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PAEAN In English literature, a paean is a formal
song of joy, praise, or triumph. The tradition derives
from the ancient Greek practice of singing hymns of
thanksgiving to (or invocation of) Apollo for protec-
tion against disease and defeat in battle. Paean is one of
Apollo’s names, referring to his role as healer. Occa-
sionally, paeans were sung to other gods, especially
Dionysus, Asclepius, and Helios.
See also ENCOMIUM, PANEGYRIC.

PANEGY R IC A panegyric in the Greek tradition
was a laudatory speech delivered at a public assembly
(panegyris), such as an Olympic or other religious festi-
val. The oration often focused on past civic or personal
glories and was couched in fl owery language. It became
associated with eulogy, the praise of famous or eminent
individuals, which in Roman society was restricted to
living persons. Panegyrics dominated the OLD NORSE/
ICELANDIC EDDAS AND SAGAS and were the main product
of skalds (ancient Scandinavian bards). The form was
later Christianized to include praise of God and the
saints, as a complement to HAGIOGRAPHY. In English lit-
erature, the terms panegyric and ENCOMIUM are often
used interchangeably.
During the Renaissance, a common form of panegy-
ric was the “mirrors for princes,” a genre of political
writing instructing kings how to behave. One of the
implicit principles underlying the “mirror” was that
praiseworthy princely behavior demonstrated God’s
plan was working as it should, that the prince (King)

was a legitimate ruler. Numerous panegyric offerings

were produced for Queen ELIZABETH I.

See also MIRRORS FOR PRINCES.

FURTHER READING:

Noreña, Carlos F. “The Communication of the Emperor’s

Virtues.” The Journal of Roman Studies 91 (2001): 146–168.

Vickers, Brian. “Epideictic and Epic in the Renaissance.”

New Literary History 14, no. 3 (1983): 497–537.

Carol E. Harding

“PANGUR BÁN” ANONYMOUS (ninth century)

“Pangur Bán” is contained in the margin of a ninth-

century manuscript containing Greek and Latin litera-

ture found in the monastery of St. Paul at Unterdrauberg

in Carinthia, Austria. The poem is untitled and anony-

mous. It has eight four-line STANZAs in a Celtic meter

called deibide, in which a stressed syllable rhymes with

an unstressed syllable. It derives its title from the white

(bán) cat named Pangur. The cat’s name, Pangur, is an

early Welsh form of pannwr (“a fuller”).

This is not simply a poem about a cat. It is about the

monk-author comparing his search for meaning while

commenting on texts with his cat chasing—and catch-

ing—mice. The poem’s cozy domesticity creates a

world modern readers can easily imagine. The monk-

poet may have adopted the white cat in Wales. The

poet and the cat live in harmony and happiness; nei-

ther is bored. The poet pursues learning, and the cat

pursues mice, a witty ZEUGMA, or ironic linking of two

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