パーン

パーンのマスク、青銅製スタムノイド・シチュラの細部、前340-320年、ヴァシル・ボイコフ・コレクションの一部、ソフィア、ブルガリア

パーン（Πάν、Pān、/pæn/; Ancient Greek: Πάν, romanized: Pán）は、ギリシア神話に登場する神の一柱で、野生、羊飼いと群れ、素朴な音楽と即興の神、そしてニンフの仲間である。アイギパーン（Αἰγίπαν、Aigipān, 「山羊のパーン」の意）とも呼ばれ、ローマ神話におけるファウヌス（Faunus）と同一視される。

土星の第18衛星パンのエポニムである。

日本語では長母音を省略して英語風にパンとも表記される。また意訳して牧神、牧羊神、半獣神とも呼ばれる。

パーンはファウヌスやサテュロスと同じように、ヤギの後ろ足、脚、角を持っている。パンの故郷は素朴なアルカディアで、野原、木立、森林の神として認識され、しばしばセックスと結び付けられる。このため、パンは豊穣と春の季節に結び付けられる。ローマの宗教と神話では、パーンに対応する神はファウヌスで、ボナ・デアの父親であり、ファウナと同定されることもある。また、森林との関係が似ていることから、シルヴァヌスとも密接な関係がある。18世紀から19世紀にかけて、パーンは西ヨーロッパのロマン主義運動や、20世紀のネオペイガン運動において重要な人物となった。

起源

多くの現代学者は、パンはプロト・インド・ヨーロッパ語の神*Péh₂usōnに由来すると考えており、彼は重要な牧神であったと考えている（*Péh₂usōn は現代英語の "pasture" と語源を同じくする）。リグ・ヴェーダの神プーシャンはパーンの同類と考えられている。パーンとプーシャンの関係は、1924年、ドイツの学者ヘルマン・コリッツによって初めて明らかにされた。パーンという名前は、Πάωνから短縮されたもので、*peh₂-（番人、見張り）を語源とする。エドウィン・L・ブラウンによれば、パーンという名前はおそらくギリシャ語のὀπάων「仲間」と同義語である。

パーンは、ピンダルの『ピトの頌歌』iii.78で、母神（おそらくレアかキュベレー）と関連付けられている。ピンダルは、ボイオティアの詩人の家の近くでキュベレーとパーンを崇拝する乙女たちに言及している

信仰

パーンの崇拝はアルカディアで始まり、そこは常にパーンの主要な崇拝の場であった。アルカディアは山岳民族の地区で、他のギリシア人とは文化的に隔絶していた。アルカディアの狩人たちは、狩りに失敗すると、この神像を叱咤激励した。

パーンは素朴な神であるため、神殿などの建造物ではなく、アテネのアクロポリスの北斜面にあるような洞窟や洞窟などの自然の中に祀られた。これらは、しばしば「パーンの洞窟」と呼ばれた。例外は、ペロポネソス半島南西部のネダ川峡谷にあるパーンの神殿（その遺跡は現在も残っている）と、古代エジプトのアポロノポリス・マグナのパーンの神殿だけである。

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.

Archaeologists while excavating a Byzantine church of around 400 CE in Banyas, discovered in the walls of the church an altar of the god Pan with a Greek inscription, dating back to the 2nd or 3rd century CE. The inscription reads, "Atheneon son of Sosipatros of Antioch is dedicating the altar to the god Pan Heliopolitanus. He built the altar using his own personal money in fulfillment of a vow he made."

Epithets

• Aegocerus (テンプレート:Lang-grc) was an epithet of Pan descriptive of his figure with the horns of a goat.
• Lyterius (テンプレート:Lang-grc), meaning Deliverer. There was a sanctuary at Troezen, and he had this epithet because he was believed during a plague to have revealed in dreams the proper remedy against the disease.

Parentage

The parentage of Pan is unclear; generally he is the son of Hermes and a wood nymph, either Dryope or Penelope of Mantineia in Arcadia. In some early sources such as Pindar, his father is Apollo and mother Penelope. Apollodorus records two distinct divinities named Pan; one who was the son of Hermes and Penelope, and the other who had Zeus and a nymph named Hybris for his parents, and was the mentor of Apollo. Pausanias 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. According to Robert Graves, his mother was called Oeneis, a nymph who consorted with Hermes.

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Mask of the god Pan, detail from a bronze stamnoid situla, 340–320 BC, part of the Vassil Bojkov Collection, Sofia, Bulgaria

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".

Herodotus wrote that according to Egyptian chronology, Pan was the most ancient of the gods; but according to the version in which Pan was the son of Hermes and Penelope, he was born only eight hundred years before Herodotus, and thus after the Trojan war.テンプレート:Efn-lr Herodotus concluded that that would be when the Greeks first learnt the name of Pan.

Mythology

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. 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's Poetic Astronomy (which 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 dived into the river Nile; the parts above the water remained a goat, but those under the water transformed into a fish.

Erotic aspects

Pan is famous for his sexual prowess 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.

There was a legend that Pan seduced the moon goddess Selene, deceiving her with a sheep's fleece.

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 Ladon, 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.

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Pan having sex with a goat, statue from Villa of the Papyri, Herculaneum.

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. In another version, Pan and the north wind god Boreas clashed over the lovely Pitys. Boreas uprooted all the trees to impress her, but Pan laughed and Pitys chose him. Boreas then chased her and threw her off a cliff resulting in her death. Gaia pitied Pitys and turned her into a pine tree.

According to some traditions, Pan taught Daphnis, a rustic son of Hermes, how to play the pan-pipes, and also fell in love with him.

Women who had had sexual relations with several men were referred to as "Pan girls."

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.

Music

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"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 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.

All of the Pans

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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"

According to the Greek historian Plutarch (in De defectu oraculorum, "The Obsolescence of Oracles"), Pan is the only Greek god who actually dies. During the reign of Tiberius (AD 14–37), the news of Pan's death came to one Thamus, a sailor on his way to Italy by way of the Greek 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, including Eusebius of Caesarea, have long made much of Plutarch's story of the death of Pan. Due to the word "all" in Greek also being "pan," a pun was made that "all demons" had perished.

In Rabelais' Fourth Book of Pantagruel (16th century), the Giant Pantagruel, after recollecting the tale as told by Plutarch, opines that the announcement was actually about the death of Jesus Christ, which did take place at about the same time (towards the end of Tiberius' reign), noting the aptness of the name: "for he may lawfully be said in the Greek tongue to be Pan, since he is our all. For all that we are, all that we live, all that we have, all that we hope, is him, by him, from him, and in him." In this interpretation, Rabelais was following Guillaume Postel in his De orbis terrae concordia.

The 19th-century visionary Anne Catherine Emmerich, in a twist echoed nowhere else, claims that the phrase "the Great Pan" was actually a demonic epithet for Jesus Christ, and that "Thamus, or Tramus" was a watchman in the port of Nicaea, who, at the time of the other spectacular events surrounding Christ's death, was then commissioned to spread this message, which was later garbled "in repetition."

In modern times, G. K. Chesterton has 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 claimed, "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.テンプレート:Original research inline

In more modern times, some have suggested a possible 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, テンプレート:Lang (テンプレート:Lang, "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 "The 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.

Influence

Literary revival

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."

John Keats's "Endymion" (1818) 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.テンプレート:'"

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.

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.

In an article in Hellebore magazine, Melissa Edmundson argues that women writers from the 19th century used the figure of Pan "to reclaim agency in texts that explored female empowerment and sexual liberation". In Eleanor Farjeon's poem "Pan-Worship", the speaker tries to summon Pan to life after feeling "a craving in me", wishing for a "spring-tide" that will replace the stagnant "autumn" of the soul. A dark version of Pan's seductiveness appears in Margery Lawrence's Robin's Rath, who both gives and takes life and vitality.

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

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

Pan is featured as a prominent character in Tom Robbins' Jitterbug Perfume (1984).

The British writer and editor Mark Beech of Egaeus Press published in 2015 the limited-edition anthology Soliloquy for Pan 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.

Revival in music

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

The British rock band Pink Floyd named its first album "The Piper at the Gates of Dawn" in reference to Pan, as he appeared in The Wind in the Willows. Andrew King, Pink Floyd's manager, said Syd Barrett "thought Pan had given him an understanding into the way nature works. It formed into his holistic view of the world."

Founding member of The Rolling Stones Brian Jones strongly identified with Pan. He produced the live album Brian Jones Presents the Pipes of Pan at Joujouka, about a Moroccan festival that evoked the ancient Roman rites of Pan.

Musician Mike Scott of the Waterboys refers to Pan as the archetypal force within us all, and talks about his search of "The Pan Within", reflected in songs such as "The Return of Pan".

Revived worship

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.

Occultists Aleister Crowley and Victor Neuburg built an altar to Pan on Da'leh Addin, a mountain in Algeria, where they performed a magic ceremony to summon the god. In the final rite of the ritual playThe Rites of Eleusis, written by Crowley, Pan "pulls back the final veil, revealing the child Horus, who represents humanity's eternal and divine element."

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.

Aeronautical engineer and occultist Jack Parsons invoked Pan before test launches at the Jet Propulsion Laboratory.

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, the Hindu Pashupati, and the Greek Pan.

Identification with Satan

ファイル:Francisco de Goya y Lucientes - Witches' Sabbath - WGA10007.jpg

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 conventional faun-like depictions of Satan. The similarities between conventional representations of Pan and the Devil were observed by the occultists Aleister Crowley and Anton Szandor LaVey, the latter of whom said in The Satanic Bible:

Many pleasures revered before the advent of Christianity were condemned by the new religion. It required little change-over to transform the horns and cloven hooves of Pan into a most convincing devil! Pan’s attributes could neatly be changed into charged-with-punishment sins, and so the metamorphosis was complete.
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See also

• Aristaeus
• Dryad
• Golden Age
• Kokopelli
• Pan in popular culture
• Pan, sculpture by Roger White
• Pangu
• Puck
• Cernunnos
• Green Man
• Woodwose

Sources

• テンプレート:Cite book
• テンプレート:Cite book
• テンプレート:Cite book
• Diotima (2007), The Goat Foot God, Bibliotheca Alexandrina.
• Hard, Robin, The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology", Psychology Press, 2004, ISBN 9780415186360. Google Books.
• Gantz, Timothy, Early Greek Myth: A Guide to Literary and Artistic Sources, Johns Hopkins University Press, 1996, Two volumes: ISBN 978-0-8018-5360-9 (Vol. 1), ISBN 978-0-8018-5362-3 (Vol. 2).
• Grimal, Pierre, The Dictionary of Classical Mythology, Wiley-Blackwell, 1996. ISBN 978-0-631-20102-1.
• テンプレート:Cite book
• 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.
• テンプレート:Cite book
• Servius, Commentary on the Georgics of Vergil, Georgius Thilo, Ed. 1881. Online version at the Perseus Digital Library (Latin).
• Virgil, Georgics in Bucolics, Aeneid, and Georgics Of Vergil. J. B. Greenough. Boston. Ginn & Co. 1900. Online version at the Perseus Digital Library.
• Vinci, Leo (1993), Pan: Great God Of Nature, Neptune Press, London.

External links

• Original resources on Faunus/Phaunos
• Original resources on Pan

概説

パーンは羊飼いと羊の群れを監視する神で、サテュロスと同じく四足獣のような臀部と脚部、山羊のような角をもつ（→獣人）。何者がパーンの親かは諸説がある。父親はゼウスともヘルメースともいわれ、母親はニュムペーであるといわれている。

実際には古形「パオーン、Παων、Paon」（「牧夫」の意、現代英語のpastureと同じ接頭辞）から名付けられたものだが、ギリシア語の「パン」（「全ての」の意）としばしば誤って同一視された結果、パーン神は性格と名前が誘惑的なものと思われるようになった。

原初のパネース

さまざまな点でオルペウス教の創世神話に登場する原初の両性存在の神、プロートゴノス（Πρωτογονος、最初に生まれた者）あるいはパネース（Φανης、顕現する者）と同じものとも考えられた。この神は原初に卵より生まれた両性の神で、原初神エロースの別名で、みずからの娘ニュクス（夜）とのあいだに初原の神々、すなわち大地（ガイア）と天（ウーラノス）を生み出した存在である（Protogonus/Phanes]]）。また「全て」という意味からアレクサンドリアの神話学者、そしてストア派の哲学者たちによって「宇宙全ての神」であると解釈されるようにもなった。

パーンの語源と起源

パーンがテューポーンに襲われた際に上半身が山羊、下半身が魚の姿になって逃げたエピソードは有名であるが、この姿は低きは海底から高きは山の頂上まで（山羊は高山動物であるため）世界のあらゆるところに到達できるとされ、「全て」を意味する接頭語 Pan（汎）の語源となったともいわれている。

恐らく、言語上の誤解はホメーロス風諸神賛歌のなかの『パーン賛歌』（第19編）から始まったのだろう。『賛歌』によれば、パーンはドリュオプスの娘、あるいはニュムペーとヘルメースの間に生まれたが、山羊の脚、頭に二本の角を生やすという奇妙な姿をしていたため、母親は幼いパーンを置き去りにして逃げた。ヘルメースはパーンを野兎の皮でくるんで神々のもとへ運ぶと神々はみな喜んだ。しかし、なかでも特に喜んだのはディオニューソスだった。そして「全ての神々を喜ばす」として、そこから名前を得たのだという。

パーンには、少なくとも原インド・ヨーロッパ語族時代においてはもう一つの名前があり、ローマ神話でのファウヌス（下記）であると考えられる。あるいは印欧比較神話学的な観点からはインドの牧羊神プーシャン（Pūṣán）と語源が共通しているという説もある。どちらにしても、パーンの血統をめぐる説がいくつもあることから、太古の神話的時代に遡る神であるに違いない。パーンがアルテミスに猟犬を与え、アポローンに予言の秘密を教えたというのが本当なら、他の自然の精霊と同じく、パーンはオリュンポス十二神よりも古いものにみえる。パーンはもともとアルカディアの神であって、パーンの主な崇拝者もアルカディア人だった。アルカディアはギリシア人の居住地であったが、この地のギリシア人はポリスを形成せず、より古い時代の村落共同体的な牧民の生活を送っていたので、オリュンポスの神域がパーンのパトロンになった時、ポリス生活を送る先進地帯のギリシア人は彼らのことを蔑視していた。アルカディアの猟師たちは狩りに失敗した時、パーンの像を鞭打ったものである（テオクリトス vii. 107）。

パーンは人気のない所で、突然、混乱と恐怖をもたらすことがあった（「パニック(Panic)」）(panikon deima)。

復興ペイガニズム（Neopaganism）においてパーンは「角を持つ神」の典型として、神の元型の一つだった（→ケルヌンノス）。

パーンとニュムペーたち

パーンのトレードマークである笛に関わる有名な伝説がある。シューリンクス（Συριγξ、Syrinx）はアルテミスの侍女で、アルカディアの野に住む美しいニュムペーだった。サテュロス他の森に住むものに愛されていたが、彼女は彼らを皆軽蔑していた。ある日、狩りから彼女が帰ってくるとパーンに会った。アルテミスを崇敬し処女のままでいたいと思っていた彼女はパーンのお世辞を聞かずに逃げ出したが、パーンはラドン川の土手まで追いかけて行って彼女を捕えた。水中のニュムペーに助けを求める余裕しかなく、パーンが手を触れた時、彼女は川辺の葦になった。風が葦を通り抜け、悲しげな旋律を鳴らした。パーンはニュムペーを讃え葦をいくたりか切り取ると楽器を作り「パーンの笛」（パーンパイプ、パーンフルート、つまり古代ギリシア語でシューリンクス、Syrinx）と呼んだ。

エーコー（Ηχω、Ekho）は歌と踊りの上手なニュムペーであり、全ての男の愛情を軽蔑していた。好色な神であるパーンはこれに腹をたて、信者に彼女を殺させた。エーコーはバラバラにされ、世界中に散らばった。大地の女神ガイアがエーコーの肉片を受け取り、今もエーコーの声は他の者が話した最後の数語を繰り返している。エーコーとはギリシア語で、木霊を意味する。別の伝承では、はじめエーコーとパーンの間にはイアムベー（Ιαμβη、Iambe）という娘がいた。

パーンはピテュス（Πιτυς、Pitys）というニュムペーにも惚れた。ピテュスは彼から逃げようと松の木になった。

山羊は性的な多産のシンボルであったが、パーンも性豪として有名であり、しばしばファルスを屹立させた姿で描かれる。ギリシア人はパーンがその魅力により、処女やダフニスのような羊飼いを誘惑するものと信じていた。シューリンクスとピテュスでしくじりはしたが、その後、ディオニューソスの女性崇拝者であるマイナデスをたらし込むことには成功し、乱痴気騒ぎの中で一人残らずものにした。これを達成するため、パーンは時に分身してパーン一族（Panes）となった（サテュロスを参照）。

パーンとアポローン

ある時、パーンは竪琴の神アポローンと音楽の技を競うことになった。トモーロス（トモーロス山の神。オムパレーの夫）が審査員となった。パーンは笛を吹き、田舎じみた旋律はパーン自身とたまたま居合わせた追従者ミダースを大変満足させた。次いでアポローンが弦を奏でると、トモーロスは一聴、アポローンに軍配を上げたのである。ミーダス以外の誰もが同意した。しかしながらミダースは異議を申し立て不公正じゃないかと糾した。これに怒ったアポローンはこのような下劣な耳にわずらわされないよう、彼の耳をロバのそれに変えてしまった（→マルシュアース）。

キリスト教文学や絵画に描かれるインキュバス（男性型夢魔）の悪魔風イメージ、サタンの角と割れた蹄のイメージは、大変に性的であるパーンのイメージから取ったものであると考えられている。

偉大なるパーンは死せり

ギリシアの歴史家プルタルコスが『神託の堕落("The Obsolescence of Oracles" (『モラリア』5:17))』に書いたことを信じるならば、パーンはギリシアの神々の中で唯一死んだ。ティベリウスの御代にパーンの死というニュースがタムス(Thamus)の元に届いた。彼はパクソイ諸島経由でイタリアに向かう船の船員だったのだが、海上で神託を聞いた。「タムス、そこにおるか? Palodesに着いたなら、忘れず『パーンの大神は死したり』と宣告するのじゃ」と。その知らせは岸辺に不満と悲嘆をもたらした。

ロバート・グレイヴズは、『ギリシア神話』（The Greek Myths）の中でタムスは明らかに「Thamus Pan-megas Tethnece」（全てにして偉大なるタンムーズは死したり）を聞き誤ったのであると示唆している。実際、プルタルコスの後一世紀たった頃、地理家のパウサニアースがギリシアを旅した時、パーンを祀る祠や洞、聖なる山を尚もしばしば見た。

死が宣言されたにもかかわらず、パーンは今日も復興ペイガニズムやウイッカの間で男性の強さと性的能力の源泉として崇拝されている。

ローマ神話のファウヌス

ローマ神話でパーンに対応するのはファウヌス（Faunus）である。ファウヌスはニュムペーのマリーカ(Marīca)（時にファウヌスの母ともいわれる）との間にボナ・デア（Bona Dea. 本名は女神ファウナFaunaまたはファウラFaulaであるという。ファウヌスの女性側面）及びラティーヌス(Latīnus)をもうけた父親として知られている。

ユスティノスはファウヌスをルペルクス（Lupercus「狼を遠ざけるもの」）即ち家畜の護衛者と同定しているが、この説は古典的典拠を欠く。

神話においては、ファウヌスはエウアンドロスがアルカディアから来たとき、ラティウム地方(Latium)の王で、ピークス王(Pīcus)とカネーンス(Canēns)の子だった。死後にファートゥウス(Fātuus)神として崇拝された。儀式は神聖な森の中で行われ、現在のティヴォリ(Tivoli)、エトルリア時代以来ティブール(Tibur)、Tiburtine Sibylの座として知られていた地のはずれにその森はあった。ファウヌス自身を象徴する彼の持ち物は狼の毛皮、花や草で作った冠、ゴブレットである。

彼の祭りはルペルカーリア祭(Lupercālia)と呼ばれ、神殿が建立された日を記念して2月15日に行われた。司祭ルペルクスたち(Luperci)は山羊の皮を着、見物人を山羊皮のベルトで打った。ファウヌスを讃えるもう一つの祭りがあり、ファウナリア(Faunalia)という。12月5日に行われた。

Erotic art in Pompeii and Herculaneumも参照のこと。

参考文献

• Wikipedia：パーン (ギリシア神話)（最終閲覧日：23-01-06）

外部リンク

• url=http://www.androphile.org/preview/Library/Mythology/Greek/Daphnis/Pan_and_Daphnis.htm, The story of Pan and Daphnis, 20080122053903

関連項目

• シルウァーヌス (Silvanus (mythology)
• パンパイプ