Pan

I watched Pan’s Labyrinth last week, and haven’t had time since to write about it. we had an interesting discussion about the symbolism of the imagery in the film, how much one should regard as sexual (sexual awakening) and how much political. the political seemed quite obvious, the toad as franco, infecting the fig tree (Spain) and the monster eating the heads of the fairies as a generalised symbol of fascism. also notice in his lair there is a great pile of children’s shoes, just like the museum at Auschwitz.

the theme of sexual awakening in a very young girl is perhaps a little explicit for some people’s taste; but as Spinny said, the constant juxtaposition of scenes of Ofilia in her fantasy world with scenes of the sadistic stepfather polishing his boots or shaving in his room, seems to be deliberate, and the symbolism of the forbidden fruit and the key, and the denoument, never mind the Demeter and Persephone myth, all the blood … and a dark Pan, who is the god of Panic as well as an animal sexuality.

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

Pan inspired a very beautiful scene in Wind in the Willows

“Breathless and transfixed the Mole stopped rowing as the liquid run of that glad piping broke on him like a wave, caught him up, and possessed him utterly. He saw the tears on his comrade’s cheeks, and bowed his head and understood. For a space they hung there, brushed by the purple loose-strife that fringed the bank; then the clear imperious summons that marched hand-in-hand with the intoxicating melody imposed its will on Mole, and mechanically he bent to his oars again. And the light grew steadily stronger, but no birds sang as they were wont to do at the approach of dawn; and but for the heavenly music all was marvellously still.”