Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: What was the original publisher of The Great God Pan?
The Great God Pan is a horror and fantasy novella by Welsh writer Arthur Machen. Machen was inspired to write The Great God Pan by his experiences at the ruins of a pagan temple in Wales. What would become the first chapter of the novella was published in the magazine The Whirlwind in 1890. Machen later extended The Great God Pan and it was published as a book alongside another story, "The Inmost Light", in 1894. The novella begins with an experiment to allow a woman named Mary to see the supernatural world. This is followed by an account of a series of mysterious happenings and deaths over many years surrounding a woman named Helen Vaughan. At the end, the heroes confront Helen and force her to kill herself. She undergoes a series of supernatural transformations before dying and she is revealed to be the child of Mary and the god Pan.
A pair of parodies of Pan were published in 1895 – Arthur Rickett's "A Yellow Creeper" and Arthur Sykes's "The Great Pan-Demon". Both suggest that Machen is an author of "limited imagination," with the latter depicting him as a mad scientist unleashing degenerate literature on an unsuspecting public.[41] The Great God Pan was brought to the stage in 2008 by the WildClaw Theatre Company in Chicago. It was adapted and directed by WildClaw artistic director Charley Sherman.[42] The novella Helen's Story (2013) by Rosanne Rabinowitz retells the story of The Great God Pan from Helen Vaughan's point of view. Helen's Story was written from a feminist perspective and nominated for a Shirley Jackson Award.[43] The Great God Pan was adapted into a chamber opera by composer Ross Crean. Unusually for a composer, Crean wrote the opera's libretto himself. A recording of the work was released in 2017.[44] The production saw its world premiere by Chicago Fringe Opera in 2018. According to the Chicago Tribune's John von Rhein, Chicago Fringe Opera's staging of The Great God Pan portrays Helen Vaughan as both a symbol of gender equality and an evil femme fatale.[45]
What is now the first chapter of the novella was published in 1890 in a magazine called The Whirlwind, while what is now the third chapter of the book was published in the same magazine the following year as a standalone short story called "The City of Resurrections". Machen only viewed the two works as connected after they were finished. Once he decided the two stories were connected, Machen wrote the rest of The Great God Pan in a single evening save for its final chapter. Machen did not think of an ending for the tale for months, and in that time believed that the novella would remain unfinished forever. The last chapter was completed in June 1891. Machen sent the novella to the publisher Blackwood, who rejected it, deeming it a clever story that "shrink[s]...from the central idea." It was accepted by John Lane and published in 1894.[7] When published as a book, The Great God Pan was accompanied by another Machen tale called "The Inmost Light"[8] which also features a mad scientist and elements of science fiction.[9] The book's cover was illustrated by Aubrey Beardsley.[3]
The Great God Pan is an outdoor bronze sculpture of Pan by American artist George Grey Barnard currently installed on the grounds of Columbia University. 
Pan entices villagers to listen to his pipes as if in a trance in Lord Dunsany's novel "The Blessing of Pan" published in 1927. Although the god does not appear within the story, his energy certainly invokes the younger folk of the village to revel in the summer twilight, and the vicar of the village is the only person worried about the revival of worship for the old pagan god.
God Is Not Great is a 2007 book by Anglo-American author and journalist Christopher Hitchens, in which he makes a case against organized religion. It was originally published in the United Kingdom by Atlantic Books as God Is Not Great: The Case Against Religion and in the United States by Twelve as God Is Not Great: How Religion Poisons Everything, but was republished by Atlantic Books in 2017 with no subtitle.
The Great God Pan's implied sexuality caused a scandal upon its original release and hurt Machen's reputation as an author.[2] Reviewing the novella for the magazine Literary News, Richard Henry Stoddard criticised the story as "too morbid to be the production of a healthy mind".[29] The art critic Harry Quilter's review of the book, titled "The Gospel of Intensity", and published in The Contemporary Review in June 1895, was even more harsh.[30] Quilter declared: "'The Great God Pan' is, I have no hesitation in saying, a perfectly abominable story, in which the author has spared no endeavor to suggest loathsomeness and horror which he describes as beyond the reach of words."[31][32] Quilter warned that Machen's books were a dangerous threat to the entire British public and that they would destroy readers' sanities and senses of morality.[33][31] Quilter went on to attack the story's publisher, John Lane, as well as Machen himself: "Why should he be allowed, for the sake of a few miserable pounds, to cast into our midst these monstrous creations of his diseased brain?"[31][34] Quilter added that works of fiction like Machen's should be unanimously condemned by literary critics and newspapers: "If the Press was so disposed it could stamp out such art and fiction in a few months: And that disposition must be acquired, must even be enforced."[31] He was particularly harsh in his denunciation of sexual ambiguity and polymorphous androgyny in the book.[34] He expressed revulsion at Machen's description of Helen's sex changing immediately before her death[34] and concluded his review with a comment of distaste regarding the "nasty little naked figure of dubious sex and humanity with which Mr. Aubrey Beardsley has prefaced the story".[34] A positive appraisal of the novella came from Oscar Wilde, who called it "un succès fou."[21]
According to film historians Keith McDonald and Roger Clark, Mexican film director Guillermo del Toro's portrayal of the faun in his 2006 dark fantasy film Pan's Labyrinth was inspired by the "ambivalent and possibly dangerous" portrayals of Pan in late Victorian and early Edwardian novels, including Machen's The Great God Pan and Pan's Garden (1912) by Algernon Blackwood.[53] Del Toro deliberately chose to imitate the darker, more sinister fauns of Machen and Blackwood rather than the "sweetly domesticated figure" of Mr. Tumnus from C. S. Lewis's The Lion, the Witch and the Wardrobe (1950).[54] The original title of the film in Spanish is El Laberinto del Fauno (The Labyrinth of the Faun),[55] but the English title Pan's Labyrinth emphasizes the connection between del Toro's film and the body of late nineteenth-century writings about Pan, including The Great God Pan.[54]
This story had particular resonance with Victorian literary audiences.[15] In 1844, Elizabeth Barrett Browning wrote her poem "The Dead Pan", an adaption of Plutarch's story which insisted that proper Christian literature should abandon Greek mythology, with each stanza ending in the words "Pan, Pan is dead."[15] As a member of the Decadent movement, Machen sought to subvert traditional themes and transgress literary boundaries,[15] an agenda which made Pan a particularly appealing figure.[15] The title of The Great God Pan appears to have been specifically derived from the Browning's later poem "A Musical Instrument" (1862), in which the first line of every stanza ends with the words "the great god Pan".[17] Machen's use of Pan in the novella may have also been influenced by Robert Louis Stevenson's essay "Pan's Pipes" (1878) and Algernon Charles Swinburne's poem "A Nympholept" (1894),[18] in which Pan is portrayed as the "emblem of the delicious combination of ecstasy and terror."[19]
The number of Gods in Ba Jia Jiang or Shih Jia Jiang is not fixed. The more complete group is with a number of thirteen Gods, and it is also the common type of Ba Jia Jiang in Taiwan's temples. Its members include: Shih Yi (什役), Wen Chai (Civil Official, 文差), Wu Chai (Military Official, 武差), Gan Ye (甘爺), Liu Ye (柳爺), Xie Ye (謝爺), Fan Ye (范爺), the great Spring God (春大神), the Great Summer God (夏大神), the Great Autumn God (秋大神), the Great Winter God (冬大神), Wen Pan Guan (Civil Judger, 文判官) and Wu Pan Guan (Military Judger, 武判官). Their identities and Responsibilities are as follows:
In a review of the novella for Black Gate, Matthew David Surridge hypothesized that Machen took inspiration from Mary Shelley's Frankenstein (1818) in his portrayal of Dr. Raymond as a mad scientist akin to Victor Frankenstein.[2] The works of Robert Louis Stevenson, especially his 1886 novella Strange Case of Dr Jekyll and Mr Hyde, were among Machen's most significant influences when writing The Great God Pan.[3][19] Critic John Gawsworth also sees Machen's novella as reminiscent of the horror stories of Edgar Allan Poe and Sheridan Le Fanu.[20] Aaron Worth noted similitude between the death of Helen Vaughan and the theories of alchemist Thomas Vaughan, who is the character's namesake[21] and Helen's disintegration recalls the alchemical concept of the prima materia.[22] John C. Tibbetts observes similarities between Helen Vaughan and Ayesha, the sexually liberated demonic priestess from H. Rider Haggard's She: A History of Adventure (1886).[23] Machen wrote that several critics felt that Joris-Karl Huysmans's novels À rebours (1884) and Là-bas (1891) had inspired The Great God Pan, though he did not read either book until after Pan was published. Upon reading the two novels, Machen concluded that "my critics had not read them either."[24]
The taxonomical genus "Pan" is derived from the Greek god of fields, groves, and wooded glens, Pan. The species name "troglodytes" is Greek for 'cave-dweller', and was coined by Johann Friedrich Blumenbach in his "Handbuch der Naturgeschichte" ("Handbook of Natural History") published in 1779. "Verus" is Latin for 'true', and was given to this subspecies in 1934 by Ernst Schwarz.
Originally Schwarz classified it as "Pan satyrus verus".
Machen's literary reputation was re-evaluated in the 1920s[2] and The Great God Pan has since attained the reputation of a horror masterpiece.[8] In "Supernatural Horror in Literature" (1926; revised 1933), H. P. Lovecraft praised the story, saying: "No one could begin to describe the cumulative suspense and ultimate horror with which every paragraph abounds"; he added that "the sensitive reader" reaches the end with "an appreciative shudder". Lovecraft also noted, however, that "melodrama is undeniably present, and coincidence is stretched to a length which appears absurd upon analysis". Bennett Cerf described the story as a "masterpiece".[35] Brian Stableford stated that The Great God Pan is "the archetypal Decadent horror story" and described the story as "highly original".[8] Stephen King referred to it as "one of the best horror stories ever written. Maybe the best in the English language." King also praised Pan for being "more reader-friendly" than Lovecraft's fiction.[36] The Washington Post's Elizabeth Hand deemed it "one of the greatest supernatural tales ever written".[37] Black Gate's Matthew David Surridge said that The Great God Pan is "a fascinating, troubling story, and, for all its influence, not like much else than I can think of. It's not simple, and yet it's effective, more so than can easily be explained."[2]
Clark Ashton Smith was inspired by The Great God Pan to write his story "The Nameless Offspring" (1931), which also features a monstrous child born of a human and a supernatural entity.[49] It has been suggested that Michael Arlen's novel Hell! Said the Duchess (1934) is a parody of The Great God Pan, as Arlen was influenced by Machen's work.[50][51] The Great God Pan influenced Peter Straub's novel Ghost Story (1979) in its depiction of a shapeshifting monster who terrifies those it encounters.[52] Straub himself frequently credited The Great God Pan as having been a major influence on his work.[23]
According to the Greek historian Plutarch (in "De defectu oraculorum", "The Obsolescence of Oracles"), Pan is the only Greek god (other than Asclepius) who actually dies. During the reign of Tiberius (14–37 CE), the news of Pan's death came to one Thamus, a sailor on his way to Italy by way of the island of Paxi. A divine voice hailed him across the salt water, "Thamus, are you there? When you reach Palodes, take care to proclaim that the great god Pan is dead." Which Thamus did, and the news was greeted from shore with groans and laments.
Joe Sommerlad of The Independent views The Great God Pan as a work of Gothic horror.[3] According to The Encyclopedia of Science Fiction, the story is "typical of Victorian [science fiction] horror at about the time [science fiction] was beginning to shed its Gothic elements into a separate Horror/fantasy genre."[10] Aaron Worth writes that The Great God Pan superficially resembles science fiction due to its depiction of Dr. Raymond as a mad scientist, but it cannot be seen as an example of the genre as it posits that occultism is superior to science.[11] The novella has been classified as Decadent literature as well,[8] as it features hallmarks of the genre such as "occultism, paganism, non-mainstream eroticism, sexual diversity, the femme fatale, violent and strange deaths, and the simultaneous investment in and disavowal of bourgeois identities."[12] Pan has also been described as fantasy literature,[2] Modernist literature,[13] and a cautionary tale against men mistreating women the way that Raymond mistreated Mary.[14]
This is followed by a fragment of a document about the remains of a pillar honoring the Roman god Nodens. The inscription on the column reads "To the great god Nodens (the god of the Great Deep or Abyss), Flavius Senilis has erected this pillar on account of the marriage which he saw beneath the shade." The document says that historians are puzzled as to what the inscription refers to. The novella ends with a fragment of a letter from Dr. Raymond to Clarke, which reveals that Helen was the child of Mary, who died shortly after her daughter's birth. In the letter, Raymond informs Clarke that Mary became pregnant after his experiment caused her to see the god Pan, implying that Pan fathered Helen.
These elements - of Pan as Satanic and neopaganism as a dangerous path - place "The Man Who Went Too Far" in a horror tradition with "The Great God Pan" (1890), a novella by Arthur Machen. Frank's obsession with hearing the music of Pan (who in mythology is depicted as playing a flute) and finally seeing him, which he believes will be a transcendent moment, is similar to the work of the character Dr. Raymond in Machen's novella. Raymond conducts scientific experiments with the aim of "seeing the great god Pan".
According to one theory that has received considerable scholarly acceptance, Hermes himself originated as a form of the god Pan, who has been identified as a reflex of the Proto-Indo-European pastoral god "*Péhusōn", in his aspect as the god of boundary markers. Later, the epithet supplanted the original name itself and Hermes took over the roles as god of messengers, travelers, and boundaries, which had originally belonged to Pan, while Pan himself continued to be venerated by his original name in his more rustic aspect as the god of the wild in the relatively isolated mountainous region of Arcadia. In later myths, after the cult of Pan was reintroduced to Attica, Pan was said to be Hermes's son.
Arthur Machen's 1894 novella "The Great God Pan" uses the god's name in a simile about the whole world being revealed as it really is: "seeing the Great God Pan". The novella is considered by many (including Stephen King) as being one of the greatest horror stories ever written.
Pan was an ancient Greek god primarily worshipped in Arcadia who was associated with shepherds and their flocks, and with nature.[15] He was believed to lurk in caves, mountains, and other lonely, isolated locations.[15] In some stories, he inflicted his enemies with sudden terror (i.e. panic).[15] The phrase, "the great God Pan" comes from an ancient Greek folktale recorded in Plutarch's De defectu oraculorum (On the Decline of Oracles),[15] which claims that a Greek sailor near the island of Paxi during the reign of Emperor Tiberius (ruled 14–37 AD) heard a voice cry out, "When you are arrived at Palodes, take care to make it known that the great God Pan is dead."[16][15] Early Christian commentaries suggested that this event occurred at the same time as the death of Christ and that the "death" of Pan represented the transition from a pagan to a Christian world.[15]
"The Return of Pan" was also released as a single, with the songs "Karma" (also the name of one of Scott's earlier musical projects), "Mister Powers" and an untitled track. "The Return of Pan"'s lyrics recount an episode from Plutarch's "The Obsolescence of Oracles". Plutarch writes that, during the reign of Tiberius, a sailor named Thamus heard the following shouted to him from land; "Thamus, are you there? When you reach Palodes, take care to proclaim that the great god Pan is dead." After retelling the story, the singer of "The Return of Pan" insists that "The Great God Pan is alive!". The single charted at position twenty-four on the UK singles chart May 1993.
Banloc name was originally born by the fusion of two words: the name of the god "Pan" and the word "loc" (place), "Pan's place". Later, when the "pan" became "ban", it kept the original meaning of a master. The Panloc castle became the Banloc castle, name preserved until now. There is a relief above one of the access doors in the basement of the castle, bas-relief depicting the god Pan playing the syrinx. Also, statues in the form of fauns used to guard the alleys of the park, fragments of these are currently held at the Museum of Banat in Timișoara, along with several other statues of the same origin.
The Great House Of God: A Home for Your Heart is a Christian religious book written by Max Lucado and published by Word Publishing in 1997. Terry Burns of the "Pembroke Daily Observer" called "The Great House of God" "an excellent book on the Lord's Prayer". "The Christian Science Monitor" listed "The Great House of God" fifth on its quarterly list of hardcover religion bestsellers in December 1997. In a "Publishers Weekly" review, Henry Carrigan writes that, although the thoughts in the book "might be powerful in their spoken form, the brevity and the shallowness of their written form abandons readers in the foyer". In a "Booklist" article, Ray Olson compares the book to Philip Yancey's "What's So Amazing About Grace?", which was also published in 1997, and argues that, although Lucado and Yancey have each written several bestselling Christian books, Yancey's book is better edited.
On publication, it was widely denounced by the press as degenerate and horrific because of its implied sexual content, and the novella hurt Machen's reputation as an author. Beginning in the 1920s, Machen's work was critically re-evaluated and The Great God Pan has since garnered a reputation as a classic of horror. Literary critics have noted the influence of other nineteenth-century authors on The Great God Pan and offered differing opinions on whether or not it can be considered an example of Gothic fiction or science fiction. The novella has influenced the work of horror writers such as Bram Stoker, H. P. Lovecraft, and Stephen King, and has been adapted for the stage twice.