The word "faun" has been employed in literature with a rich diversity of connotations and allusions. In early usage, as evidenced by Robert Burns, it takes on a transformative, almost allegorical quality—hinting at fallen states or metaphysical shifts [1][2]—while classical thinkers like Cicero leave its precise nature intriguingly ambiguous [3]. In exploration narratives such as the Journals of Lewis and Clark, the term appears almost tangentially, reflecting a blending of myth and natural observation [4]. Later, both Oscar Wilde and Victor Hugo imbue the faun with symbolic, often sensual and enigmatic traits: from Wilde’s playful comparison of mythic figures in The Picture of Dorian Gray [5] and a reflective invocation of a Phrygian faun in De Profundis [6], to Hugo’s repeated poetic meditations on “The Marble Faun” and the faun’s gentle dialogues with nature in his poems [7][8][9][10][11]. This evolution in usage mirrors the faun’s transformation from a classical mythological creature into a versatile literary emblem of mystery, desire, and the ineffable link between nature and art.