Pan's Labyrinth: The Labyrinth of the Faun

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Vidal, Carmen’s new husband, is a Falangist and is working to hunt down rebels from the war, those who are still fighting the Francoist regime. The faun-like creature, meant to be Pan, puts Ophelia through morality tests: a kind of labyrinth that is both literal.

Its massive spokes covered most of the back wall and at times gave him the feeling of living inside the watch, which was strangely comforting. Ofelia is able to conceive of the world around her in terms of allegories and archetypes, to see the fanatical elements in the world.The Fairy had disappeared, and when Ofelia stepped through the arch, it cast a cold shadow on her skin. She stepped off the road and walked toward it, although her shoes were wet with dew after just a few steps and thistles clung to her dress. Doctor Ferreiro visits Carmen in her bed and prescribes her two drops of something to help her sleep. When he finds something in one of the men’s bags that says, “No God, no country, no master,” he dismisses it as “red propaganda,” as the older man insists that they are farmers and that he was only hunting rabbits.

The Faun, who advised them on all affairs of beasts and the sacred things breathing underground, sent out his messengers—bats and fairies, rabbits and ravens—to bring Moanna back, but all those eyes were unable to find her. She was glad the girl knew about the thorns, as she and her mother had come to a very dark mountain. Insect legs emerged from the mouth and the creature, bigger than Ofelia’s hand, hastily scuttled up the column. The faun tells us the story of Princess Moanna, who wandered out of the safety of the underworld and was subjected to the hardships of the world of the living.He picked a ruby flower from the royal gardens to lay on Cintolo’s grave and sent one of his fairies up to find the girl.