Early Modern Drama · Character Archetypes

PAN

in Midas — Lyly, John

Metadata

PlayMidas
AuthorLyly, John
Year (catalogued)1592
First performance1589
Decade1590s
GenreComedy
Play typeBoys Professional
CompanyChildren of Paul's (first)
Theaterbefore the Court;
Speech prefix(es)Pan.
Words568
Characters2945
Typicality0.53 (cosine to cluster centroid)
TCP idA06621
BritDrama no.835
ClusterCluster 24 — Gods, cupids & celestial agents

Important excerpts

Passages from this character's speech that contain the most distinguishing words for Cluster 24 (casane, crites, anacreon, ortum, elementis, dextram…). Matches are highlighted.

earthly mistress. What hath made Pan, or any God on earth (for gods on earth can change their shapes) turn themselves for and heavenly Goddess? Believe me Apollo, our groves are pleasanter than your heavens, our Milkmaids than your Goddesses, our rude ditties to a pipe than your sonnets to a lute. Here is flat faith amo amas; where

Full speech

Pan is a God, Apollo is no more. Comparisons cannot be odious, where the Dieties are equal. This pipe (my sweet pipe) was once a Nymph, a fair Nymph; once my lovely Mistress, now my heavenly music. Tell me Apollo, is there any instrument so sweet to play on, as ones Mistress? Had thy lute been of laurel, and the strings of Daphne's hair; thy tunes might have been compared to my notes: for then Daphne would have added to thy stroke sweetness, & to thy thoughts melody. Apollo, I told thee before that Pan was a God, I tell thee now again, as great a God as Apollo, I had all most said a greater: and because thou shalt know I care not to tell my thoughts, I say a greater. Pan feels the pass zions of love deeply engraved in his heart, with as fair Nymph's, with as great fortune, as Apollo, as Neptune, as Jove; and better than Pan can none describe love. Not Apollo, not Neptune, not Jove. My Temple is in Ar cady, where they burn continual flames to Pan. In Arcady is mine Oracle, where Erato the Nymph geeueth answers for Pan. In Arcady the place of Love, is the honour of Pan. I but I am God of hills. So I am Apollo, and that of Hills so high, as I can pry into the juggling of the highest Gods. Of woods? So I am Apollo, of woods so thick, that thou with thy beams canst not pierce them. I knew Apollo's prying, I knew mine own jealousy. Sun and shadow cousin one another. Be thou Sun still, the shadow is fast at thy heals Apollo. I as near to thy love, as thou to mine. A Carter with his whistle & his whip in true ear, moves as much as Phœbus with his fiery chariot, and winged horses. Love-leaves are as well for country porridge, as heavenly nectar. Love made Jupiter a goose, and Neptune a swine, and both for love of and earthly mistress. What hath made Pan, or any God on earth (for gods on earth can change their shapes) turn themselves for and heavenly Goddess? Believe me Apollo, our groves are pleasanter than your heavens, our Milkmaids than your Goddesses, our rude ditties to a pipe than your sonnets to a lute. Here is flat faith amo amas; where you cry, o utinam amarent vel non amassem. I let pass (Apollo) thy hard words, as calling Pan monster; which is as much, as to call all monsters: for Pan is all, Apollo but one. But touch thy strings, and let these Nymphs decide. There must be no condition, but judge My das, and judge Nymphs. Now let me tune my pipes. I cannot pipe & sing, thats the ods in the instrument, not the art: but I will pipe and then sing; and then judge both of the art and instrument. I, and done well, as I think. Blessed be Midas, worthy to be a God: these girls, whose ears do but itch with daintiness, gene the verdict without weighin the virtue; they have been brought up in chambers with soft music, not where I make the woods ring with my pipe, Midas. I cannot undo what Apollo hath done, nor give thee any amends, unless to those ears thou wilt have added these horns. Midas farewell.

Plot summary

Plot — Midas
Offered anything he wishes by way of reward for entertaining Baéehus) KingiMidas seeks advice. Two of his lords suggest that he request love and empire respectively; the third proposes gold, which can buy both, so Midas asks that everything he touches should turn to gold. The gift proves to be an inconvenience, turning Midas’s food and even his beard to gold. (A BaBE steals the golden beard from the FSyalibarber, but the barber gets his own back by giving him toothache.) Regretting his folly and his imperialistic designs on other nations, Midas seeks a remedy from the oracle, and washes off the golden touch in a nearby river. On the way home, Midas goes hunting in the woods, gets lost, and encounters Ajpoll6 and Pan ‘The two gods are in dispute over which is the best musician; Midas is asked to judge, and, perversely, chooses Pan. Apollo gives him ass’s ears in reprisal, and he becomes reclusive while rumours spread; even the reeds whisper about his ears. Meanwhile his empire begins to disintegrate and he is unable to achieve his overriding objective, the conquest of Lesbos. Finally he seeks a remedy from the oracle of Apollo, and also proclaims that any further talk about his ass’s ears will cost the speaker his own. The pages inveigle Motto the barber into flouting the edict, and thereby force him to return the golden beard. Midas makes his obeisance at Apollo’s oracle, and is ordered to give up his imperial ambitions; in particular, his ears will only get longer if he continues to covet Lesbos. He agrees, and promises to make annual sacrifices at the oracle. The ass’s ears fall off, and the play ends with praise for Apollo.