Paean

Paean, in Homer, was the Greek physician of the gods. In other writers the word is a mere epithet of Apollo in his capacity as a god of healing, but it is not known whether Paean was originally a separate Deity or merely an aspect of Apollo.

Homer leaves the question unanswered. Hesiod definitely separates the two, and in later poetry Paean is invoked independently as a health god. It is equally difficult to discover the relation between Paean or Paeon in the sense of "healer" and Paean in the sense of "song." Farnell refers to the ancient association between the healing craft and the singing of spells, and says that it is impossible to decide which is the original sense. At all events the meaning of "healer" gradually gave place to that of "hymn," from the phrase Ιή Παιάν.

Such songs were originally addressed to Apollo, and afterwards to other gods, Dionysus, Helios, Asclepius. About the 4th century the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune, or to offer thanks after such protection had been rendered. Its connection with Apollo as the slayer of the Python led to its association with battle and victory; hence it became the custom for a paean to be sung by an army on the march and before entering into battle, when a fleet left the harbour, and also after a victory had been won.

The most famous paeans are those of Bacchylides and Pindar. Paeans were sung at the festivals of Apollo (especially the Hyacinthia), at banquets, and later even at public funerals. In later times they were addressed not only to the gods, but to human beings. In this manner the Rhodians celebrated Ptolemy I of Egypt, the Samians Lysander of Sparta, the Athenians Demetrius, the Delphians Craterus of Macedon.

Musically, the paean was a choral ode, and originally had an antiphonal character, in which a leader sang in a monodic style, with the chorus responding with a simple, informal phrase; however, later in its development, the paean was an entirely choral form. Typically the paean was in the Dorian mode (note that the Ancient Greek Dorian was different from the modern Dorian mode; see musical mode), and was accompanied by the kithara, which was Apollo's instrument. Paeans meant to be sung on the battlefield were accompanied by aulos and kithara.

Two musical fragments of paeans survive from late antiquity: one by Limenius of Athens, and another anonymous. The fragment by Limenius has been dated to 128 BC.

Paean is now used in the sense of any song of joy or triumph. A particularly cogent Paean is that composed in the later twentieth century by the British composer, Kenneth Leighton, a work that is both triumphal and ascerbic and that poses questions to the listener that are both challenging and re-enforcing in the spiritual sense. It also describes a poetic foot of four syllables, one long and three short.

Parts of this entry are originally from the 1911 Encyclopedia Britannica.