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The present article explores Arthur Machen’s (1863–1947) influential work The Great God Pan (1894) in terms of the discrepancy between Machen’s original aim in writing the novella, which was expressing the sublime feelings he experienced when he beheld the valley of Usk in his native Wales – and the result, a horror tale where Pan seems to embody the ultimate evil. Taking into account the original idea, as well as the final rendition problematises the idea of a sinister Pan, making him more ambiguous. First, the final version of “The Great God Pan” is analysed in terms of its Decadent features, as well as its effect on the reader, features that placed it in the horror genre. Subsequently, a contrasting way of reading is offered that considers the circumstances that gave rise to the novella. From this reading, Pan emerges as a transcendent spirit of Nature rather than an embodiment of evil.

Dreaming in fire and working in clay: the problem of translating ideas into words in Arthur Machen's The Great God Pan