Pan/Fauno/Faun/Satiro/Satyr

Pan

Il dio Pan (Fauno nella mitologia romana) era, nella mitologia greca, una divinità non olimpica dall'aspetto di un satiro legata alle selve e alla natura. Era solitamente riconosciuto come figlio del dio Ermes e della ninfa Driope.  

Etimologia: origine e morte

Il nome Πάν deriva dal greco paein, cioè "pascolare", e infatti Pan era il dio pastore, il dio della campagna, delle selve e dei pascoli. Il nome è però simile a πᾶν, che significa "tutto". La figura mitologica ricalca l'eroe solare vedico Pushan, il cui nome, dal verbo sanscrito pūṣyati, significherebbe "colui che fa prosperare". Inoltre è assimilato a Phanes (Φάνης, da φαίνω phainō , "che porta la luce"), altro nome di Protogonos (Πρωτογόνος, "primo nato"). In alcuni miti infatti è descritto come il più antico degli Olimpi, se è vero che aveva bevuto con Zeus il latte da Amaltea, allevato i cani di Artemide e insegnato l'arte divinatoria ad Apollo. Venne inoltre notoriamente associato a Fauno, versione maschile (poi figlio, fratello o marito, a seconda del mito) di Fauna, e come tale era lo spirito di tutte le creature naturali, più tardi legato anche alla foresta, all'abisso, al profondo.
Dal suo nome deriva il sostantivo panico, originariamente timor panico o terror panico, poiché il dio si adirava con chi lo disturbasse emettendo urla terrificanti, provocando così una incontrollata paura. Pausania scrive che i Galli, saccheggiando la Grecia, videro nel tempio di Delfi la statua del dio Pan, e ne furono così tanto spaventati, che fuggirono; alcuni racconti ci dicono che lo stesso Pan venne visto fuggire per la paura da lui stesso provocata. Ma il mito più famoso legato a questa caratteristica è la titanomachia, durante la quale Pan salva gli Olimpi emettendo un urlo e facendo fuggire Delfine.
Plutarco nel suo De defectu oraculorum racconta di come Pan sia stato l'unico dio a morire. Durante il regno di Tiberio (14–37), la notizia della sua morte venne rivelata a tale Tamo (Thamus), un mercante fenicio che sulla sua nave diretta in Italia sentì gridare, dalle rive di Paxos: "Tamo, quando arrivi a Palodes annuncia a tutti che il grande dio Pan è morto!". Gli studiosi si dividono tra il significato storico e quello allegorico. Secondo Robert Graves, per esempio, il grido non fu Thamous, Pan ho megas tethneke, "Tamo, il grande dio Pan è morto", ma Tammuz Panmegas tethneke, "L'onnipresente Tammuz è morto", cioè il dio babilonese della natura, a indicare così la fine di un'oscura era politeista, di cui aver "timor panico", e l'inizio di un nuovo mondo sotto la luce di Cristo, morto appunto sotto l'impero di Tiberio (così Eusebio di Cesarea nel suo Praeparatio Evangelica).

Iconografia

La genealogia di Pan è controversa. La più accreditata è quella dell'Inno omerico, in cui vengono indicati quali genitori il dio Ermes e la dea Persefone.
È un dio potente e selvaggio, esteriormente è raffigurato con gambe e corna caprine, con zampe irsute e zoccoli, mentre il busto è umano, il volto barbuto e dall'espressione terribile. Vaga per i boschi, spesso per inseguire le ninfe, mentre suona e danza. È molto agile, rapido nella corsa ed imbattibile nel salto.
È principalmente indicato come dio Signore dei campi e delle selve nell'ora meridiana, protegge le greggi e gli armenti, gli sono sacre le cime dei monti. Tradizionalmente, indossa una nebris, una pelle di cerbiatto.

Il mito

La leggenda vuole che la ninfa Driope sia fuggita terrorizzata dall'aspetto deforme del figlio, mentre il dio Ermes lo raccolse e, avvoltolo amorevolmente in una pelle di lepre, lo portò sull'Olimpo per far divertire gli dei, causando così l'ilarità di Dioniso.
Un altro mito lo vuole figlio di Penelope e di tutti i suoi pretendenti, con cui avrebbe avuto rapporti in attesa del marito.
Secondo altri ancora era figlio di Ermes e della capra Amaltea.
Secondo altre fonti era figlio di un amorazzo tra Zeus e la ninfa Callisto dal quale vennero alla luce Pan ed Arcade. In un'altra fonte lo si ritiene nato da Zeus ed Ybris, pura astrazione. Un'altra versione, sostenuta da Igino, afferma che Zeus, dopo essersi unito ad una capra di nome Beroe, le diede un figlio, il dio Egipan, ovvero la forma caprina di Pan.
Un suo mito narra del suo amore per la ninfa Eco dal quale nacquero due figlie, Iambe e Iunce.
Pan non viveva sull'Olimpo: era un dio terrestre amante delle selve, dei prati e delle montagne. Preferiva vagare per i monti d'Arcadia, dove pascolava le greggi e allevava le api.
Pan era un dio perennemente allegro, venerato ma anche temuto. Legato in modo viscerale alla natura ed ai piaceri della carne, Pan è l'unico dio con un mito sulla sua morte. La notizia fu diffusa da Tamo, un navigatore, e portò angoscia e disperazione nel mondo.

Pan e il Capricorno

Pan partecipò alla Titanomachia, avendo un ruolo fondamentale doveva scappare più veloce di tutti nella vittoria di Zeus su Tifone.
Tifone era un mostro che era nato da Gea e Tartaro, che volle vendicarsi della morte dei figli, i Giganti.
Quando tentò di conquistare il monte Olimpo, gli Dei fuggirono terrorizzati da questo mostro. Si recarono in Egitto, dove assunsero forme di animali per nascondersi meglio:

• Zeus si fece ariete,
• Afrodite si fece pesce,
• Apollo si fece corvo,
• Dioniso si fece capra,
• Era si fece vacca bianca,
• Artemide si fece gatto,
• Ares si fece cinghiale,
• Ermes si fece ibis,
• Pan trasformò solo la sua parte inferiore in un pesce e si nascose in un fiume.

Solo Atena non si nascose, e denigrando gli altri dei convinse il padre Zeus a scendere in battaglia contro il mostro. Nonostante il dio fosse armato, il mostro riuscì ad avere la meglio su di lui, e lo rinchiuse nella grotta dove Gea lo aveva generato. Con le sue Spire Tifone gli aveva reciso i tendini di mani e piedi, che aveva poi affidato a sua sorella Delfine, il cui corpo terminava con la coda di un serpente.
Il dio Pan spaventò questa creatura con un tremendo urlo, ed Ermes le sottrasse i tendini di Zeus.
Zeus recuperate le forze, ed i tendini, si lanciò su un carro trainato da cavalli alati contro Tifone, bersagliandolo di fulmini.
Zeus riuscì ad uccidere il mostro, e lo seppellì sotto il monte Etna, che da allora emette il fuoco causato da tutti i fulmini usati in battaglia, così come racconta lo Pseudo-Apollodoro.
Per ringraziare Pan, Zeus fece in modo che il suo aspetto fosse visibile in cielo. Così creò il Capricorno.

Caratteristiche

Dio dalle forti connotazioni sessuali - anche Pan infatti come Dionisio e Priapo era generalmente rappresentato con un grande fallo - recentemente Pan è stato indicato come il dio della masturbazione, da James Hillman, noto psicologo americano, che sostiene essere Pan l'inventore della sessualità non procreativa.
Infatti Pan, trovando difficoltà di accoppiamento a causa del suo aspetto, era solito esercitare la sua forza generatrice mediante la masturbazione, oltre che con la violenza sessuale.
Come dio legato alla terra ed alla fertilità dei campi è legato alla Luna, ed alle forze della grande Madre. Fra i miti che lo accompagnano uno che lo vede seduttore di Selene, cui si è presentato nascondendo il pelo caprino sotto un vello bianco. La Dea non lo riconobbe e acconsentì all'unione. Pan è un dio generoso e bonario, sempre pronto ad aiutare quanti chiedono il suo aiuto.
Questo dio pagano sarebbe stato ripreso in seguito dalla Chiesa Cristiana per utilizzare la sua immagine come iconografica di Satana.
Narra una leggenda che nell'età dell'Oro Pan giunse nel Lazio, dove venne ospitato dal dio Saturno.
In Grecia la presenza del dio viene collocata in Arcadia.
In Italia esiste una divinità che ha molte similitudini con la raffigurazione di Pan, è il dio Silvano.

Pan e le Ninfe

Pan è un dio con una forte connotazione sessuale, amava sia donne che uomini, e se non riusciva a possedere l'oggetto della sua passione si abbandonava all'onanismo.
Moltissimi racconti mitologici ci parlano di questo dio e del suo rapporto con le Ninfe che cercava di possedere. Tanto che queste si salvavano solo trasformandosi, anche se spesso non disdegnavano le attenzioni del dio.

• Eco generò con lui Iunge e Iambe, per poi innamorarsi di Narciso e struggersi per lui fino a diventare solo una voce.
• Eufeme, nutrice delle muse, ebbe Croto, inventore degli applausi.

Il mito ci riporta il nome di altre di queste Ninfe: Pitis, Selene. La più importante resta forse Siringa.

Pan e la ninfa Siringa

Uno dei miti più famosi di Pan riguarda le origini del suo caratteristico strumento musicale. Siringa era una bellissima ninfa dell'acqua di Arcadia, figlia del dio dei fiumi Ladone. Un giorno, di ritorno dalla caccia, incontrò Pan. Per sfuggire alle sue molestie, la ninfa scappò senza ascoltare i complimenti del dio. Corse attraverso il bosco fino a trovare un canneto e pregando si trasformò in una canna. Quando il vento soffiò attraverso le canne, si udì una melodia lamentosa. Il dio, ancora infatuato, non riuscendo a identificare in quale canna si era trasformata Siringa, ne prese alcune e ne tagliò sette pezzi di lunghezza decrescente (alcune versioni sostengono nove) e li unì uno di fianco all'altro. Creò così lo strumento musicale che portò il nome della sua amata Siringa. Da allora Pan fu visto raramente senza di esso.

Nella letteratura

La figura di Pan ha avuto anche un notevole successo in campo letterario, innumerevoli sono le opere che parlano di questo dio. Nel libro "Saggio su Pan" di James Hillman, l'autore traccia un contrasto netto tra la figura di Pan e la figura di Cristo.
Pan compare anche nella saga di Percy Jackson

Nel mondo moderno

Nel Medioevo Pan ed i suoi aspetti vennero demonizzati dal Cristianesimo, tanto che nei secoli successivi il diavolo nella cultura occidentale assunse progressivamente i tratti iconografici di questa antica divinità: corna, zampe caprine, barba a punta.
Come spiega il professor Ronald Hutton, nel suo fondamentale studio sulla Wicca, a partire dall'epoca romantica, soprattutto in Inghilterra, la figura di Pan venne però enormemente rivalutata. In un mondo avviato verso l'industrializzazione e la distruzione progressiva dell'ambiente naturale, come reazione vi fu una ricerca della purezza delle origini e così il Pan romantico divenne quasi il dio della natura per antonomasia.
Il successivo passaggio di rivalutazione viene spiegato da Hutton con i lavori dell'antropologa Margaret Murray: il dio divenne il fulcro degli studi dell'autrice ed in particolare di una sua tesi molto controversa, secondo la quale Pan era al centro di un culto pagano, sopravvissuto all'avvento del Cristianesimo, un culto poi catalogato e perseguitato dall'inquisizione come stregonesco. In seguito a queste premesse, la figura di Pan venne quindi sincretizzata con quella di altre divinità cornute come Dioniso e Cernunnos, divenendo la divinità principale dell'odierna religione Wicca.

 Pan e Dafni. Marmo, copia romana da un originale greco di Eliodoro (III-II sec. a.C.). Collezione Farnese, Museo archeologico nazionale di Napoli, Inv. 6329. H. 1.58 m.

Citazioni su Pan

• [L'annuncio della sua morte avvenuta durante il regno di Tiberio] Il grande Pan è morto! (Plutarco)
• [Sulla natura dell'universo panico] L'amore non gioca alcun ruolo nel mondo di Pan, fatto di panico, masturbazione, stupro, o nella sua caccia alle ninfe. Queste non sono storie d'amore; non sono racconti di sentimenti e relazioni umane. La danza è rituale, non due che si muovono in coppia; la musica che risuona dagli inquietanti pifferi dal timbro mediterraneo non è una canzone d'amore. Siamo fuori anche dall'universo di Eros, al cui posto stanno sessualità e paura. (James Hillman)

Citazioni sul flauto di Pan.

• Cervi e cavalli vengono incantati con flauti di Pan e auli e anche i granchi si riescono a stanare grazie al suono del flauto di Pan. (Porfirio)

 

Una raffigurazione di Pan tratta da Meyers Konversations-Lexikon

In ancient Greek religion and mythology, Pan (/pæn/; 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. 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, 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. 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.

Origins

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 (*Péh₂usōn shares an origin with the modern English word "pasture"). 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. According to Edwin L. Brown, the name Pan is probably a cognate with the Greek word ὀπάων "companion".
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.

Worship

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.
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 In the 4th century BC Pan was depicted on the coinage of Pantikapaion.

Mythology

Parentage

The parentage of Pan is unclear; 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. 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. This myth reflects the folk etymology that equates Pan's name (Πάν) with the Greek word for "all" (πᾶν).
In the mystery cults of the highly syncretic Hellenistic era, Pan is made cognate with Phanes/Protogonos, Zeus, Dionysus and Eros.
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) 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

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. 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

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

Disturbed in his secluded afternoon naps, Pan's angry shout inspired panic (panikon deima) in lonely places. 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.

Erotic aspects

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.
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.

Music

In two late Roman sources, Hyginus and Ovid, 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

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 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 — 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

Aegocerus "goat-horned" was an epithet of Pan descriptive of his figure with the horns of a goat.

All of the Pans

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"

According to the Greek historian Plutarch (in De defectu oraculorum, "The Obsolescence of Oracles"), 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, 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." 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 and expanded by James S. Van Teslaar 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." 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 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, and Elizabeth Barrett Browning.
One remarkable commentary of Herodotus on Pan is that he lived 800 years before himself (c. 1200 BCE), this being already after the Trojan War.

Influence

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, 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.
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.'"
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". He appears in poetry, in novels and children's books, and is referenced in the name of the character Peter Pan. 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.
He 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 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 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

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 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

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 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.

L'unione sessuale di Pan con una capra

Marie-Lan Nguyen (2011)

Pan copulating with a she-goat.

 
Il fauno è una figura della mitologia romana, una divinità della natura, per la precisione è la divinità della campagna, dei greggi e dei boschi. Il suo aspetto è dalle forme umane, ma con i piedi e con le corna di capra. Più tardi fu fatto corrispondere al satiro della mitologia greca, benché quest'ultimo fosse legato al culto del dio Dioniso (Bacco per i Romani). 

Il mito

Inizialmente era il dio della campagna, dei pascoli e dell'agricoltura, contrapposto al dio dei boschi Silvano. È una delle più antiche divinità italiche, nonché l'istitutore dei Salii e dei Luperci, le due solidalitates dedicate al culto iniziatico di Marte. Aveva come passatempi la caccia e corteggiare le ninfe. Amava suonare il flauto ed era portatore di istinti sessuali. Il suo aspetto era dalle forme umane ma con le gambe da capra e le corna sul capo.
In alcune versioni del mito è identificato con un antico re del Lazio, nipote di Saturno o di Marte, figlio di Pico e Canente o Pomona e, secondo l'Eneide, padre di Latino, il quale - dopo la morte - fu venerato sia come protettore di raccolti e armenti (Inuus), sia per le sue facoltà di oracolari (Fatuus). Secondo una versione latina, era figlio di Giove e della maga Circe. La sua sposa era Fauna, chiamata anche Fatua; in versioni tarde fu associato al dio greco Pan, oltre che al Satiro. Secondo dei miti romani, ripresi poi nell'Eneide da Virgilio, Fauno era lo sposo di Marica, divinità delle acque, dalla quale ebbe Latino. Insieme a una ninfa siciliana avrebbe generato invece il bellissimo pastore Aci.
Per altri sarebbe stato il terzo re preistorico dell'Italia, e avrebbe introdotto nella penisola il culto della divinità e l'agricoltura; dopo la morte gli vennero dedicati molti onori e venne venerato come dio dei boschi, protettore delle greggi e degli armenti. Secondo altre fonti, i Fauni sarebbero stati antichi pastori, abitanti, ai primordi del mondo, nel territorio sul quale verrà fondata Roma.
Il dio Fauno era anche chiamato Luperco, in qualità di difensore delle greggi e degli abitanti della campagna dagli assalti dei lupi e lupo egli stesso (Lupercus = lupus + hircus).
Nell'Eneide si fa riferimento anche a un Fauno omonimo del dio: è il padre del giovane guerriero italico Tarquito ucciso da Enea in combattimento. Tarquito risulta essere comunque un semidio, in quanto sua madre è la ninfa Driope.

Culto

Nelle comunità rurali, la sua festa (Faunàlia), ricorreva il 5 dicembre tra danze e processioni.
L'unico tempio a lui dedicato in Roma, il Tempio di Fauno, si trovava sull'Isola Tiberina. Nei pressi di un bosco situato nelle vicinanze della fontana Albunea, esisteva un celebre oracolo, dedicato al dio Fauno.
In onore del dio Fauno, protettore delle greggi e del bestiame dagli attacchi dei lupi, venivano celebrati i Lupercalia, feste purificatorie che consistevano nell'allontanare due gruppi di sacerdoti nelle foreste dopo essersi truccati in modo spaventoso, vestiti con le pelli degli animali sacrificati. Probabilmente erano associati al mito dei Silvani. Si pensa che tale rito avesse anche funzione iniziatoria all'età adulta. Si teorizza anche che questa festa sia l'antenata dell'attuale San Valentino.

Dopo i Romani

Nei primi secoli dell'era cristiana, molte divinità pagane vennero demonizzate e i Fauni furono associati ai Satiri e ai Silvani. Furono associati al demonio Incubo. La figura del Fauno diverrà in seguito quella del diavolo-tipo. Nello stesso periodo, però, i Fauni vennero anche convertiti in esseri non malvagi, simili ai folletti.

Nel mondo moderno e nella cultura

Nell'epoca moderna i Fauni sono stati spesso soggetto di dipinti ed opere d'arte, nonché sono presenti in libri, film e produzioni varie, essendo diventati anche figure ricorrenti del genere fantasy. Col tempo si è voluto distinguere i Fauni dai Satiri, facendo dei primi dei caproni antropomorfi.

Opere d'arte

• Testa di fauno, opera andata perduta di Michelangelo;
• Fauno Barberini, scultura di epoca ellenistica;
• Giove bambino ed un fauno nutriti dalla Capra Amaltea, di Gian Lorenzo Bernini;
• Il bagno della pastora di Basilio Cascella, olio su tela.
• Morte di Procri, opera di Piero di Cosimo del 1495.
• Il bagno di Diana, dipinto di François Clouet.

Nella letteratura

• Il pomeriggio di un fauno (L'après-midi d'un faune) (1876) è un poema di Stéphane Mallarmé;
• Il signor Tumnus è un personaggio immaginario del ciclo di romanzi fantasy de Le cronache di Narnia di Clive Staples Lewis;
• Testa di fauno è una poesia di Arthur Rimbaud;
• Percy Jackson e gli Dèi dell'Olimpo - La battaglia del labirinto.

In musica e in danza

• Prélude à l'après-midi d'un faune (1894) è un poema sinfonico di Claude Debussy ispirato all'opera di Mallarmé;
• Il pomeriggio di un fauno (1912) è un balletto moderno ispirato all'opera di Debussy e coreografato da Vaclav Nižinskij.

Nel cinema

• Il fauno (1917) di Febo Mari
• Prélude à l'après-midi d'un faune (1938) è un cortometraggio perduto di Roberto Rossellini.
• Fantasia (1940) è un film di Walt Disney.
• Le cronache di Narnia: il leone, la strega e l'armadio (2005) è un film di Walt Disney.
• Il labirinto del fauno (2006) è un film fantasy di Guillermo del Toro.
• Percy Jackson e gli dei dell'Olimpo - Il ladro di fulmini (2010) è un film di Chris Columbus.
• Percy Jackson e gli dei dell'Olimpo - Il mare dei mostri (2013) è un film di Thor Freudenthal.

Nei videogiochi

• Nel secondo capitolo della saga del draghetto Spyro, intitolato Spyro: Ripto's Rage!, sono presenti diversi Fauni femmina. Il principale è senza dubbio Elòra, amica e aiutante di Spyro, che si mostra come una donna con le zampe, gli zoccoli e la coda da cavallo. Nel mondo Colline Frattura invece appaiono, assieme a dei Satiri, altri Fauni di genere femminile, resi curiosi dallo yo-yo con cui giocano continuamente.
• Appaiono in God of war II dove, a differenza dei Satiri, appaiono come creature con gambe da capra ma con busto da non-morto.
• Appare nel videogioco Le cronache di Narnia: Il leone, la strega e l'armadio.

Citazioni

• Ma l'esistenza mi attira, mi vedo riflesso sulle acque del lago, sogno pomeridiano di un fauno che si sveglia. (Franco Battiato, Serial killer, L'imboscata, 1996).
• Nel mezzo, un prato; è coperto di verdeggiante muschio, da una roccia sgorgava una vena d'acqua perenne; ad essa quasi soltanto Fauno e Pico si dissetavano (Ovidio, Fasti).
• Si rivolge agli oracoli di Fauno, il padre profetico, e consulta i divini boschi sotto l'alta Albunea, massima tra le selve, che risuona dal sacro fonte ed esala violenti vapori mefitici. (Virgilio, Eneide).
• Il detto più famoso del Fauno a chi lo interrogava era: "ogni tipo di saggezza umana è vana". (Marco Terenzio Varrone, De lingua Latina).

Un fauno mentre suona il flauto di Pan (dipinto di Pál Szinyei Merse, XIX secolo)

Pál Szinyei Merse - Fine Arts in Hungary:1867

 The faun (Latin: faunus, Ancient Greek: φαῦνος, phaunos, pronounced [pʰaunos]) is a mythological half human–half goat creature.
The goat man, more commonly affiliated with the Satyrs of Greek mythology or Fauns of Roman, is a bipedal creature with the legs of a goat and the torso of a man and is often depicted with goat's horns. These creatures in turn borrowed their appearance from the god Pan of the Greek pantheon. They were a symbol of fertility, and their chieftain was Silenus, a minor deity of Greek mythology.

Origins

Romans believed fauns inspired fear in men traveling in lonely, remote or wild places. They were also capable of guiding humans in need, as in the fable of The Satyr and the Traveller, in the title of which Latin authors substituted the word Faunus. Fauns and satyrs were originally quite different creatures: whereas fauns are half-man and half-goat, satyrs originally were depicted as stocky, hairy, ugly dwarves or woodwoses with the ears and tails of horses or asses. Satyrs also were more woman-loving than fauns, and fauns were rather foolish where satyrs had more knowledge.
Ancient Roman mythological belief also included a god named Faunus often associated with enchanted woods and the Greek god Pan and a goddess named Fauna who were goat people.
The Barberini Faun (located in the Glyptothek in Munich, Germany) is a Hellenistic marble statue from about 200 BCE, found in the Mausoleum of the Emperor Hadrian (the Castel Sant'Angelo) and installed at Palazzo Barberini by Cardinal Maffeo Barberini (later Pope Urban VIII). Gian Lorenzo Bernini restored and refinished the statue.
The House of the Faun in Pompei, dating from the 2nd century BCE, was so named because of the dancing faun statue that was the centerpiece of the large garden. The original now resides in the National Museum in Naples and a copy stands in its place.
The French symbolist Stéphane Mallarmé's famous masterpiece L'après-midi d'un faune (published in 1876) describes the sensual experiences of a faun who has just woken up from his afternoon sleep and discusses his encounters with several nymphs during the morning in a dreamlike monologue. The composer Claude Debussy based his symphonic poem Prélude à l'après-midi d'un faune (1894)  on the poem, which also served as the scenario for a ballet entitled L'après-midi d'un faune (or Afternoon of a Faun) choreographed to Debussy's score in 1912 by Vaslav Nijinsky.
It has become a noticeable trend recent years for some fantasy artists to depict fauns as having the hind legs, tail, and antlers of a deer instead those of a goat. This may be due to the English word faun sounding the same as the English word for baby deer fawn.^{[citation needed]}

In fiction

• The Marble Faun (1860) is a romance set in Italy by Nathaniel Hawthorne. It was said to have been inspired after viewing the Faun of Praxiteles in the Capitoline Museum.
• Mr. Tumnus, in C. S. Lewis's The Chronicles of Narnia (1949), is a faun. Lewis said that the famous Narnia story, The Lion, the Witch and the Wardrobe, all came to him from a single picture he had in his head of a faun carrying an umbrella and parcels through a snowy wood.
• In Lolita, the protagonist is attracted to pubescent girls whom he dubs "nymphets"; "faunlets" are the male equivalent.
• In the 1981 film My Dinner with Andre it is related how fauns befriend and take a mathematician to meet Pan.
• In Guillermo del Toro's 2006 film Pan's Labyrinth (El Laberinto del Fauno), a faun guides the film's protagonist, Ofelia, to a series of tasks, which lead her to a wondrous netherworld.
• Don, in Rick Riordan's The Son of Neptune (2011), is a faun. In the book, several fauns appear, begging for money. Due to his memory of the Greek satyrs, Percy Jackson feels like there should be more to fauns. Also, in the prequel to The Son of Neptune, The Lost Hero, Jason Grace calls Gleeson Hedge a faun upon learning that he is a satyr. In the third instalment in the series, The Mark of Athena, Frank Zhang calls Hedge a faun.^{[citation needed]}
• In The Goddess Within, a visionary fiction novel written by Iva Kenaz, the main heroine falls in love with a faun.
• In Lara Magradia's upcoming animated short film, The Troll's Dagger, Ainya, is a young, orphaned faun, who is a wanderer trying to survive on her own after her parents were killed by a pack of wolves.
• In the Spyro video game series, Elora is a faun from Avalar, who help Spyro the dragon navigate the world around him.
• In the Adventures of the Merkles Thalia is a faun from Avalar, who helps the Merkles sometimes.

 Statue of a faun; Vatican, Brooklyn Museum Archives, Goodyear Archival Collection

William Henry Goodyear - Brooklyn Museum

English: Vatican, Rome, Italy. Statue of a faun; Vatican, Rome. Brooklyn Museum Archives, Goodyear Archival Collection (S03_06_01_020 image 2554).

before 1923

Il satiro (in greco antico: σάτυρος, sátyros; al plurale σάτυροι, sátyroi) è una figura mitica maschile, compagna di Pan e Dioniso, che abita boschi e montagne. È una divinità minore, personificazione della fertilità e della forza vitale della natura, connessa con il culto dionisiaco. Nell'antica religione romana è noto come "fauno".

Descrizione

I satiri sono generalmente raffigurati come esseri umani barbuti con orecchi, corna, coda e zampe caprine o equine. Il loro aspetto perse gradualmente, con il passare del tempo, qualche attributo animale. Vengono rappresentati come esseri lascivi, spesso dediti al vino, a danzare con le ninfe e a suonare l'aulòs. Talvolta sono raffigurati con una vistosa erezione.
Il loro principale esponente era Sileno, una divinità minore associata (come Ermes e Priapo) alla fertilità.
Nella mitologia greca si narra che i satiri fossero grandi suonatori di flauto che incantavano con la loro musica. Questo strumento fu invenzione della dea Atena, la quale lo gettò, indispettita dal modo in cui le deformava le guance mentre lo suonava. Il satiro Marsia lo raccolse (e fu percosso dalla dea per il suo gesto irrispettoso) e cominciò a suonarlo con incredibile maestria, tanto che, pretendendo di essere in grado di suonare una musica "divina", sfidò Apollo (in altre versioni fu invece il dio a sfidare Marsia, geloso della sua bravura) il quale gli promise di farlo salire con sé sull'Olimpo se la sua musica fosse stata migliore della propria, mentre in caso contrario il satiro sarebbe stato punito. Le Muse avrebbero decretato il vincitore. Il satiro, però, non riuscì a reggere la sfida quando Apollo cominciò ad accompagnare la lira con il canto, poiché non poteva cantare mentre suonava il flauto. Trionfante, il dio dispose del satiro e lo scorticò vivo in presenza delle Muse. Di questo mito parlano molte fonti classiche tra cui Ovidio, nel Libro VI delle Metamorfosi, ed esso è citato anche nella Divina Commedia di Dante Alighieri.

 Satiro in riposo

130 circa d.C.

Artista sconosciuto (possibly copy after Praxiteles)

In Greek mythology, a satyr (UK: /ˈsætə/, US: /ˈseɪtər/; Greek: σάτυρος satyros, pronounced [sátyros]) is the member of a troop of ithyphallic male companions of Dionysus; they usually have horse-like ears and tails, as well as permanent, exaggerated erections. Early artistic representations sometimes include horse-like legs, but, in 6th-century BC black-figure pottery, human legs are the most common. The faun is a similar woodland-dwelling creature from Roman mythology, which had the body of a man, but the legs, horns, and tail of a goat. In myths, both are often associated with pipe-playing. Greek-speaking Romans often used the Greek term saturos when referring to the Latin faunus, and eventually syncretized the two. (The female "Satyresses" were a later invention of poets.) They are also known for their focus on sexual desires. They were characterized by the desire to have sexual intercourse with as many women as possible, known as satyriasis.
The satyr's chief was Silenus, a minor deity associated (like Hermes and Priapus) with fertility. These characters can be found in the only complete remaining satyr play, Cyclops, by Euripides, and the fragments of Sophocles's Ichneutae (Tracking Satyrs). The satyr play was a short, lighthearted tailpiece performed after each trilogy of tragedies in Athenian festivals honoring Dionysus. There is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded. The groundbreaking tragic playwright Aeschylus is said to have been especially loved for his satyr plays, but none of them have survived.
Satyrs are the companions of Dionysus, the god of wine, and they spent their time drinking, dancing, and chasing nymphs. The Italian version of the satyr is the faun, while the Slavic version is the “Ljeschi.”
Mature satyrs are often depicted in Roman art with goat's horns, while juveniles are often shown with bony nubs on their foreheads. In Greek Mythology Satyrs are known for being a class of lustful, drunken woodland gods.
As Dionysiac creatures they are lovers of wine and women, and they are ready for every physical pleasure. They roam to the music of pipes (auloi), cymbals, castanets, and bagpipes, and they love to chase maenads or bacchants (with whom they are obsessed, and whom they often pursue), or in later art, dance with the nymphs, and have a special form of dance called sikinnis. Because of their love of wine, they are often represented holding wine cups, and they appear often in the decorations on wine cups.

Physical Description

In Greek mythology, satyrs are deities of the woods and mountains. They are half-human and half-beast; they usually have a goat's tail, flanks and hooves. But Satyrs can come in other hybrid human/animal forms, as well. According to William Hansen, "Satyrs are two-legged beings having the lower body of a horse and the upper body of a man." Satyrs emit of hoarse sound, a mix of the neighing of a horse and the bleating of a goat.

In Greek mythology and art

In Greek art the satyrs were represented as a man with horse’s ears and tail. However in Roman representations they are portrayed as having the upper body of a man with a goat’s ears, tail, legs and horns. 
Attic painted vases depict mature satyrs as being strongly built with flat noses, large pointed ears, long curly hair, and full beards, with wreaths of vine or ivy circling their balding heads. Satyrs often carry the thyrsus: the rod of Dionysus tipped with a pine cone.
In earlier Greek art, Silenus appears as old and ugly, but in later art, especially in Hellenistic art, he is softened into a more youthful and graceful aspect. This transformation or humanization of the Satyr appears throughout late Greek art. Another example of this shift occurs in the portrayal of Medusa and in that of the Amazon, characters who are traditionally depicted as barbaric and uncivilized. A humanized Satyr is depicted in a work of Praxiteles known as the "Resting Satyr".
Praxiteles gives a new direction to the satyr in art. Instead of an elf with pointed ears and goat hooves, we see a child of nature, pure, tame and fearless, but with the brutal instincts necessary to enable it to defend itself against threats, and surviving even without the help of modern civilization. Above all, the Satyr with flute shows the deep connection with nature, the soft whistle of the wind, the sound of gurgling water, of the crystal spring, the birds singing, or perhaps the melody of a human soul that feeds higher feelings.^{[citation needed]}
(Post-classical Greek spirits known as Calicantsars have a noticeable resemblance to the ancient satyrs; they have goats' ears and the feet of donkeys or goats or horses, are covered with hair, and love women and the dance.)
Although not mentioned by Homer, in a fragment of Hesiod's works satyrs are called brothers of the mountain nymphs and Kuretes, strongly connected with the cult of Dionysus. In the Dionysus cult, male followers are known as satyrs and female followers as maenads or bacchants.
In Attica there was a species of drama dealing with the legends of gods and heroes, and the chorus was composed of satyrs and sileni. In the Athenian satyr plays of the 5th century BC, the chorus commented on the action. This "satyric drama" burlesqued the serious events of the mythic past with lewd pantomime and subversive mockery. One complete satyr play from the 5th century survives, the Cyclops of Euripides.
The Satyr and the Traveller, one of Aesop's Fables, features the satyr as the benevolent host for a traveler in the forest in winter. The satyr is bewildered by the man's claim to be able to blow hot and cold with the same breath, first to warm his hands, then to cool his porridge, and turns him out for this inconsistency.
A papyrus bearing a long fragment of a satyr play by Sophocles, given the title 'Tracking Satyrs' (Ichneutae), was found at Oxyrhynchus in Egypt, 1907.

In Roman mythology and art

Fauns were conflated in the popular and poetic imagination with Latin spirits of woodland and with the rustic Greek god Pan. Roman satyrs were described as goat-like from the haunches to the hooves^{[citation needed]}, and were often pictured with larger horns, even ram's horns. Roman poets often conflated them with the fauns.
Roman satire is a literary form of poetic essay that was a vehicle for biting, subversive social and personal criticism. Though Roman satire is sometimes linked to the Greek satyr plays,^{[clarification needed]} satire's only connection to the satyric drama is the subversive nature of the satyrs themselves, as the Latin word has a completely unconnected etymology, meaning in effect a mixture or miscellany.
In Renaissance art: "Satyrs and fauns (between whom no clear distinction was usually made) were a sort of servant class, and could take on varying mixtures of human or goatish qualities as required".

Other references

In many versions of the Bible, two verses from Isaiah (13:21 and 34:14) use the English word "satyr" as a translation for the Hebrew word "sa'iyr". These two verses are the only time Satyrs are mentioned in the Bible. The biblical satyrs are depicted as “hairy demons or monsters of semitic superstition, supposed to inhabit deserts” (Knowles). Isaiah 13:21 references these creatures by writing “wild beasts of the desert shall lie there….and satyrs shall dance there.” Isaiah 34:14 reads, “The wild beasts of the desert shall also meet with the wild beasts of the island, and the satyr shall cry to his fellow; the screech owl also shall rest there, and find for herself a place of rest.”
Edmund Spenser refers to a group of woodland creatures as Satyrs in his epic poem The Faerie Queene. In Canto VI, Una is wandering through the forest when she stumbles upon a “troupe of Fauns and Satyrs far away Within the wood were dancing in a round.” Although Satyrs are often negatively characterized in Greek and Roman mythology, the Satyrs in this poem are docile, helpful creatures. This is evident by the way they help protect Una from Sansloy. Sylvanus, the leader, and the rest of the Satyrs become enamored by Una’s beauty and begin to worship her as if she is a deity. However, the Satyrs prove to be simple minded creatures because they begin to worship the donkey she was riding. This was meant to be a commentary on more primitive Christians or pagans because they are quick to exult beings they believe to be great.
Other modern translations of this word from these two verses are goat demons and field-devils. "Sa'iyr" comes from the root word "sa'ar" which means to shiver, or be horribly afraid.
In Leviticus 17:7 there is an allusion to the practice of sacrificing to the se'irim (KJV "devils"; ASV "he-goats"). These may correspond to the "shaggy demon of the mountain-pass" (azabb al-‘akaba) of old Arab legend. It may otherwise refer to literal goats, and the worship of such.
The savant Sir William Jones often refers to the Indian mythological Vānaras as satyrs/mountaineers in his translations of Sanskrit works.^{[citation needed]} This view is generally held to be a mistake by present day researchers.^{[citation needed]}

Baby satyr

Baby satyrs, or child satyrs, are mythological creatures related to the satyr. They appear in popular folklore, classical artworks, film, and in various forms of local art.Some renaissance works depict young satyrs being tended to by older, sober satyrs, while there are also some representations of child satyrs taking part in Bacchanalian / Dionysian rituals (including drinking alcohol, playing musical instruments, and dancing).
The presence of a baby or child satyr in a classical work, such as on a Greek vase, was mainly an aesthetic choice on the part of the artist. However, the role of a child in Greek art might imply a further meaning for baby satyrs: Eros, the son of Aphrodite, is consistently represented as a child or baby, and Bacchus, the divine sponsor of satyrs, is seen in numerous works as a baby, often in the company of the satyrs. A prominent instance of a baby satyr outside ancient Greece is Albrecht Dürer's 1505 engraving, "Musical Satyr and Nymph with Baby (Satyr's Family)". There is also a Victorian period napkin ring depicting a baby satyr next to a barrel, which further represents the perception of baby satyrs as partaking in the Bacchanalian festivities.
There are also many works of art of the rococo period depicting child or baby satyrs in Bacchanalian celebrations. Some works depict female satyrs with their children; others describe the child satyrs as playing an active role in the events, including one instance of a painting by Jean Raoux (1677–1735). "Mlle Prévost as a Bacchante" depicts a child satyr playing a tambourine while Mlle Prévost, a dancer at the Opéra, is dancing as part of the Bacchanal festivities.

Varieties

• Island Satyrs, which according to Pausanias were a savage race of red-haired, satyr-like creatures from an isolated island chain.
• Libyan Satyr, which according to Pliny the Elder lived in Libya and resembled humans with long, pointed ears and horse tails, similar to the Greek nature-spirit satyrs.

Medieval bestiaries also mention several varieties of satyrs, sometimes comparing them to apes or monkeys.

Contemporary representations

Satyrs appear in the popular children's book series The Chronicles of Narnia by C. S. Lewis, in which they are referred to as "fauns."
In the film The Talented Mr Ripley, Dickie Greenleaf played by Jude Law was inspired by a Satyr figure.
A satyr appears as a musician for Xerxes in 300.
A small satyr appears in the Gravity Falls episode "The Last Mabelcorn."
Satyrs appear in Fantasia during the "Pastoral Symphony" sequence.
The Young Adult Series Percy Jackson & the Olympians by Rick Riordan features a Satyr by the name of Grover Underwood as one of the series’s key protagonists. Contrasting the Greek and Roman depictions of Satyrs, Grover Underwood is a wise character who serves as a best friend and mentor the titular character Percy Jackson. Grover Underwood is present in all five of the pentalogy and is also referenced in the sister series Heroes of Olympus.
The satyr has appeared in all five editions of the Dungeons & Dragons role-playing game, having been introduced in 1976 in the earliest edition, in Supplement IV: Gods, Demi-gods & Heroes (1976), then the first edition Monster Manual (1977), where it is described as a sylvan woodland inhabitant primarily interested in sport such as frolicking, piping, and chasing wood nymphs. The life history of satyr was further detailed in Dragon #155 (March 1990), in "The Ecology of the Satyr." The satyr was later detailed as a playable character race in The Complete Book of Humanoids (1993), and is later presented as a playable character race again in Player's Option: Skills & Powers (1995). The satyr appears in the Monster Manual for the 3.0 edition. Savage Species (2003) presented the satyr as both a race and a playable class. The satyr appears in the revised Monster Manual for 3.5. The satyr appears in the Monster Manual for 4th edition, and as a playable character race in the Heroes of the Feywild sourcebook (2011).

Satyrs and orangutans

In the 17th century, the satyr legend came to be associated with stories of the orangutan, a great ape now found only in Sumatra and Borneo. Many early accounts which apparently refer to this animal describe the males as being sexually aggressive towards human women and towards females of its own species. The first scientific name given to this ape was Simia satyrus.

Artist	English: Epiktetos (signed) Français : Épictète (signature)
Description	English: Silenus with pipes and a pipe case hanging on his penis. Tondo of an Attic red-figure plate, 520–500 BC. From Vulci. Français : Silène avec deux flûtes et un étui suspendu à sa verge. Tondo d'une assiette attique à figures rouges, 520-500 av. J.-C. Provenance : Vulci.

Pan und Syrinx 1637 Nicolas Poussin
(1594–1665)

Fauno

Marie-Lan Nguyen (2005)

Bust of a satyr. Marble with traces of polychromy, Roman artwork of the Imperial Era (ca. 1st or 2d century CE), copy of a Hellenistic type.

Affresco allegorico con la figura di Pan e il flauto alla Reggia di Caserta

Twice25 & Rinina25 - Fotografia autoprodotta

 

Representations of Pan on 4th-century BC gold and silver Pantikapaion coins.

Rc 13 - Own work

Representations of Pan on 4th century BC gold and silver Pantikapaion coins (Bode and Altes Museums, Berlin).

 

 Il Fauno di Carlos Schwabe, (1923)

Carlos Schwabe - Pinterest

Le Faune de Carlos Schwabe, Cabinet d'arts graphiques des Musées d'art et d'histoire, Genève, Don Mme Carlos Schwabe.

 Ivory Faun by Baron Triqueti, c. 1860

Triqueti - photo, by R. de Salis, October 2009

An ivory fawn by Triqueti. He died in 1874.

Il satiro e sua moglie, disegno di Agostino Carracci

Hendrick van Balen, Pan che insegue Siringa

Hendrick van Balen - 1615

25 × 19.4 cm

 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

Tilemahos Efthimiadis from Athens, Greece - Table support with a Dionysiac group (AD 170-180) Uploaded by Marcus Cyron

 

 Renaissance glyptics in the Museo archeologico nazionale (Florence)‎ 

Sailko - Opera propria

 

 Faun by Wilhelm von Gloeden 

Wilhelm von Gloeden - Et in Arcadia ego. Fotografien von Wilhelm von Gloeden, Guglielmo Plüschow und Vincenzo Galdi, Edition Oehrli, Zurich 2000, p. 90. Also from Galerie Bassenge

 

Busto di satiro, da Palazzo Altemps

user:Lalupa - Opera propria

Roma, Museo Nazionale Romano di Palazzo Altemps: busto di Satiro

 Satyr on a mountain goat, drinking with women, in a Gandhara relief of 2nd–4th century CE

User:PHGCOM - Self-photographed

Satyr on a mountain goat, drinking with women. Gandhara 2nd-4th century CE. Ancient Orient Museum, Tokyo.

 "Pan", notenhout, 1946

Authors Unknown - Copyright A.S. (Alkema Sweerts)

 

 Pan, painted by Mikhail Vrubel in 1900.

 

 Canuti Study of a faun 

Domenico Maria Canuti

 prima metà del XVII sec.

 

Loth Faun playing the flute

Johann Carl Loth

second half of 17th century   

 

Satiro barbuto che si masturba. Dettaglio di un cratere greco, ca. 560-550 a.C.

Luis García

Dettaglio del ratere attico a colonnette, che sul lato B mostra due sileni in erezione e una menade.

This Hellenistic satyr wears a rustic perizoma (loincloth) and carries a pedum (shepherd's crook). Walters Art Museum, Baltimore.

Anonymous (Greece) - Walters Art Museum:

 2nd century BC (Greco-Roman)

 

 Ancient Roman frescos in the Museo Archeologico (Naples) 

Sailko - Opera propria

Pan suona il flauto con una ninfa alla lira e due spettatori, da casa di giasone, 20-25 dc. ca.

 

The Magic of Pan's Flute, by John Reinhard Weguelin (1905) 

 

 Makart Faun with pan flute 1870

Hans Makart

 

 Malczewski Art in the manor  1896

Jacek Malczewski

 

Satiro che lotta con una ninfa, da Ercolano, MANN

Miguel Hermoso Cuesta - Opera propria

Nápoles. Gabinetto Segreto. Sátiro y ninfa.

 The goat on the left has a short goat tail, but the Greek satyr on the right has a long horse tail, not a goat tail (Attic ceramic, 520 BC).

Marie-Lan Nguyen (2011)

Silenus and billy goat. Side A of an Attic black-figure kyathos

 

  Nápoles. Museo Archeologico Nazionale. Fresco erótico.

 Miguel Hermoso Cuesta - Opera propria

 

Francisco Goya, Witches' Sabbath (El aquelarre), of Basque mythology. 1798. Oil on canvas, 44 × 31 cm. Museo Lázaro Galdiano, Madrid.

Francisco de Goya

 

 Slevogt Faun and a Girl

 Max Slevogt

prima del 1905

 

Antefissa con testa di satiro, arte etrusca, ca. 400-300 a.C.

I, Sailko

 

Dancing satyr on a sardonyx intaglio holding a thyrsus in his left hand and a kantharos in the right hand. On the right arm, the skin of a panther (pardalis). 1st century BC or beginning of 1st century.

Marie-Lan Nguyen (2008)

 

 A bacchanalian scene with Pan sleeping and many drinking vessels left on a table. Etching by F. van den Wyngaerde after P. Rubens, mid 17th century. Iconographic Collections Keywords: Peter Paul Rubens; Frans van den Wyngaerde

 

 A satyr wearing spectacles removes a thorn from the foot of a male faun while a female faun and boy satyr observe, with printed latin verse. Line engraving by G. Piccini after S. Scolari. Iconographic Collections Keywords: Stefano Scolari; Giacomo Piccini

 

Ninfe e satiro, dipinto di William-Adolphe Bouguereau, 1873 ca.

William-Adolphe Bouguereau - Questo file deriva da  William-Adolphe Bouguereau (1825-1905) - Nymphs and Satyr (1873).

 

 Satyr pursuing a nymph, on a Roman mosaic

G.dallorto - Own work

Menade e satiro. Dettaglio dal "Mosaico delle Stagioni", di epoca romana, da Palermo. Museo archeologico regionale di Palermo, 28 settembre 2006. Foto di Giovanni Dall'Orto.

Illustration of Pan Rare Books Keywords: pan

A. Kircher, "Oedipus Aegyptiacus" Wellcome  

 

Arnold Böcklin - Frühlingserwachen (1880).

 

 Agostino Carracci - Cupid and Pan 

Agostino Carracci - XVI sec.

 

Baccante e satiro di Bénigne Gagneraux, XVIII secolo.

 Nymph raped by a faun, by Alexandre Cabanel

 1860

 

 Annibale Carracci Drunken Silenus 
XVI sec.

 

 Bearsdley rajza, Vasárnap Újság, 1907, 54. évf. 22. sz. 444. o.

Aubrey Beardsley - Vasárnapi Újság 1895

Venere e Cupido con un satiro, del Correggio, 1524-1525 ca., Museo del Louvre

 

 Female Satyr Carrying Two Putti by Claude Michel (1738–1814)

 

 Illustration page 102 du Livre Recueil d'Emblêmes ou tableau des sciences et des vertus morales par I. Baudoin, de l'académie françoise Tome I A Paris chez Jean Cochart, au cinquième pillier de la grande salle du Palais au S. Esprit. M. DC. LXXXV. Avec Privilege du Roy. Livre illustré par Marie Briot 

Jean Baudoin

1685

 

Behles, Edmund (1841-1924) - n. 143 - Fauno ebbro, Vaticano, Roma

 

 Satiro ubriaco (bronzo), da Museo archeologico di Napoli

Marie-Lan Nguyen (2011)

Satiro ubriaco, Museo archeologico nazionale, Naples

 

 Bronze satyr (height 0.35m) from the Mahdia shipwreck (Musée National du Bardo, Tunis)

Pascal Radigue - Own work

Satyre prêt à s'élancer, bronze, IIe-Ie siècle av. J.-C., fouilles sous-marines de Mahdia, Musée du Bardo, Tunisie.

 An ornamental garden urn with pan or satyr handles on a bridge balustrade at the head of the lake in the Pleasure Grounds of Parham House, in West Sussex, England.

Acabashi - Opera propria

 Bin Pan

Émile Bin 1870

Satiro danzante (bronzo), da Mazara del Vallo

Dedda71 - Opera propria

Satiro danzante di Mazara del Vallo. scultura bronzea del IV sec a.C., rinvenuta in mare nel 1997/1998

Medieval depiction of a Satyr (Satyrs) from the Aberdeen Bestiary.

Unknown - The Aberdeen Bestiary project 

1200 circa

 One of a pair of silver dishes from the Mildenhall Treasure; decorated with figures of Pan, a nymph and other mythological creatures, all in relief; ring foot on underside; inscribed 'EVATTPLOY' on the base.

BabelStone (Opera propria)

 

 Faune soufflant, Franz von Stuck 1914. Exposé à la Villa Stuck, Munich

 Yelkrokoyade

Due satiri, dipinto di Pieter Paul Rubens

tra il 1618 e il 1619

 Statue of Satyr Silenius at Athens Archaeological Museum

Grant Mitchell

Dated between 540-530 B.C.

 Bronze Mirror

Richter, Gisela Marie Augusta, 1882-1972; Metropolitan Museum of Art (New York, N.Y.) - Richter, Gisela Marie Augusta, 1882-1972; Metropolitan Museum of Art (New York, N.Y.) (1915) Greek, Etruscan and Roman bronzes, New York: The Gilliss Press Retrieved on 29 April 2011. 

 

Arnold Böcklin - Sleeping Diana Watched by Two Fauns  1877/85

 

 Satyr beim Bauern, Johann Liss, circa 1618-19, (Satyr with farmer)

 

 Fight between Satyr and a woman, A sketch of Augustin Hirschvogel.

 

 Slätborrad, rund pipa av blånerat stål. På kammarens undersida stämplat "E.P." (?). Över kammaren graverad och förgylld dekor i blad- och rutmönster med inslagna silverrosor och stift. Två ovala cirklar av reliefsnideri med inslagna silverrosor. Reliefsnidade figurer i cirklarna, främst en kvinna med ymnighetshorn, sedan en kentaur och en kvinna. Två låsskruvar av stål, förgyllda med inslagna silverstift. Flintlås med reliefsnidat låsbleck med en sittande figur på bakre spetsen av låsblecket, nedanför fängpannan en liggande gestalt, på låsbleckets främre spets ett slott i relief. S-formad hane i form av drake, hanen har lös överkäke. Eldstålets rygg är åsad. rund fängpanna. Brun helstock av valnöt med oval, välvd kolvkappa av färgyllt stål med graverade cirklar med inslagna rosor och stift av silver. Nitknapp av stål. Låsskruvarna omramas av en inslagen tvinad silvertråd. Två rörkor och näsband av silver med graverad dekor. Varbygel av blånerat stål med reliefsnidad gestalt på bygelns utsida. Tillbehör: Laddstock av valnöt, doppsko av silver. Märkt: 67 bakom låsblecket, stanstyp 5376. sconosciuto - Jens Mohr

anni '40 del XVII sec.

 

 Arnold Böcklin - Spring Evening 1879

 

Satyr beim Bauern, Jacob Jordaens, nach 1620 (Satyr with farmer, after 1620)

 

Satyr's public sex with a nymph. A sketch of Agostino Carracci.

Agostino Carracci

circa  1600

Casteldurante o urbino, nicola da urbino, tondino con mida tra apollo e pan, 1520-25 ca., stemma isabella d'este.

 

Mały faun

Stanislaw Siestrzencewicz

 prima del 1923

 

Satyr, France, 17th century

Marie-Lan Nguyen (2005)

Bust of a satyr, one of a pair with a bust of a maenad. Marble, France, second half of the 17th century.

 

 Fish, Pan, Rooster; oil on canvas; 112 x 89 cm 

Emilia Bayer - Opera propria

 2008

 ...A SUIVRE...