Abstract
Between about 1890 and 1914, Pan the goat-god enjoyed a popularity among creative artists, especially in Britain, which was quite unprecedented in the postclassical world and which crossed the frontiers increasingly being set up by Modernist experiment between ‘high’ and ‘popular’ culture. On the stage, for example, Nijinsky first performed L’Après-midi d’un faune in 1912 and Pan appeared in London in 1914 in the Ballets Russes production of Ravel’s Daphnis and Chloe. But the theatres catered also for middlebrow taste: Lionel Monckton and Howard Talbot’s hugely successful operetta The Arcadians (1909) contained a coloratura invitation (written by Arthur Wimperis) to ‘follow, follow, follow’ ‘when the pipes of Pan are calling’ (qtd. in Hyman 188), while Edward German’s Merrie England (1902; lyrics by Basil Hood) had Sir Walter Raleigh and Bessie Throckmorton warbling about the homely blisses of love in a cottage:
Come, come to Arcadie!
Bring your Phyllis, happy Corydon!
Learn together, if you can,
The simple tunes of Piper Pan!
(Hood 14)
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© 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Dingley, R. (1992). Meaning Everything: The Image of Pan at the Turn of the Century. In: Filmer, K. (eds) Twentieth-Century Fantasists. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-22126-4_5
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DOI: https://doi.org/10.1007/978-1-349-22126-4_5
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