when fleeing from his embraces (Ovid, Metam. i. 691 sqq.). With a kind of trumpet formed out of a shell he terrified the Titans in their fight with the Olympian gods. By his unexpected appearance he sometimes inspires men with sudden terror—hence the expression “panic” fear. Like other spirits of the woods and fields, he possesses the power of inspiration and prophecy, in which he is said to have instructed Apollo. As a nature-god he was brought into connexion with Cybele and Dionysus, the latter of whom he accompanied on his Indian expedition. Associated with Pan is a number of Panisci, male and female forest imps, his wives and children, who send evil dreams and apparitions to terrify mankind. His original home was Arcadia; his cult was introduced into Athens at the time of the battle of Marathon, when he promised his assistance against the Persians if the Athenians in return would worship him. A cave was consecrated to him on the north side of the Acropolis, where he was annually honoured with a sacrifice and a torch-race (Herodotus vi. 105). In later times, by a misinterpretation of his name (or from the identification of the Greek god with the ram-headed Egyptian god Chnum, the creator of the world), he was pantheistically conceived as the universal god (τὸ πᾶν). The pine and oak were sacred to him, and his offerings were goats, lambs, cows, new wine, honey and milk. The Romans identified him with Inuus and Faunus.
In art Pan is represented in two different aspects. Sometimes he has goat’s feet and horns, curly hair and a long beard, half animal, half man; sometimes he is a handsome youth, with long flowing hair, only characterized by horns just beginning to grow, the shepherd’s crook and pipe. In bas-reliefs he is often shown presiding over the dances of nymphs, whom he is sometimes pursuing in a state of intoxication. He has furnished some of the attributes of the ordinary conception of the devil. The story (alluded to by Milton, Rabelais, Mrs Browning and Schiller) of the pilot Thamus, who, sailing near the island of Paxi in the time of Tiberius, was commanded by a mighty voice to proclaim that “Pan is dead,” is found in Plutarch (De orac. defectu, 17). As this story coincided with the birth (or crucifixion) of Christ it was thought to herald the end of the old world and the beginning of the new. According to Roscher (in Neue Jahrbücher für Philologie, 1892) it was of Egyptian origin, the name Thamus being connected with Thmouis, a town in the neighbourhood of Mendes, distinguished for the worship of the ram; according to Herodotus (ii. 46), in Egyptian the goat and Pan were both called Mendes. S. Reinach suggests that the words uttered by the “voice” were θαμοῦς, θαμοῦς, πάνμεγας, τέθνηκε (“Tammuz, Tammuz, the all-great, is dead”), and that it was merely the lament for the “great Tammuz” or Adonis (see L. R. Farnell in The Year’s Work in Classical Studies, 1907).
See W. Gebhard, Pankultus (Brunswick, 1872); P. Wetzel, De Jove et Pane dis arcadicis (Breslau, 1873); W. Immerwahr, Kulte et Mythen Arkadiens (1891), vol. i., and V. Berard, De l’Origine des cultes arcadiens (1894), who endeavour to show that Pan is a sungod (φαν, φαίνω); articles by W. H. Roscher in Lexikon der Mythologie and by J. A. Hild in Daremberg and Saglio’s Dictionnaire des Antiquités; E. E. Sikes in Classical Review (1895), ix. 70; O. Gruppe, Griechische Mythologie (1906), vol. ii.
PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open), a term applied to various sorts of open, flat, shallow vessels. Its application has been greatly extended by analogy, e.g. to the upper part of the skull; to variously shaped
objects capable of retaining substances, such as that part of
the lock in early firearms which held the priming (whence the
expression “flash in the pan,” for a premature and futile effort);
or the circular metal dish in which gold is separated from gravel,
earth, &c., by shaking or washing (whence the phrase “to pan
out,” to obtain a good result). Small ice-floes are also called
“pans,” and the name is given to a hard substratum of soil
which acts as a floor to the surface soil and is usually impervious
to water. For “pan” or “pane” in architecture see Half-timber Work.
The Hindostani pān is the betel-leaf, which, mixed with areca-nut, lime, &c., is chewed by the natives of the East Indies.
The common prefix “pan,” signifying universal, all-embracing (Gr. πᾶς, all), is often combined with the names of races, nationalities and religions, conveying an aspiration for the political or spiritual union of all the units of the nation or creed; familiar examples are Pan-Slavonic, Pan-German, Pan-Islamism, Pan-Anglican, Pan-American.
PANA, a city of Christian county, Illinois, U.S.A., in the central part of the state. Pop. (1900) 5530 (727 being foreign born); (1910) 6055. It is served by the Baltimore & Ohio Southwestern, the Cleveland, Cincinnati, Chicago & St Louis, the Illinois Central and the Chicago & Eastern Illinois railways. It is in the Illinois coal region, and coal-mining is the most
important industry; the city is also a shipping point for hay and
grain grown in the vicinity. Pana was incorporated in 1857, and
was reincorporated in 1877. Its name is said to be a corrupted
form of “Pani” (Pawnee), the name of a tribe of Indians.
PANACEA (Gr. πανάκεια, all-healing, from πᾶς, all, and
ἁκεῖσθαι, to heal), a universal remedy, or cure for all diseases,
a term applied in the middle ages to a mythical herb supposed
to possess this quality. Many herbs have had the power of
curing all diseases attributed to them, and have hence had the
name of “all-heal”; such have been, among others, the mistletoe,
the woundwort (Stachys palustris), the yarrow or milfoil, and
the great valerian.
PANACHE, a French word adapted from Ital. pennachio, Lat. penna, feather, for a plume of feathers on a helmet or hat;
the “panache” should be properly distinguished from the
“plume,” as being a large cluster of feathers fixed on the top of
the helmet and flowing over it, the “plume” being a single
feather at the side or front. The word “panache” is often used
figuratively in French of a flamboyant piece of ornamentation,
a “purple patch” in literature, or any exaggerated form of
decoration.
PANAENUS, brother of Pheidias, a Greek painter who worked in conjunction with Polygnotus and Micon at Athens. He also painted the marble sides of the throne of the statue of Zeus erected by his brother at Olympia.
PANAETIUS (c. 185–180 to 110–108 B.C.), Greek Stoic philosopher, belonged to a Rhodian family, but was probably educated partly in Pergamum under Crates of Mallus and afterwards in Athens, where he attended the lectures of Diogenes the Babylonian, Critolaus and Carneades. He subsequently went to Rome, where he became the friend of Laelius and of Scipio the Younger. He lived as a guest in the house of the latter, and accompanied him on his mission to Egypt and Asia (143 or 141). He returned with Scipio to Rome, where he did much to introduce Stoic doctrines and Greek philosophy. He had a number of distinguished Romans as pupils, amongst them Q. Mucius Scaevola the augur and Q. Aelius Tubero. After the murder of Scipio in 129, he resided by turns in Athens and Rome, but chiefly in Athens, where he succeeded Antipater of Tarsus as head of the Stoic school. The right of citizenship was offered him by the Athenians, but he refused it. His chief pupil in philosophy was Posidonius of Apamea. In his teaching he laid stress on ethics; and his most important works, of which only insignificant fragments are preserved, were on this subject. They are as follow: Περὶ τοῦ καθήκοντος (On Duty), in three books, the original of the first two books of Cicero’s De officiis; Περὶ προνοίας (On Providence), used by Cicero in his De divinatione (ii.) and probably in part of the second book of the De Deorum natura; a political treatise (perhaps called Περὶ πολιτικῆς), used by Cicero in his De republica; Περὶ εὐθυμίας (On Cheerfulness); Περὶ αἱρέσεων (On Philosophical Schools); a letter to Q. Aelius Tubero, De dolore patiendo (Cicero, De finibus, iv. 9, 23).
Edition of the fragments by H. N. Fowler (Bonn, 1885), and in F. van Lynden’s monograph (Leiden, 1802). See also A. Schmekel, Die Philosophie der mittleren Stoa (1892); F. Susemihl, Geschichte der griechischen Litteratur in der Alexandrinerzeit (1892), ii. 63–80; E. Zeller, “Beiträge zur Kenntniss des Stoikers Panätius” in Commentationes philologae in honorem Th. Mommseni (1877); on the use
