Pan's melody: the dance of creative freedom

Figure A: Aubrey Beardsley, “Pan & The Wood Nymphs”, 1920
2
Abstract 
 
This work examines a comparative analysis of The Great God Pan by Arthur Machen and 
The Master and Margarita by Mikhail Bulgakov, around the theme of the necessity of evil. The same 
has been analysed from the perspective of deep psychology where the point of the encounter between 
the two works is precisely Pan being the archetype of panic and unfairly misjudged as Satan. The 
dissertation follows a hermeneutical trajectory that traces a circular path from the symbolic symptoms 
of characters to their corresponding archetypal matrix on the path towards self-healing. This emerging 
representation is observed in Victorian and Soviet societies that reject the undeniable evidence of 
irrationality or, more accurately, the resurgence of the suppressed. We shall endeavour to comprehend 
the direction in which the bucolic satyr leads the characters, for they are not afflicted by madness but 
rather by a state of utmost naturalness. This state is the most innate, profound, and instinctual 
experience that can be attained. Furthermore, in an anti-hierarchical perspective of canonical 
literature, new light will be given to Machen’s compelling work, which has unfortunately been 
relegated to the margins.
I. Introduction 
 
 
 
 
 
 
 
 
The present dissertation proposes a comparative analysis of the literary works of Arthur 
Machen’s The Great God Pan and Mikhail Bulgakov’s The Master and Margarita, focusing on the 
theme of evil and its common significance in the two cultures. Both writers display dissidence, albeit 
in varying degrees and different ways. However, the way they express their dissidence is precisely 
what they have in common: they have chosen a particular character to rebel against the common 
belief, particularly morality and ethics, ignoring individuality and stifling independent thought and 
action. Who would be the ideal representative of rebellion and nonconformity? Satan. Satan is known 
for thinking in his own way, creating chaos, and providing new opportunities and perspectives. He 
looks at things in an extraordinary way, outside of the usual order. Humans have endeavoured to 
reach God’s perfection, creating life like a production line where everything is orderly, and people 
follow the same patterns without questioning them. Nonetheless, when characters face a problem, 
they find a scapegoat because of their narcissistic attitude and disposition. They also believe they can 
fix everything like a machine. However, when a problem challenges their expectations, they are 
compelled to confront themselves. In The Great God Pan, the megalomania of the Promethean man 
leads to the emergence of Helen, a half-human and half-divine being, and the subsequent propagation 
of evil in society. In the Chapter “The Suicides” of The Great God Pan, the ensuing series of suicides 
confounds the characters, leaving them unable to explain the mysterious events. They state, “Such 
forces cannot be named, cannot be spoken, cannot be imagined except under a veil and a symbol.” 
3
 
Similarly, in The Master and Margarita, the devil arrives in Moscow, where individuals have long 
believed in the voice of rationality and the established order. Where there is tranquillity and a perfect 
social structure, evil knocks on humans’ doors: in Bulgakov’s work, a sudden death overwhelms 
Berlioz, and an abrupt madness upsets the life of Ivan Bezdomny, a rational and logical man. However, 
the interest lies not in what they do when they face evil but in what they feel and how they face the
VIII  Introduction  
 
 
 
problem. Their thoughts and feelings are revealed when they encounter evil, showing us who they 
truly are. The devil’s meeting shows readers what they do instinctively when there is not any plan, 
not a morality or pre-established order that can help them deal with that. Both writers do not explicitly 
state the characters’ emotions but imply them. In Machen’s work, do those who commit suicide 
genuinely die from Helen’s supernatural strength, or is it better an ardent desire to have a relationship 
with Helen? In Bulgakov’s work, Ivan writes a piece about Yeshua as if he existed, while Berlioz 
claims that he never did. Isn’t this also an inner voice that unconsciously and instinctively directs 
humans towards a different path than the one society has constructed for them? In the face of adversity, 
a force or energy dominates characters, inducing them to act instinctively as if under the influence of 
a divine presence. These governing forces, known as archetypes, represent the manifestation of a God. 
James Hillman, an esteemed psychologist, has defined archetypes as, “[…] as the deepest patterns of 
psychic functioning, the roots of the soul governing the perspectives we have of ourselves and the 
world.”
4
 The characters’ behaviours are shown to stem from a polytheistic and archetypal way of 
being, which is not singular but relative in nature and reveal their weaknesses in the light of day and 
the dark of night. It is important to note that this dissertation is not an analysis of an individual’s 
emergence but rather his/her immersion in the deep labyrinths of the unconscious.
Pan’s melody: the dance of creative freedom   IX 
 
 
 
 
 
Figure B: Edward Munch, “The dance of life”, 1899-1900.
5
II. To begin with 
 
 
 
 
 
 
 
An unforeseen encounter in Pan’s countryside: A. Machen and M. A. 
Bulgakov 
 
Mikhail Afanas’evich Bulgakov and Arthur Machen, born in 1891 and 1863, respectively, 
reveal a special connection to the past through their works. Their novels carry significant values that 
serve as a poignant reminder of the origins of humanity. In both The Master and Margarita by 
Bulgakov and The Great God Pan by Machen, a central theme is the rejection of pure intellect in 
favour of the representation of positive evil. 
The 19th century in England is considered a time of secularisation, characterised by the 
emergence of modern scientific disciplines and institutions. This era also witnessed a shift in cultural 
authority from traditional religious to scientific explanations of natural laws. One of the most 
prominent figures of this transition was Charles Darwin, whose theory of evolution by natural 
selection was delayed in publication for years due to his apprehension regarding the potential 
religious and social upheaval it might cause. Despite this, Darwin’s Origin of Species (1859) led to a 
crisis of faith for many during the 1860s before becoming an established part of British intellectual 
life in the final decades.
6
 However, it is essential to note that while religion and science were 
becoming increasingly separated, they remained deeply intertwined throughout this era. A form of 
magical thinking accompanied every scientific and technological advancement and was often 
accompanied by a shadow discourse of the occult. The rapid progress in science frequently blurred 
the lines between the natural and supernatural in popular thinking, at least for a time. This interplay 
of science and magic was evident in every aspect of Victorian literature and culture. Realism was the 
dominant mode of representation and reading practice in the Victorian era. It assumed a privileged 
epistemological perspective from which both knowledge and judgment could be truthfully and
Pan’s melody: the dance of creative freedom   XI 
 
 
 
precisely issued, establishing consensus among the implied author, narrator, and reader. However, in 
the final decades of the Victorian era, an ideological shift occurred, which is reflected in the novel’s 
aesthetic, particularly in the areas of point of view, the representation of reality, the construction of 
character, and the relationship to the audience.
7
 This form aimed to create conformity and largely 
upheld middle-class ethics and mores, molding the emotionally complex hero or heroine to the 
bourgeois ideal of the rational person of virtue.  The social norms and values prevalent in Russia bear 
similarities to those of England. These norms also extend to the realm of writing, placing certain 
restrictions on writers and limiting their freedom of expression. 
Similarly, the realm of literature in Russia underwent a concurrent escalation in censorship 
and central control, marked by the establishment of the Writers’ Union in 1932 and the proclamation 
of the Socialist Realism doctrine two years later. By the initial All-Russian Soviet Writers’ Union 
Congress held from August to September 1934, a unanimous agreement among Soviet writers had 
been reached, wherein the goals of Russian literature were reformulated as ideology, nationalism, and 
party solidarity. Future Soviet fiction would portray reality not only as it was but also as it ought to 
be. Bulgakov’s literary work demonstrates the considerable influence of Social Realism on writers 
and their artistic productions. As an editor, Berlioz was known for his adherence to dogmatic 
rationalism, which led him to reject any form of mystery or imaginative writing. This approach could 
limit the potential of writers to explore and express their creativity.
8
 The arrival of Woland serves to 
challenge the limitations of humanity while also meting out punishment for those who exhibit a lack 
of awareness or conformity, albeit with a measure of mercy. Bulgakov’s writing conveys the 
absurdities of the era, including the mockery of modern technology such as telephones and telegrams, 
the significant role of dreams, the introduction of characters with grotesque physical appearances, 
and the crisis of identity due to the loss of the civil passport. Additionally, the incongruity of reason 
grappling with the unreasonable is also explored. Bulgakov’s philosophy places great emphasis on 
the concept of fearlessness in life. It underscores the importance of approaching life with courage and 
continuously pursuing one’s thoughts and inquiries about reality. Even when reality appears logical 
and acceptable, it is essential to acknowledge the diversity of it and recognise that thoughts about it 
may vary based on one’s experience and knowledge. This philosophy encourages individuals to be 
unafraid of exploring and challenging their understanding of the world around them. 
The literary works of Machen and Bulgakov display their considerable literary talent through 
unconventional means of expression, pushing beyond the limits of language, reality, and experience. 
Through their exploration of the gothic genre, they offer a fresh perspective on reality that exposes 
the social afflictions and imaginary boundaries that humanity has imposed upon itself. The gothic 
genre proves to be an effective vehicle for addressing the specific concerns of a particular social class