Originally fauns of Roman mythology were ghosts (genii) of rustic places, lesser versions of their chief, the god Faunus. Before their conflation with Greek satyrs, they and Faunus were represented as naked men (e.g. the Barberini Faun). Later fauns became copies of the satyrs of Greek mythology, who themselves were originally shown as part-horse rather than part-goat.
By the Renaissance, fauns were depicted as two-footed creatures with the horns, legs, and tail of a goat and the head, torso, and arms of a human; they are often depicted with pointed ears. These late-form mythological creatures borrowed their look from the satyrs, who in turn borrowed their look from the god Pan of the Greek pantheon. They were symbols of peace and fertility, and their Greek chieftain, Silenus, was a minor deity of Greek mythology.[1]
Romans believed fauns stirred fear in men traveling in lonely, faraway or wild places. They were also capable of guiding men 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 late-period 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. Satyrs also were more woman-loving than fauns, and fauns were rather foolish where satyrs tended to be sly.
Ancient Roman mythological belief included a god named Faunus often associated with bewitched woods, and conflated with the Greek god Pan[2][3] and a goddess named Fauna who were goat people.
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.[5]
Statue of a faun; Vatican, Brooklyn Museum Archives, Goodyear Archival Collection
Fauns in a wooded landscape. The second version of a composition by Bril from 1620 now in the City Art Gallery in Bradford. The figures have been attributed to Pietro Paolo Bonzi (c. 1575–1636)
InH.G. Wells' (1895) The Time Machine, in the year 802,701CE, while exploring the far future, the Time Traveller sees "a statue – a faun, or some such figure, minus the head."[9]
Mr. Tumnus, in C. S. Lewis's The Lion, the Witch and the Wardrobe (1949), is a faun. Lewis said that the famous The Chronicles of Narnia story 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 the film series, fauns are distinct from satyrs, which are more goat-like in form.
InLolita, 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.
InGuillermo del Toro's 2006 film El Laberinto del Fauno (Pan's Labyrinth), a faun guides the film's protagonist, Ofelia, to a series of tasks, which lead her to a wondrous netherworld.
Media related to Fauns at Wikimedia Commons
