character Peter Pan.[48] 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.[49]
He is the eponymous "Piper at the Gates of Dawn"[50] 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 the Rat and Mole recover the Otter's lost son Portly.
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.
Pan entices villagers to listen to his pipes as if in a trance in Lord Dunsany's novel The Blessing of Pan published in 1927. Although the god does not appear within the story, his energy certainly invokes the younger folk of the village to revel in the summer twilight, and the vicar of the village is the only person worried about the revival of worship for the old pagan god.
Pan is also featured as a prominent character in Tom Robbins' Jitterbug Perfume (1984). Aeronautical engineer and occultist Jack Parsons invoked Pan before test launches at the Jet Propulsion Laboratory.
The British writer and editor Mark Beech of Egaeus Press published in 2015 the limited-edition anthology Soliloquy for Pan[51] 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.
Identification with Satan[edit]
Francisco Goya, Witches' Sabbath (El aquelarre), of Basque mythology. 1798. Oil on canvas, 44 × 31 cm. Museo Lázaro Galdiano, Madrid.
Pan's goatish image recalls[citation needed] conventional faun-like depictions of Satan. Although Christian use of Plutarch's story is of long standing,[original research?][citation needed] Ronald Hutton[52] has argued that this specific association is modern and derives from Pan's popularity in Victorian and Edwardian neopaganism. Medieval and early modern images of Satan tend, by contrast, to show generic semi-human monsters with horns, wings, and clawed feet.
Neopaganism[edit]
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.[53] This theory influenced the 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, Hindu Pashupati, and Greek Pan.
A modern account of several purported meetings with Pan is given by Robert Ogilvie Crombie in The Findhorn Garden (Harper & Row, 1975) and The Magic of Findhorn (Harper & Row, 1975). Crombie claimed to have met Pan many times at various locations in Scotland, including Edinburgh, on the island of Iona and at the Findhorn Foundation.
See also[edit]
Agreus & Nomios
Dryad
Faun
Golden Age
Kokopelli
Pan in popular culture
Pan, sculpture by Roger White
Pangu
Puck
Pūṣan, a Vedic guardian of flocks and herds
Satyr
Syrinx
The Great God Pan (novel)
Notes[edit]
Jump up ^ "Pan" (Greek mythology) entry in Collins English Dictionary.
Jump up ^ Edwin L. Brown, "The Lycidas of Theocritus Idyll 7", Harvard Studies in Classical Philology, 1981:59–100.
Jump up ^ Alfred Wagner, Das historische Drama der Griechen, Münster 1878, p. 78.
Jump up ^ The Triumph of the Moon: A History of Modern Pagan Witchcraft, Ronald Hutton, chapter 3
Jump up ^ Mallory, J. P.; Adams, D. Q. (2006). The Oxford Introduction to Proto-Indo-European and the Proto-Indo-European World. Oxford, England: Oxford University Press. p. 434. ISBN 978-0-19-929668-2.
Jump up ^ "*pa-". Online Etymology Dictionary.
Jump up ^ H. Collitz, "Wodan, Hermes und Pushan," Festskrift tillägnad Hugo Pipping pȧ hans sextioȧrsdag den 5 November 1924 1924, pp 574–587.
Jump up ^ R. S. P. Beekes, Etymological Dictionary of Greek, Brill, 2009, p. 1149.
Jump up ^ Edwin L. Brown, "The Divine Name 'Pan'", Transactions of the American Philological Association 107 (1977:57–61), notes (p. 59) that the first inscription mentioning Pan is a 6th-century dedication to ΠΑΟΝΙ, a "still uncontracted" form.
Jump up ^ The Extant Odes of Pindar at Project Gutenberg. See note 5 to Pythian Ode III, "For Heiron of Syracuse, Winner in the Horse-race."
Jump up ^ Theocritus. vii. 107
Jump up ^ Horbury, William (1992). Jewish Inscriptions of Graeco-Roman Egypt. Cambridge, England: Cambridge University Press. p. 208. ISBN 978-0-521-41870-6.
Jump up ^ Sear, David R. (1978). Greek Coins and Their Values . Volume I: Europe (pp. 168-169). Seaby Ltd., London. ISBN 0 900652 46 2
Jump up ^ W. H. Roscher, Ausführliches Lexikon der Gr. u. Röm. Mythologie (1909:1379f) finds eighteen variants for Pan's genealogy.
Jump up ^ Pindar, Fr. 90 (Bowra)
Jump up ^ Footnote in the Library by Apollodorus (of Athens), edited by E. Capps Ph.D, LL.D.; T. E. Page, Litt.D.; W. H. D. Rouse, Litt.d.; Webster Collection of Social Anthropology, p. 305
Jump up ^ The Homeric Hymn to Pan provides the earliest example of this wordplay, suggesting that Pan's name was born from the fact that he delighted "all" the gods.
Jump up ^ Eliade, Mircea (1982) A History of Religious Ideas Vol. 2. University of Chicago Press. § 205.
Jump up ^ In the second-century "Hieronyman Theogony', which harmonized Orphic themes from the theogony of Protogonos with Stoicism, he is Protogonos, Phanes, Zeus and Pan; in the Orphic Rhapsodies he is additionally called Metis, Eros, Erikepaios and Bromios. The inclusion of Pan seems to be a Hellenic syncretization (West, M. L. (1983) The Orphic Poems. Oxford:Oxford University Press. p. 205).
Jump up ^ Pan "even boasted that he had slept with every maenad that ever was—to facilitate that extraordinary feat, he could be multiplied into a whole brotherhood of Pans."
Jump up ^ "In this story Hermes is clearly out of place. He was one of the youngest sons of Zeus and was brought into the story only because... he was a master/thief. The real participant in the story was Aigipan: the god Pan, that is to say. in his quality of a goat (aix). (Kerenyi, p. 28). Kerenyi points out that Python of Delphi had a son Aix (Plutarch, Moralia 293c) and detects a note of kinship betrayal.
Jump up ^ "Pan (mythology) – Discussion and Encyclopedia Article. Who is Pan (mythology)? What is Pan (mythology)? Where is Pan (mythology)? Definition of Pan (mythology). Meaning of Pan (mythology)". Knowledgerush.com. Retrieved 2012-08-13.
Jump up ^ Robert Graves,The Greek Myths, p.101
Jump up ^ Classic Encyclopedia
Jump up ^ Dio Chrysostom, Discourses, vi. 20.
Jump up ^ Kerenyi, p. 175.
Jump up ^ Hyginus, Fabulae, 191 (on-line source).
Jump up ^ Ovid, Metamorphoses, 11.146ff (on-line source).
Jump up ^ Poetic Astronomy 2.18: see Theony Condos, Star Myths of the Greeks and Romans 1997:72.
Jump up ^ Kerenyi, p. 95.
Jump up ^ Lucan, ix. 536; Lucretius, v. 614.
Jump up ^ Moralia, Book 5:17.
Jump up ^ "Where or what was Palodes?".
Jump up ^ G.K. Chesterton, "The End of the World", The Everlasting Man, 1925
Jump up ^ The Collected Works of G.K. Chesterton II. San Francisco: Ignatius Press. 1986. p. 292. ISBN 978-0-89870-116-6.
Jump up ^ Orthodoxy. New York: Dover Publications, Inc. 2004. p. 69. ISBN 978-0-486-43701-9.
Jump up ^ Reinach, in Bulletin des correspondents helleniques 31 (1907:5–19), noted by Van Teslaar.
Jump up ^ Van Teslaar, "The Death of Pan: a classical instance of verbal misinterpretation", The Psychoanalytic Review 8 (1921:180–83).
Jump up ^ Van Teslaar 1921:180.
Jump up ^ William Hansen (2002) "Ariadne's thread: A guide to international tales found in classical literature" Cornell University Press. pp.133-136
Jump up ^ Kathleen M. Swaim, "'Mighty Pan': Tradition and an Image in Milton's Nativity 'Hymn'", Studies in Philology 68.4 (October 1971:484–495)..
Jump up ^ See Corinne Davies, "Two of Elizabeth Barrett Browning's Pan poems and their after-life in Robert Browning's 'Pan and Luna'", Victorian Poetry 44,.4, (Winter 2006:561–569).
Jump up ^ Herodotus, Histories II.145
Jump up ^ Payne-Knight, R. Discourse on the Worship of Priapus, 1786, p.73
Jump up ^ Hutton, Ronald. The Triumph of the Moon: A History of Modern Pagan Witchcraft pp 161–162
Jump up ^ Barnard, John. John Keats : The Complete Poems, p. 587, ISBN 978-0-14-042210-8
Jump up ^ Merivale, Patricia. Pan the Goat-God: his Myth in Modern Times, Harvard University Press, 1969, p.vii.
Jump up ^ Lurie, Alison. Afterword in Peter Pan, Signet, 2003, p198. books.google.com
Jump up ^ Ridley, Rosalind (2016). Peter Pan and the Mind of J M Barrie. UK: Cambridge Scholars Publishing. ISBN 978-1-4438-9107-3.
Jump up ^ Pink Floyd used the chapter title "The Piper at the Gates of Dawn" as the title of their 1967 debut album.
Jump up ^ Beech, Mark (2015). Soliloquy for Pan (Illustrated. First ed. limited to 300 copies ed.). UK: Egaeuspress. pp. 350 pp. ISBN 978-0-957160682.
Jump up ^ Hutton, The Triumph of the Moon: A History of Modern Pagan Witchcraft, Oxford University Press, 1999
Jump up ^ The Triumph of the Moon: A History of Modern Pagan Witchcraft, Ronald Hutton, page 199
Sources[edit]
Borgeaud, Philippe (1979). Recherches sur le Dieu Pan. Geneva University.
Burkert, Walter (1985). Greek Religion. Harvard University Press.
Diotima (2007), The Goat Foot God, Bibliotheca Alexandrina
Kerenyi, Karl (1951). The Gods of the Greeks. Thames & Hudson.
Laurie, Allison, "Afterword" in Peter Pan, J. M. Barrie, Signet Classic, 1987. ISBN 978-0-451-52088-3.
Malini, Roberto (1998), Pan dio della selva, Edizioni dell'Ambrosino, Milano
Ruck, Carl A. P.; Danny Staples (1994). The World of Classical Myth. Carolina Academic Press. ISBN 0-89089-575-9.
Vinci, Leo (1993), Pan: Great God Of Nature, Neptune Press, London
External links[edit]
Media related to Pan (mythology) at Wikimedia Commons
Original resources on Faunus/Phaunos
Original resources on Pan
Pan Mythology
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WorldCat Identities
GND: 118789406
LCCN: no2015029260
VIAF: 8183772
Retrieved from "https://en.wikipedia.org/w/index.php?title=Pan_(god)&oldid=842749244"
Categories:
Pan (god)
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View the content page [ctrl-alt-c]
c

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

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/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
interlanguage-link interwiki-af
display: none;

values:
https://als.wikipedia.org/wiki/Pan
Pan – Alemannisch
als
als
interlanguage-link-target

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interlanguage-link interwiki-als
display: none;

values: بان (ميثولوجيا) – Arabic

values:
https://az.wikipedia.org/wiki/Pan
Pan – Azerbaijani
az
az
interlanguage-link-target

values:
interlanguage-link interwiki-az
display: none;

values: Пан (міфалогія) – Belarusian

values:
interlanguage-link interwiki-be
display: none;

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interlanguage-link interwiki-bg
display: none;

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interlanguage-link interwiki-bs
display: none;

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interlanguage-link interwiki-br
display: none;

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interlanguage-link interwiki-ca
display: none;

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interlanguage-link interwiki-cs
display: none;

values:
https://cy.wikipedia.org/wiki/Pan_(duw)
Pan (duw) – Welsh
cy
cy
interlanguage-link-target

values:
interlanguage-link interwiki-cy
display: none;

values:
https://da.wikipedia.org/wiki/Pan
Pan – Danish
da
da
interlanguage-link-target

values:
interlanguage-link interwiki-da
display: none;

values:
https://et.wikipedia.org/wiki/Paan
Paan – Estonian
et
et
interlanguage-link-target

values:
interlanguage-link interwiki-et
display: none;

values:
interlanguage-link interwiki-el
display: none;

values:
https://eo.wikipedia.org/wiki/Pajno
Pajno – Esperanto
eo
eo
interlanguage-link-target

values:
interlanguage-link interwiki-eo
display: none;

values:
interlanguage-link interwiki-eu
display: none;

values: پان (اسطوره‌شناسی) – Persian

values:
interlanguage-link interwiki-fa
display: none;

values:
https://fr.wikipedia.org/wiki/Pan
Pan – French
fr
fr
interlanguage-link-target

values:
interlanguage-link interwiki-gl
display: none;

values:
interlanguage-link interwiki-ko
display: none;

values:
interlanguage-link interwiki-hy
display: none;

values:
interlanguage-link interwiki-hr
display: none;

values:
https://id.wikipedia.org/wiki/Pan
Pan – Indonesian
id
id
interlanguage-link-target

values:
https://it.wikipedia.org/wiki/Pan
Pan – Italian
it
it
interlanguage-link-target

values:
interlanguage-link interwiki-it
display: none;

values:
interlanguage-link interwiki-he
display: none;

values:
interlanguage-link interwiki-ka
display: none;

values: Пан (мифология) – Kazakh

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interlanguage-link interwiki-kk
display: none;

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interlanguage-link interwiki-ky
display: none;

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interlanguage-link interwiki-la
display: none;

values:
interlanguage-link interwiki-lv
display: none;

values:
interlanguage-link interwiki-lt
display: none;

values:
https://hu.wikipedia.org/wiki/P%C3%A1n
Pán – Hungarian
hu
hu
interlanguage-link-target

values:
interlanguage-link interwiki-hu
display: none;

values: Пан (митологија) – Macedonian

values:
interlanguage-link interwiki-mk
display: none;

values:
interlanguage-link interwiki-nl
display: none;

values: パーン (ギリシア神話) – Japanese

values:
interlanguage-link interwiki-no
display: none;

values:
https://nn.wikipedia.org/wiki/Pan
Pan – Norwegian Nynorsk
nn
nn
interlanguage-link-target

values:
interlanguage-link interwiki-nn
display: none;

values:
https://nrm.wikipedia.org/wiki/Pan
Pan – Norman
nrm
nrm
interlanguage-link-target

values:
interlanguage-link interwiki-nrm
display: none;

values:
interlanguage-link interwiki-oc
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values:
https://pt.wikipedia.org/wiki/P%C3%A3
Pã – Portuguese
pt
pt
interlanguage-link-target

values:
interlanguage-link interwiki-ro
display: none;

values: Пан (мифология) – Russian

values:
interlanguage-link interwiki-sco
display: none;

values:
https://sq.wikipedia.org/wiki/Pani
Pani – Albanian
sq
sq
interlanguage-link-target

values:
interlanguage-link interwiki-sq
display: none;

values:
interlanguage-link interwiki-simple
display: none;

values:
https://sk.wikipedia.org/wiki/Pan_(boh)
Pan (boh) – Slovak
sk
sk
interlanguage-link-target

values:
interlanguage-link interwiki-sk
display: none;

values:
https://sl.wikipedia.org/wiki/Pan
Pan – Slovenian
sl
sl
interlanguage-link-target

values:
interlanguage-link interwiki-sl
display: none;

values:
interlanguage-link interwiki-sr
display: none;

values:
interlanguage-link interwiki-sh
display: none;

values:
https://fi.wikipedia.org/wiki/Pan
Pan – Finnish
fi
fi
interlanguage-link-target

values:
interlanguage-link interwiki-fi
display: none;

values:
https://sv.wikipedia.org/wiki/Pan
Pan – Swedish
sv
sv
interlanguage-link-target

values:
interlanguage-link interwiki-sv
display: none;

values:
interlanguage-link interwiki-tl
display: none;

values: แพน (เทพปกรณัม) – Thai

values:
interlanguage-link interwiki-th
display: none;

values:
interlanguage-link interwiki-tr
display: none;

values: Пан (міфологія) – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values:
interlanguage-link interwiki-vi
display: none;

values:
interlanguage-link interwiki-war
display: none;

values: All languages (initial selection from common choices by you and others)

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

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suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Pan_god rootpage-Pan_god skin-vector action-view