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Faeries, Elves, and Other Kin

Kathryn Cranston March, 2010

Other Kin:  The Banshee

BANSHEE SPIRIT Faeries, Elves, and Other Kin


The banshee, from the Irish bean sídhe meaning “faerie woman” or “woman of the faerie mounds,” is a troublesome being when it comes to classification.  Although it would seem the banshee should clearly be classified as a faerie based on the meaning of the name alone, it isn’t that simple, although the banshee is clearly of the same “Other World” to which the faeries belong.

The origin of the banshee may be the Morrigan herself, a triple Goddess and one of the Tuatha Dé Danann.  Banshees have been called a “Badbh,” the death and battle aspect of the Morrigan, and legends say if a warrior heard the Morrigan’s song, he was destined to die in battle.  The Morrigan was also said to wash the entrails of those about to die in a stream and to choose only the loveliest maidens to become banshees.

When the Tuatha Dé Danann were defeated in battle by the Milesians, they agreed to retreat and dwell underground in the sídhe, the earthen burial mounds found throughout the Irish landscape.  They became the aes sídhe, a powerful, supernatural race comparable to the faeries or elves.  Today we use the word sídhe to refer to both the mounds and the people of the mounds.  However, the word correctly refers specifically to “the palaces, courts, halls or residences” only.  Thus does the classification of the banshee as a faerie become problematic if the meaning of bean sídhe is changed to be simply “woman of the mounds” and if the women of the mounds are comparable to the faeries, but are not actually faeries.

It is tradition in an Irish or Scottish village for a woman to sing a lament at the funeral of someone who has died. The keening of these women is said to be a combination of a wild goose’s screech, a wolf’s howl and the cry of an abandoned child, mimicking the banshee’s wail.  Legend says a “faerie” woman will sing this lament for Irish and Scottish families of pure Milesian descent, or only for the O’Grady, O’Neill, O’Brien, O’Connor, and Kavanagh families, or for families gifted with song and music.  The family may know the name of their banshee and the banshee may even follow the family overseas, despite the prohibition that the banshee cannot cross running water (a prohibition shared by many faerie entities).  Some families, however, believe their banshee is the spirit of a dead friend or family member, often a virgin, sometimes a murder victim, usually someone who died young.

The banshee may appear in various forms, including:

  • An old woman dressed in green with a grey cloak
  • A deathly pale woman dressed in white with long, wild red hair
  • A beautiful woman, veiled in white with long white hair
  • A shimmery, silvery woman with long, beautifully abundant silver-grey hair
  • A headless woman, naked from the waist up
  • A tall white veil in the shape of a woman with long grey hair

One visual aspect these forms share (except for the headless woman, of course) is eyes fiery red from weeping.  The banshee may appear crouched beneath trees near the house, flying past the dying person’s window, or while combing her long hair.  She may appear with the cóiste bodhar, the faeries’ hearse, an immense black coach with a coffin in it.  She may not appear at all, only be heard.

Hollywood has spread the misconception that the banshee’s voice causes death; far from it.  The banshee wails when a person is about to die or has died.  When several keen together, it foretells the death of someone very great or holy.  The banshee is actually a comfort to the family rather than an omen of ill; the banshee signals the passing of the soul and often acts as a personal escort.  This concept is illustrated in the tale, “Banshee Comes for Dying Man,” collected by Eddie Lenihan, a master Irish folklorist.  The latch on the back door lifts and the door opens of its own accord three times while a woman (banshee) cries in the back yard and the old man of the house is dying upstairs.  When they stop trying to close the door, the old man dies and the crying fades off, up the hill, leading his spirit into the Other World.

Spirit or faerie?  The banshee seems to straddle the line of being partly both.  And like any being of the Other World, her nature is dual.  Let to go about her business, she is benign and even helpful, a part of the cycle of life and death.  Interrupt her, though, and pay the penalty, as did one cheeky young man who grabbed the shoulder of “The Barefield Banshee” while she was combing her hair; she “hit him a slap across his face and set him flying.”  As told to Lenihan, “When they healed up the four scars were there, the mark o’ the four fingers…stayed with him for as long as he lived.  That boy went strange after.”

    Bibliography and Works Cited/Recommended Reading:
    Briggs, Katharine, An Encyclopedia of Faeries, Pantheon , 1976
    Dubois, Pierre, The Great Encyclopedia of Faeries, Simon & Schuster, English Translation 1999
    Franklin, Anna, The Illustrated Encyclopedia of Fairies, Paper Tiger, 2002
    Illes, Judika, Encyclopedia of Spirits, Harper One, 2009
    Lenihan, Eddie, Meeting the Other Crowd:  The Fairy Stories of Hidden Ireland, Penguin Putnam, 2003
    Moorey, Teresa, The Fairy Bible, Sterling Publishing Co., 2008

Wikipedia, http://en.wikipedia.org/wiki/Banshee, http://en.wikipedia.org/wiki/Aos_s%C3%AD

Faeries, Elves, and Other Kin

Kathryn Cranston February, 2010

Imbolc and Honoring the Fae

We of the pagan persuasion will be celebrating the sabbat of Imbolc (“in the belly) on 2 February here in the Northern hemisphere.  This sabbat is also known as Oimelc (“milk of ewes”), Candlemas, St. Brigid’s Day (or Brigit, Brighid, Bride, or Brìd), Là Fhèill Brìghde (Scotland), Lá Fhéile Bríde (Ireland), G?yl Fair (Wales), Brigantia, and Lupercalia, and may be spelled Imbollgc.

For those who were unable or preferred not to perform the Twelfth Night ritual of removing their Yuletide foliage from the home to release any fae or nature spirits residing therein, as one of the four fire festivals Imbolc is an excellent time to do so.  Burning your spent evergreens in the Imbolc bonfire will release and honor the fae while simultaneously celebrating the growth of the newly reborn Sun.

Here are some ways I honor and work with the fae on Imbolc:

Plantable Paper:

Our fae friends, as the guardians of nature, will appreciate any effort you make on their behalf to keep the earth green. Paper you can plant is a project you can do that involves both recycling and growing life-sustaining greenery.

Making paper from trash is really quite easy.  You can use newspaper, junk mail, discarded printer paper, gift-wrap, etc., to create paper pulp.  Just be sure to remove any pieces of plastic (such as windows on envelopes) and staples as they are not good for the environment or your blender.

Once you have gathered the materials you will be recycling, you need to create a deckle.  The deckle is simply a frame with a screen that lets water drain away leaving the paper pulp behind.  If you don’t have two old frames sitting around gathering dust that you can use, two unadorned inexpensive wooden frames about 8”X11” are readily available at craft and home stores.  You will need two pieces of screen about an inch bigger than your frame all the way round and of the type used on windows.  You will most like find this type of screen at a home or building supply store if there are no old screen doors or windows around from which you can “harvest.”  Using small nails or a staple gun, affix one screen to the flattest side of one of your frames.  When you are ready to use the deckle, place the second frame, flattest side down, against the screened side of the first frame, trapping the screen between the frames.

You are now ready to create your pulp.  Pour a blender filled with water into a tub (such as an old kitty litter tray or a roasting pan) that is at least 4” bigger on all sides than your deckle.  Then fill your blender to the halfway point with water and hand shred the equivalent of about three sheets of paper into 1” to 2” pieces and place them in the blender.  Begin at the lowest speed and work your way up to the highest speed until all of the junk paper thoroughly disintegrates.  Do this until all your scraps are blended, but do not overfill the tub; leave at least 2” to 3” unfilled.

Hold your deckle firmly on the longer sides and slip it into the tub of pulp at a downward angle until it is fully immersed.  Swish the deckle from side to side and back and forth, agitating and evenly dispersing the pulp in the water.  Holding the deckle level with the floor, raise it out of the pulp and let the water drain.  The pulp fibers that remain in the deckle are about to become your first sheet of paper!  Practice will make the amount of pulp in the deckle more (thicker paper) or less (thinner paper).

Set the deckle on a baking sheet with sides and gently lift off the top frame.  Sprinkle the wet pulp with seeds you have selected and that will grow in your area.  Sprinkle (or place) them in the correct density for the type of seed chosen.  Now place the second screen over the pulp and seeds.  Using a sponge, gently press straight down to remove water from the paper pulp.  Wring out your sponge often.  When the second screen is sticking nicely to the pulp, turn the deckle over and sponge again, this time upon the screen attached to the deckle, until you cannot remove any more water.  Try lifting the bottom of the deckle to see if your sheet of paper sticks to the deckle.  You want it to transfer to the second screen.  If it does not, flip again and sponge some more.

Once the sheet of paper is off the deckle, you can remove even more water from it by placing it between two absorbent sheets of paper called couching sheets.  If you do not have couching sheets, children’s white/light colored construction paper works okay.  Place the couching sheet atop the handmade paper still on the second screen and, using a pressing bar (anything flat, like a piece of 2X4) firmly press and smooth the sheet.  The handmade paper should lift off the screen and onto the couching sheet.  Place a second couching sheet on top of the handmade paper, sandwiching it between the couching sheets, and use the pressing bar again.  Remove the couching sheets.  Your paper is now ready to be dried.  If you want your sheets to dry flat, you can layer them between sheets of waxed paper and place them under old books or stacks of telephone directories; otherwise, lay them on a tablecloth and let them dry naturally.  (Note:  When disposing of your leftover paper pulp and water, do not pour it down the drain or toilet.  Strain the pulp out of the water and dispose of it in the trash, and use the water to water your outdoor plants, or your plantable paper if you plant it immediately.)

On Imbolc, during your celebration and ceremony, dedicate the sheets to the fae by asking for their blessing while passing the handmade papers through flame (bonfire or candle) and smoke (incense).  Here is an example of a blessing you may use, although it is always best to write your own or speak from the heart:

Imbolc Faerie Blessing
by Kat Cranston

Come hither now, Good Folk,

Nature’s first children, faeries free.

Guardians of all growing things,

Hear what I would ask of thee:

Elves of the Earth,

See that the soil is ready for birth.

Sylphs of the Air,

See that the winds blow gentle and fair.

Dragons of the Fire,

See that the days grow warm and drier.

Naiads of the Water,

See that the rains do softly nurture.

Go hither now, Good Folk,

Nature’s first children, faeries free.

Guardians of all growing things,

Do what I have asked of thee.

Then, as soon as the ground thaws or when it is time to plant the seeds you selected, place the dedicated paper at the correct depth into Mother Earth (which includes potting soil in containers, so it’s possible to do this on Imbolc!) and wait for the miracle of life to begin once again.  Know the fae will watch over the seedlings and that you have made a healthy contribution to the turning of the Wheel.

Paper Whites:

I don’t know about you, but when I lived in New England, by this time of year I was desperate to see signs of life.  I satisfied this need by “forcing” paper white bulbs.  Not only do they smell wonderful, but also their beautiful flowers are white, one of the colors of Imbolc.  In addition, my house faeries adore them.

On Imbolc, during your celebration and ceremony, dedicate your paper white bulbs to the fae by asking for their blessing while carefully passing the bulbs through flame (bonfire or candle) and smoke (incense).  Here is an example you may use, although it is best to speak from the heart or write your own blessing:

Paper White Blessing

By Kat Cranston

Little paper white

With your face so bright

Shinning like a light

After the long dark night

Little paper white

At your scent and sight

Passion will ignite

In every faerie knight

Little paper white

The faeries nearly fight

To cling to you so tight

In rapturous delight

Little paper white

The heart of every sprite

It is my wish to invite

To join with yours tonight

You will need a container that does not have any drainage holes and that is about 3” to 4” deep.  Shallow casseroles work well, as do ceramic dog dishes.  Fill the container with about 1” to 1 ½” of small stones or marbles; do not use anything else, like earth or sand.

Place as many bulbs as you can squeeze in (the more the merrier) with their tips pointing up (their bottoms will look like the bottom of an onion) on top of the stones.  Add another ½” to 1” of small stones or marbles on top of the bulbs to help keep them in place.  Don’t cover the tips; only cover about 2/3rds of each bulb.

Add enough water to cover the root area of the bulbs.  More than that and your bulbs will rot; less and the roots won’t begin to grow.  Maintain the water level (don’t do as I have done and forget to check their water!).

The bulbs don’t need any sun at this point, but when there is 1” to 2” of growth, try this trick to keep your paper whites from getting leggy and falling over.  If you don’t want to try this trick, tie a soft ribbon or yarn around the mass of stems when they start to fall over and insert a small stick to give them some support.  Pour off the water and feed your paper whites a mixture of water and hard liquor (i.e., vodka, not beer or wine).  It will reduce their height, but won’t reduce their bloom size.

To figure out the correct ratio, use the following table compiled from About.com, which shows alcohol proof converted into alcohol percentage and how much water to use with that strength of alcohol:

Proof Equivalent Water Alcohol
20 10% Use 1 Part Use 1 Part
30 15% Use 2 Parts Use 1 Part
40 20% Use 3 Parts Use 1 Part
50 25% Use 4 Parts Use 1 Part
60 30% Use 5 Parts Use 1 Part
70 35% Use 6 Parts Use 1 Part
80 40% Use 7 Parts Use 1 Part

You can now move your paper whites into a sunny location, but don’t let them get hot.  When the blooms appear, move them back into a cooler, shadier part of the house to help them last longer.

If you don’t have fae living with you now, this may be just the thing to attract them!  However, be prepared for small, bright and shiny items to go temporarily missing and to find oddments you’ve never seen before hiding amongst the dust bunnies (who may suddenly become very militant!).  Living with the fae is simultaneously meddlesome, loving, annoying, instructional, vexing and entertaining—and worth every minute!

    Bibliography and Works Cited/Recommended Reading:

“Paperwhites – Using Alcohol to Keep Paperwhites from Falling Over,” http://gardening.about.com/od/forcingandprechilling/qt/PaperWhites_Alc.htm

Faeries, Elves, & Other Kin

Kathryn Cranston December, 2009

The Faeries of Winter

Winter fairy   colored by kir tat Faeries, Elves, & Other Kin

For those of us in the Northern Hemisphere, the month of December is chilly and cold, if not downright frozen and filled with ice and snow.  Yuletide and the Winter Solstice is usually not a time when most people are thinking of the fae, yet even on the longest night of the year, they are still all around us, carrying out their ancient duties.

It is easy to see Jack Frost hard at work, creating delicate crystalline patterns on windows and biting exposed noses and fingertips.  A true winter faerie seen at no other time, he travels between the hemispheres on the back of the chilliest gusts of air as Old Man Winter.  In Russia, he is Father Frost, a veritable blacksmith able to forge great swaths of frozen tundra by welding together water and earth.  Travelers had best take care to avoid his icy and deadly embrace.

Let us not forget his feminine counterparts.  The Snow Queen, a Danish faerie, brings the winter snow and lives in a cold, white palace; to embrace her is to embrace death.  Childless and beautiful, she is always on the lookout to snatch away a child whose absence will go unnoticed.  The Germanic hag faerie Frau Holda and the Teutonic hag faerie Frau Holle make snow by shaking the feathers from their feather bed and quilt, respectively.  On Yuletide, Frau Holda rides across the sky in her chariot carrying her sickle to assure an auspicious harvest and bringing blessings to the newborn and dying during winter.  Sometimes she will throw gold coins down to the deserving below.  These ancient “hags” eventually became the current day Mother Goose.

Of course, we all recognize the “right jolly old elf,” Santa Claus, whose “big, round belly…shook when he laughed like a bowl full of jelly.”  Like many Germanic traditions adopted by Christianity, Saint Nick left behind him a host of kindred.  There is the Swedish jultomte, the king of the house faeries.  He delivers Yuletide presents and receives Yuletide pudding in payment for good behavior in the coming year.  In Iceland, there is the julbuk, a horned faerie dressed in furs who is part goat and who visits homes at Yule.  He will leave peacefully if he is well fed; if not, he will rot the stored grain and spill the stored beer.  The Norwegian julenisse is another house faerie, one who looks like a little old man dressed in red with a red cap.  He makes his abode under the stairs or in dark, unused corners, and creeps out at night to eat leftover porridge left for him by the household children.  He is also a bringer of Yuletide gifts.

The Celts brought evergreen trees into the home not only because the Druids venerated the tree, but also because the tree symbolized the eternal aspect of the Goddess that never dies.  They decorated the tree with items meant to manifest blessings in the year to come:  charms for love, fruit for a good harvest, nuts for fertility, coins for wealth, and candles to lure back the sun.  We recognize this custom today as decorating a “Christmas tree.”  Scandinavians took this idea a step further.  They brought evergreen trees and greenery into their homes so the forest elementals (such as hamadryads) could use them to enjoy the warmth of the hearth and find rest from the weary cold.  This also afforded the woodland faeries the opportunity to join in the Yuletide festivities.

For reading to young children on Yuletide, I highly recommend D.J. Conway’s “The Yule Faeries,” a story reprinted and quoted often around the web as “author unknown.”  With the central theme being the rebirth of the baby Sun King, it is “a must” for pagan parents, and the book in which it appears is appropriately categorized as “juvenile fiction.”

If you want to work with a flower faerie during the winter, one is available:  the lily.  This flower faerie will connect you to the mysteries of new birth and beginnings, and will help in the development of purity and humility.  You can bring a lily, which grows from a bulb, indoors as a potted plant, and some can even be “forced.” A good choice would be Lilium “Bright Diamond,” a hybrid lily with pure white up-facing flowers.  Warning:  Many varieties of lily are toxic to cats.

So, as your Yule log is blazing away merrily in your hearth this Yuletide, spare a thought for the faeries and invite them in with a sprig of holly or a golden bough of mistletoe to share in the light and fun.  Some faeries will flock to southern locales (like some Canadians I know) and others will snooze away the winter dark.  However, as long as Mother Earth never ceases in her course, there will always be fae out and about, guarding the spirit of Nature and ensuring the continuation of Her courtly dance of life and death as the Wheel of Life turns.

    Bibliography and Works Cited/Recommended Reading:
  • Andrews, Ted, “Enchantment of the Faerie Realm: Communicate with Nature Spirits & Elementals,” Llewellyn Publications (2002)
  • Franklin, Anna, “The Illustrated Encyclopedia of Fairies,” Paper Tiger (2002)
  • McCoy, Edain, “A Witch’s Guide to Faery Folk: Reclaiming Our Working Relationship with Invisible Helpers,” Llewellyn Publications (2002)
  • McCoy, Edain, “Sabbats: A Witch’s Approach to Living the Old Ways,” Llewellyn Publications (2002)
  • Moorey, Teresa, “The Fairy Bible,” Sterling Publishing Co. (2008)

Faeries, Elves, & Other Kin

Kathryn Cranston November, 2009

Do You Take Your Faeries With or Without Wings?

Not very long ago, a new reader of my blog wrote me the following:

I have to say that whenever I come across a word that is new to me, such as “Faerie”, I immediately “iconoclast” the current definition I have for it out of respect (which would be in my mind a faerie is “a feminine sprite of metaphysical quality, mischievious [sic] and clad somewhat in pink” with alternate spelling)…

“Clad somewhat in pink.”  That description gave me a good giggle, but he left out wings.  What do you think about faeries with wings?  Are faeries with wings a valid archetype?  If you read book reviews, you’ll find quite a few people think faeries with wings are just so much fluff and aren’t to be taken seriously.  We’ve all heard the derogatory term “fluffy bunnies.” Must we now deal with “fluffy faeries,” too?

People all over the world, since time immemorial, have experienced the fae.  What these beings looked like and how they acted may have varied from culture to culture, but one thing was consistent until the Victorian era:  None possessed wings.  Angels had bird-like wings and demons had bat-like wings, but there were no beings with petal-, leaf-, bee-, moth-, butterfly- or dragonfly-like wings.

So how and why did faeries with wings pop into existence?  Moreover, why are they still flitting about?

In order to answer these questions, let us look back into history and examine the origins of the fae.

Some hypothesize faeries were originally pagan deities (such as the Tuatha De Danann, who were human in appearance and had no wings).  Another theory is that faeries were the souls of the dead (who were, naturally, thus human in appearance and had no wings).  Still others think faeries arose from folk memories of aboriginal races (who were thus also human in appearance and had no wings).  Another speculation is that faeries developed from the ancestral belief in an underworld (and why would creatures that lived underground have the need for flight or wings?).  The best theory, in my opinion, is that faeries originated as spirits of nature (and thus explained unexplainable natural phenomena and could take on any characteristic out of necessity, which includes wings, but didn’t until something required them).

What humans fear or do not understand, they strive to explain as best they can.  Just as the Sumerians, Egyptians, Greeks and Romans had gods, goddesses, heroes and monsters to explain everything from lightning and ocean tempests to why spring always follows winter and how the sun returns each morning; all civilizations have to deal with these same problems and questions.  Why should faeries not be responsible for or play a role in some of life’s difficulties and wonders?  In pre-Victorian ages, European peasantry blamed the fae for many natural “disasters” or else sought them out for their magical powers or abilities.

  • If the milk soured, it wasn’t because someone let the milk get too warm and bacteria started to grow.  No, clearly a boggart was at fault.  Boggarts are dark and hairy, with long yellow teeth.  Boggarts, please note, have no wings.
  • If the bride or groom goes missing before their wedding, it wasn’t because they eloped or one of them changed their mind.  ‘Twas trows who stole one or both of them away.  Trows are squat, misshapen and dress in grey.  Trows do not have wings.
  • If you find yourself lost in familiar territory, it can’t be because you had a wee bit too much to drink or the fog is especially dense and the moon dark.  Why not blame the pixies; you were “pixie-led,” for sure.  Pixies dress all in green and are little, with red hair, pointed ears, turned up noses and short faces.  Alas, pixies do not have wings, either.
  • If your child disappears while playing on the shore of the local lake, you can’t believe it was simply because they fell into the water, and being unable to swim, sadly drowned.  No, a kelpie carried off your wee bairn.  Kelpies appear as harmless grey horses, but once a rider is upon its back, the kelpie runs into the water, where it drowns and eats the rider.  Kelpies are wingless, too.
  • When things are going well and times are easy, it isn’t simply because the weather has been perfect, no armies have plundered your village or farm, no virulent pestilence has ravaged the land, or you’re head-over-heels in love.  Luckily, a brownie has moved into your home and farm to assist in cleaning and tidying up, threshing the grain and churning the milk.  Brownies are small, shaggy-haired and ugly, with flat faces, wrinkled skin, pinhole nostrils, and short brown curly hair (though appearance varies from place to place).  What they all have in common, though, is no wings, no wings at all.

Throughout time, culture and literature, we find wingless fae beings.  Greek heroes took nymphs as faerie wives.  Australian aboriginals say a being called Kutchi appeared as whirls of dust.  In Europe, dust whirls are the sign of a marching faerie army, while in the Middle East, the Djinn were the very dust storms themselves.  The Greeks did have Pegasus and Nike, and the Romans had Cupid, but these were individuals, not an entire winged species.  There are some notable exceptions:  The first is griffins and harpies.  Hesiod describes harpies as bird-women and thus neither of these “monsters” fit into this article’s definition of winged fae, both having feathers like angels.  The second is dragons and gargoyles.  Having leathery wings like bats, these “monsters” also do not fit into this article’s definition of winged fae.  For the greater part, fae entities were anthropomorphic or bestial and got along very well without gossamer wings or fluttering about.

It is my contention that the universal lack of fae with wings until the Victorian age was because there was no need for them, no role for them to play, nothing for their presence to explain.  If we assume these fae have always been here, have people been too busy surviving to notice them or even know of their existence?  If we assume these fae have not always existed, why did people start to see and believe in them?  What happened?

The industrial revolution is what happened, beginning in the late 1700s and culminating by the mid-1800s.  The industrial revolution created the middle class, where before there were just two classes:  the very rich (who had lots of leisure time) and everybody else (who had no leisure time).

With the development of the middle class came a completely new set of conventions and pastimes, a completely new set of freedoms and restrictions, a result of not only a shift in wealth, but also a shift in leisure time.  Whereas fairy tales had once been titillating, salacious and rather bloody amusements for the rich, they were now nicely sanitized morality tales suitable for children, thanks largely to the efforts of the Grimm brothers.  Fairy tales still didn’t contain faeries with wings, but fairy tales and faeries had been firmly relegated to the nursery.

The industrial revolution also sparked an interest in nature as a hobby in the middle class during the Victorian era (1837-1901).  We see this in the elaborate language of flowers developed during this time, as well as the move from the unstructured cottage flower garden to the highly structured formal flower gardens that France and England still enjoy today.

In depicting faeries as spirits of nature (my favorite theory for the origin of faeries), Victorian artists melded together these two enormous social changes.  Faeries began to take on the features of the children, flowers and insects found in the nursery and the formal garden.

We first begin to see a shift in how faeries are viewed when Thomas Croker (1789-1854) describes elves as being “a few inches high, airy and almost transparent in body; so delicate in their form that a dew drop, when they chance to dance on it, trembles, indeed, but never breaks.”  He is a herald for the Victorian era which is about to flower.

In 1904, J.M. Barrie’s play, Peter Pan, or the Boy Who Wouldn’t Grow Up, appears on the stage and is followed-up in novelized form in 1911.  In the novel, Barrie (1860-1937) describes Tinker Bell thus:

It was not really a light; it made this light by flashing about so quickly, but when it came to rest for a second you saw it was a fairy, no longer than your hand, but still growing. It was a girl called Tinker Bell exquisitely gowned in a skeleton leaf, cut low and square, through which her figure could be seen to the best advantage.  She was slightly inclined to embonpoint [be voluptuous].

‘O Tink, did you drink it to save me?’

‘Yes.’

‘But why, Tink?’

Her wings [emphasis added] would scarcely carry her now, but in reply she alighted on his shoulder and gave his chin a loving bite.  She whispered in his ear ‘You silly ass’; and then, tottering to her chamber, lay down on the bed.

Around the same time,

    • Art

  • hur Rackham (1867-1939) began doing black and white line drawings for Faerie Tales of the Brothers Grimm and Gulliver’s Travels (1900), and color plates for Rip Van Winkle and Peter Pan in Kensington Gardens (1905 and 1906, respectively).  In 1908, he did 40 color plates and 34 line drawings for Shakespeare’s A Midsummer Night’s Dream.  Despite the fact that there is not a single reference to winged faeries in either Rip Van Winkle, Peter Pan in Kensington Gardens, or A Midsummer Night’s Dream, Rackham created captivating illustrations of winged faeries.  Nearly all of Rackham’s winged faeries were beautifully and delicate, even the ones which were insect-like, all spindly and bug-eyed.  He combined his exceptionally detailed butterfly and dragonfly wings with classically flowing gowns and fabrics to create a delightful sense of fluidity and movement.  His faeries conveyed a sense of graceful fun, and his illustrations are still popular today.

    While other artists of the time contributed to the image of the winged fae, such as Richard Dadd (1817-1886), John Fitzgerald (1819-1906), Richard Doyle (1824-1883), Lancelot Speed (1860-1931), Warwick Goble (1862–1943), and Edmund Dulac (1882-1953), Rackham’s work forms the basis for much of the winged faerie art of today.  What all of these artists had in common, however, was the ability to imbue their fae subjects with that special quality that imparts the magic and glamour inherent in these child-like faeries.  These tiny, winged fae restore and nourish the sense of wonder and suspension of disbelief we entertained as children.  They help us feel playful and happy, and as Martha Stuart would say, “That’s a good thing.”

    For me, no better archetypes than the fae exist that so clearly personify the natural elements and potential of our world and our existence, helping us to understand the cycle of birth, sex, fertility and death.  Wherever there is light, there must dark be also.  In the world of the fae, this rule holds just as true as it does in ours.  Although the graceful little Victorian sprites whose wings shimmer and sparkle, who dance and flutter among the flowers, may be relative newcomers to the scene, their coquettish charm is just as vital to our understanding and appreciation of the ongoing cycle of life as are the more ancient (and rather scary) archetypes.

    I’ll take my faeries just as they come, with wings or without.  It’s all good.

      Bibliography and Works Cited/Recommended Reading:
      Barrie, J.M., Peter and Wendy, EBook #26654, The Project Gutenberg, 2008 (www.gutenberg.org)
      Briggs, Katharine, An Encyclopedia of Faeries, Pantheon , 1976
      Croker, Thomas Crofton, Faerie Legends and Traditions of the South of Ireland, The New Series (Two Volumes in One), Printed for John Murray, London, 1914
      Franklin, Anna, The Illustrated Encyclopedia of Faeries, Paper Tiger, 2004

    How Did Faeries Get Their Wings?,”

    • Art

  • Passions Website, 2009

      The Encyclopeadia Britannica, Eleventh Edition, Volume X, The Encyclopeadia Britannica Co., 1910

    Faeries, Elves, & Other Kin

    Kathryn Cranston October, 2009

    Fairies and the Wild Hunt

    There are many versions of the Wild Hunt, most originating among the Germanic peoples.  While the Scandinavian traditions and medieval stories of Woden, Berchta, Odin or others leading the Wild Hunt are of inestimable worth, for the purposes of this article I am going to concentrate on legends and ballads in which the hunters are from the realm of fairy.

    In both Germanic and Celtic pagan belief systems, the souls of the dead are gathered up by the Wild Hunt in November.  For the Celtic peoples, this coincided with the appearance of the Pleiades.  In modern times, we celebrate this time of year as All Hallow’s Eve, All Hallows, Hallow E’en, Halloween, Last Harvest, Blood Harvest, Ancestor Night, or Feast of the Dead.  In Welsh, the night is Nos Calan Gaeaf and in Gaelic, it is Samhain.

    At Samhain, the veil between the realm of fairy and the human realm, between the land of the dead and the living, thins and travel between the two becomes much easier, which greatly facilitates rescue or recovery of those stolen by the fae.  Three Scottish magical ballads have survived from the 13th century to instruct us in the dangers and rewards of performing such actions:  Tam Lin, Sir Orfeo, and Thomas the Rhymer.

    I first heard the ballad Tam Lin, as sung by the lovely Maddy Prior of Steeleye Span, in 1975.  Since then, I have discovered many versions of the ballad, some nearly identical and some just barely recognizable with many somewhere in between.  However, when you take the time to compile a few of the different versions of the ballad, a cohesive story emerges (I will use the Steeleye Span version for illustrative purposes because of its simplicity of language):

    The opening stanza expressly forbids virgin females of noble birth to enter Carterhaugh, an ancient forest, because of the forest’s guardian, an elven knight named Tam Lin.  This guardian is known to demand a fee for intruding in the forest, particularly the young woman’s green cloak (green being the color of fairy, the color of the forest and camouflage, and also the color of fertility, and cloaks being the most highly prized article of clothing as well as an indicator of status).  Fail to pay the knight’s toll and he will take the young woman’s maidenhood instead.

    Oh, I forbid you maidens all
    That wear gold in your hair.
    To come or go by Carterhaugh
    For young Tam Lin is there.

    If you go by Carterhaugh
    You must leave him a wad.
    Either your rings or green mantle
    Or else your maidenhead.

    Despite the clear warning, the hero of the ballad, young Janet, dresses seductively and hurries off into the wood.  As soon as she plucks a rose (an easily identified symbol of romantic love), Tam Lin appears, as if summoned by magic.  He lays claim to the forest and challenges her right to be there without his permission.  Janet immediately lays claim to the forest for herself or on behalf of her father, and refuses to request his permission.  Since Janet has not paid the fee nor gained permission, Tam Lin takes her maidenhood.  There is much debate over where or not the sex was consensual.  Given Janet’s seductive and aggressive attitude, and her outright defiance of the warning, along with her subsequent actions, I have to conclude she must have anticipated, perhaps even sought, the outcome.

    She’s away o’er gravel green
    And o’er the gravel brown.
    She’s away to Carterhaugh
    To flower herself a gown.

    She had not pulled a rosy rose
    A rose but barely one.
    When by came this brisk young man
    Says, Lady let alone.

    How dare you pull my rose, madam?
    How dare you break my tree?
    How dare you come to Carterhaugh
    Without the leave of me?

    Well may I pull the rose, she said
    Well may I break the tree.
    For Carterhaugh is my father’s
    I’ll ask no leave of thee.

    He’s taken her by the milk-white hand
    And there he’s laid her down.
    And there he asked no leave of her
    As she lay on the ground.

    Janet’s next words kick off the magical elements of the ballad, for Janet asks Tam Lin to tell her the truth about his origins.  Not only does she gain personal information about Tam Lin (which is essential to working magic), this is a break in Tam Lin’s cycle as the forest guardian.  Janet is the first person to express concern and interest in him, and indeed Janet is not content to be a Leannain Sith, or fairy leman, for she is in love with Tam Lin (as evidenced by her seductive dress, her fearlessness, the pulling of the rose, her challenge, and her willing sexual participation).  As it turns out, however, Tam Lin is not an elven knight.  He is a human male enchanted by the Fairy Queen, living in the fairy realm and acting under her compulsion.

    Oh tell me, tell me, then she said
    Oh tell me who art thee.
    My name it is Tam Lin, he said
    And this is my story.

    As it fell out upon a day
    A-hunting I did ride.
    There came a wind out of the north
    And pulled at me betide.

    And drowsy, drowsy as I was
    The sleep upon me fell.
    The Queen of Fairies she was there
    And took me to herself.

    He tells Janet he fears the Fairy Queen plans to sacrifice him to pay her “tithe to Hell,” which must be paid every seven years.  He then instructs Janet in the methods necessary to free him from his doom, which can only she can do at a crossroad on Samhain when the fairy host rides forth on the Wild Hunt.  In medieval ages, the number seven appears quite frequently as a length of servitude or penalty.  The number may have been an important blending of pagan and Christian values:  the four seasons, four directions, or four elements combined with the Christian trinity.  By the 12th century, the Church was firmly entrenched in Scotland, but at least the extensive collection of saints contained a great many Gaels.  Thus, while the pagan beliefs and superstitions persisted, Christian ideas crept in inevitably, such as hell.  One could argue that fairies, being either immortal or so long-lived as to seem to be immortal, maintain their status through the transformative enactment of the death portion of the Wheel of Life.  By sacrificing one life every seven years, which life will return to the beginning of the Wheel, the rest of the fairy realm continues untouched.  Combining this argument with the knowledge that fairies are underground inhabitants, or “underworld” creatures, but not of the Christian creed and thus not inhabitants of Hell itself, it is easy to see how Christianity could twist the Fairy Queen into a position of debt to Satan in this ballad.

    At the end of every seven years
    They pay a tithe to hell.
    And I’m so fair and full of flesh
    I’m feared ’twill be myself.

    Tonight it is good Halloween
    The fairy court will ride.
    And if you would your true love win
    At Miles Cross, you must bide.

    There is much disagreement among the various versions as to timing, but nearly all of the other ballads have Janet confronted by her family about her pregnancy.  What is most interesting about these segments is Janet’s refusal to name the father as someone in her father’s court or household, hinting that the father is unearthly.  With one exception, the confrontations are mild and the family does not act very concerned; nor does Janet herself.  In the one exception, a female relative counsels her to abort the child, and she does indeed return to the wood to pull the necessary herb.  However, it appears she does this only to get Tam Lin’s attention (as she did when she pulled the rose), at which point she questions his origins and the tale continues from there.

    Janet hides at the crossroads of Miles Cross to await the passing of the fairy host on Samhain.  I cannot stress the importance of the crossroads enough. Crossroads and stiles draw or call to the dead on Samhain.  Crossroads are thresholds where worlds meet and are symbols of choice.  They are also sacred to ancient gods and goddesses, such as the Goddess Hecate, and many crossroads had small shrines to which passing travelers could make propitiatory offerings.  Janet also consecrates the crossroads deosil (albeit with holy water, another instance of Christian influence), enhancing the protection of the sacred space.  She lets pass the higher levels of fairy society until she sees Tam Lin riding a white horse (for purity), marked with a gold star on his forehead (as the ritual sacrifice).  She pulls him down and wraps her arms tightly around him as he had instructed her previously.

    Gloomy was the night
    And eerie was the way.
    This Lady in her green mantle
    To Miles Cross she did go.

    With the holy water in her hand
    She cast the compass round.
    At twelve o’clock the fairy court
    Came riding o’er the mound.

    First came by the black steed
    And then came by the brown.
    Then Tam Lin on the milk-white steed
    With a gold star in his crown.

    She’s pulled him down into her arms
    And let the bridle fall.
    The Queen of Fairies she cried out
    Young Tam Lin is awa’.

    Janet defiantly holds onto Tam Lin as the fairies turn him into forms designed to either frighten Janet or physically harm her.  In the final transformation, he is “a naked man” (is reborn as naked as a baby back into the mortal realm) and Janet hides him away in her camouflaging and fertile green cloak.  The significance of the “green mantle” from the second stanza now takes on even greater meaning.  Through action and will, i.e., magic (not prayer or priests, i.e., religion), Janet has won Tam Lin away from the Queen of Fairies.

    They’ve shaped him in her arms
    An adder or a snake.
    She’s held him fast and feared him not
    To be her earthly mate.

    They’ve shaped him in her arms again
    Fire burning bold.
    She’s held him fast and feared him not
    Till he was iron cold.

    They’ve shaped him in her arms
    To a wood black dog so wild.
    She’s held him fast and feared him not
    The father of her child.

    They’ve shaped him in her arms at last
    Into a naked man.
    She’s wrapped him in the green mantle
    And knew that she had him won.

    This turn of events is not at all to the Queen of Fairy’s’ liking and she flings a series of curses at Tam Lin as she departs.  The first is that she would have given him a heart of stone so that he could never have loved (or been loved in return).  The second is that she would have given him eyes of wood so he would no longer have fairy sight (once granted fairy sight, it must be revoked before leaving the realm, or else one can spy on the fairies).  The third and last is that she would have sacrificed him earlier…if only she had known what was going to happen.  Her curses, however, are ineffectual and she has been bested.

    The Queen of Fairies she cried out
    Young Tam Lin is awa’.

    Had I known, had I known, Tam Lin
    Long before, Long before you came from home.
    Had I known, I would have taken out your heart
    And put in a heart of stone.

    Had I known, had I known, Tam Lin
    That a Lady, a Lady would steal thee.
    Had I known, I would have taken out your eyes
    And put in two from a tree.

    Had I known, had I known, Tam Lin
    That I would lose, that I would lose the day.
    Had I known, I would have paid my tithe to hell
    Before you’d been won away.

    This analysis is but a small sampling of the wonderful symbolism and lessons that await us within the magical fairy ballads of old.  I am not alone in my admiration of the creativity of our ancestors in preserving their beliefs and customs through oral tradition; http://tam-lin.org/ is one website dedicated to the collection and study of the ballad of Tam Lin.

    Bibliography and Works Cited/Recommended Reading:

    W. Macneil Dixon, Thomas the Rhymer, James MacLehose and Sons, Glasglow (1911)

    Edward E. Hunt, Sir Orfeo, The University Press, Cambridge (1909)

    Carl Lindahl, John McNamara, John Lindow (eds.), Medieval Folklore: A Guide to Myths, Legends, Tales, Beliefs, and Customs, Oxford University Press (2002)

    Paul B. Newman, Daily Life in the Middle Ages, McFarland (2001)

    Steeleye Span, Tonight’s the Night, Shanachie Entertainment Corp. (1992)

    Steeleye Span, Spanning the Years, EMI (1995)

    R.J. Stewart, Robert Kirk:  Walker Between the Worlds, R.J. Stewart (2007)

    R.J. Stewart, The Underworld Initiation:  A Journey Towards Psychic Transformation, Mercury Publishing (1998)

    Faeries, Elves, & Other Kin

    Administrator September, 2009

    Your Own Faery Garden

    Faeries aren’t as cute and innocent as authors like Shakespeare has made them
    out to be. Granted, there are good faeries but with the good, you always have
    to expect the dark side :o ) If you believe and love faeries, then you may
    want to attract them into your home at times other than Midsummer.  A good
    way to attract faeries to you is to give them their own little garden.  It
    doesn’t have to be elaborate (keep in mind they don’t like metals, iron,
    etc.). As a matter of fact, a small container garden would do just fine.
    Here’s a list of flowers that are said to attract them and why.

    Foxglove - Name is derived from “Little Folks’ Glove”. They use the blossoms
    for hats and boots
    Campanile-they use for drinking vessels
    Bleeding Hearts – they use to store faerie dust and other treasures
    Tulips – are used as cradles for their young
    Monkshood-are worn as helmets by faerie guards and knights
    Lily of the Valley – it said their little bells rings when faeries are
    singing
    Ferns-make excellent privacy screens
    Moss and thyme are favorites for bedding material.
    Primroses–make the invisible visible. Eating them lets you see faeries. If
    one touches a faerie rock with the correct number of primroses in a posy, the
    way to faerieland and faerie gifts is made clear. The wrong number means
    certain doom.
    Ragwort-used as makeshift horses by the faerie.

    Wild Thyme-part of a recipe for a brew to make one see the faeries. The tops
    of the Wild Thyme must be gathered near the side of a faerie hill.
    Cowslips-these are loved and protected by the faeries. They help one to find
    hidden faerie gold.
    Pansies-the flower that was used as a love potion by Oberon, a faerie king
    thought to have been invented by Shakespeare.
    Bluebell-one who hears a bluebell ring will soon die. A field of bluebells
    is especially dangerous, as it is intricately interwoven with faerie
    enchantments.
    Clover-a four-leafed one may be used to break a faerie spell.
    Hazel-Celtic legend says it is the receptacle of knowledge; the hazelnut is
    a symbol of fertility in England.
    Rowan-protects against bad spirits. Used in butter churns so that the butter
    would not be overlooked by faeries. Bewitched horses may be controlled by a
    rowan whip. Druids used rowan wood for fires with which they called up
    spirits whom could be forced to answer questions when rowan berries were
    spread over the flayed hides of bulls.

    Fairy Ring Mushroom-marks the boundaries of faerie rings.

    Plants and the Fae who are attracted to it:

    Basil- The Fae of the Basil help us awaken greater discipline and devotion
    Buttercup- This flower and its Faerie bring healing energies, They help us
    rediscover our self worth
    Carnation- Their energy is healing to the body, contact with them strengthens
    the aura
    Clover- The clover Faeries assist in finding love and fidelity
    Daisy- The daisy is a favorite of Dryads (wood nymphs) The Faeries help
    awaken creativity
    Gardenia- This special Faerie stimulates feelings of peace, The Fae of this
    flower are VERY protective towards children
    Heather-The Fae of this flower are drawn to humans who are shy
    Jasmine- These Fae love to invoke pleasant dreams, They have also been known
    to help develop mental clarity
    Lily- These Faeries help in the development of purity and humility
    Rose- The Faerie of the rose can help in all aspects of love and fertility
    Sage- They awaken a sense of wisdom in your life
    Snapdragon- These bring humans great protection
    Thyme- Thyme draws the wee Folk into your sleeping chambers

    Some more flowers that Fae are attracted to:

    Achillea millefolium (common yarrow)
    Aster novi-belgii (New York aster)
    Chrysanthemum maximum (shasta daisy)
    Coreopsis grandiflora/verticillata (coreopsis)
    Agastache occidentalis (western giant hyssop or horsemint)
    Lavendula dentata (French lavender)
    Rosemarinus officinalis (rosemary)
    Thymus (thyme)
    Buddleia alternifolia (fountain butterfly bush)
    Buddleia davidii (orange-eye butterfly bush, summer lilac)
    Potentilla fruitiosa (shrubby cinquefoil)
    Petunia hybrida (common garden petunia)
    Verbena (verbenas, vervains)
    Scabiosa caucasica (pincushion flowers)
    Cosmos bipinnatus (cosmos)
    Zinnia elegans (common zinnia)

    Light

    Faeries also love light so putting many bright white flowers would also
    welcome them into your little garden.

    If you want to attract water spirtes
    Incorporating the sound of water somehow (like a little fountain statue)
    would definitely make them happy. And also, pay attention :o ) Work with them,
    make them your allies. . .learn about the elemental realms and learn to work
    with energy

    Here’s a little ritual to make faerie allies:

    Air Fairy– Nature: Cloud, Storm  Elemental: Slyph

    The power of the eagle
    the power of the storm
    And the hand of valor
    Which a blade well becomes~
    Come now breath of Dana

    The air fairy is easiset to make contact with during sunset, or on a foggy or
    misty day. To connect with this ally means allowing time for cloud watching.
    The air fairy is the sculptor of the imaginary world and will
    reveal itself through the a cloud formation, in a thunder cloud or a
    glittering glimpse from the corner of the eye. To call this ally, you must go
    outside in an open space, turn 3 times in a deosil circle, each time throwing
    up a handful of glitter into the air. On the completion of the third round,
    lay down and say the chant above while looking at the clouds. The use of a
    flute or whistle will help call the slyph. They love music and vibrations.
    The whistle or flute will help you attune yourself with the air fairy. Once
    an Air ally has been found, theirs is the energy of inspiration. They will
    help free the mind by drawing you into the imaginary realm, floating you into
    unfettered territory so the mind disengages the ego, and your inner
    child can dance freely. You will know you have made an ally if you return
    from your day dream feeling refreshed and inspired. Don’t forget to ask the
    air fairy to identify themselves, providing instructions on how to further
    communicate with it. It is also important to present their realm with a gift
    (the glitter won’t work).
    I would encourage leaving a decorated feather which is to be tossed in the
    air and left behind for your new Ally.

    Faeries, Elves, & Other Kin

    Administrator August, 2009

    A Faery Myth


    The Wonderful  Tune

    Maurice Connor  was the king, and that’s no small word, of all the pipers in Munster. He could play jig and planxty without end, and Ollistrum’s March, and the Eagle’s Whistle, and the Hen’s Concert, and odd tunes of every sort and kind. But he knew one, far more surprising than the rest, which had in it the power to set every thing dead or alive dancing.

    In what way he learned it is beyond my knowledge, for he was mighty cautious about telling how he came by so wonderful a tune. At the very first note of that tune, the brogues began shaking upon the feet of all who heard it – old or young it mattered not -just as if their brogues had the ague; then the feet began going – going – going from under them, and at last up and away with them, dancing like mad ! – whisking here, there, and everywhere, like a straw in a storm – there was no halting while the music lasted !

    Not a fair, nor a wedding, nor a patron in the seven parishes round, was counted worth the speaking of with out “blind Maurice and his pipes.” His mother, poor woman, used to lead him about from one place to another, just like a dog.

    Down through Iveragh – a place that ought to be proud of itself for ‘t is Daniel O’Connell’s country – Maurice Connor and his mother were taking their rounds. Beyond all other places Iveragh is the place for stormy coast and steep mountains : as proper a spot it is as an in Ireland to get yourself drowned, or your neck broken on the land, should you prefer that. But, notwithstanding, in Ballinskellig bay there is a neat bit of ground, well fitted for diversion, and down from it, towards the water, is a clean smooth piece of strand – the dead image of a calm summer’s sea on a moonlight night, with just the curl of the small waves upon it.

    Here it was that Maurice’s music had brought from all parts a great gathering of the young men and the young women – O the darlints ! – for ’twas not every day the strand of Trafraska was stirred up by the voice of a bagpipe. The dance began; and as pretty a rinkafadda it was as ever was danced. “Brave music,” said every body, “and well done,” when Maurice stopped.

    “More power to your elbow, Maurice, and a fair wind in the bellows,” cried Paddy Dorman, a hump-backed dancing-master, who was there to keep order. ” ‘Tis a pity,” said he, ” if we ‘d let the piper run dry after such music; ‘t would be a disgrace to Iveragh, that didn’t come on it since the week of the three Sundays.” So, as well became him, for he was always a decent man, says he: “Did you drink, piper ?”

    ” I will, sir,” says Maurice, answering the question on the safe side, for you never yet knew piper or schoolmaster who refused his drink.

    “What will you drink, Maurice?” says Paddy.

    ” I’m no ways particular,” says Maurice; “I drink any thing, and give God thanks, barring raw water: but if ’tis all the same to you, mister Dorman, may be you wouldn’t lend me the loan of a glass of whiskey.”

    “I’ve no glass, Maurice,” said Paddy; ” I’ve only the bottle.”

    “Let that be no hindrance,” answered Maurice; my mouth just holds a glass to the drop; often I’ve tried it, sure.”

    So Paddy Dorman trusted him with the bottle – more fool was he; and, to his cost, he found that though Maurice’s mouth might not hold more than the glass at one time, yet, owing to the hole in his throat, it took many a filling.

    “That was no bad whiskey neither,” says Maurice, handing back the empty bottle.

    “By the holy frost, then !” says Paddy, ” ’tis but could comfort there’s in that bottle now; and ’tis your word we must take for the strength of the whiskey, for you’ve left us no sample to judge by :” and to be sure Maurice had not.

    Now I need not tell any gentleman or lady with common understanding, that if he or she was to drink an honest bottle of whiskey at one pull, it is not at all the same thing as drinking a bottle of water; and in the whole course of my life, I never knew more than five men who could do so without being overtaken by the liquor. Of these Maurice Connor was not one, though he had a stiff head enough of his own – he was fairly tipsy.

    Don’t think I blame him for it; ’tis often a good man’s case; but true is the word that says, “when liquor’s in sense is out;” and puff, at a breath, before you could say ” Lord, save us!” out he blasted his wonderful tune.

    ‘Twas really then beyond all belief or telling the dancing. Maurice himself could not keep quiet; staggering now on one leg, now on the other, and rolling about like a ship in a cross sea, trying to humour the tune. There was his mother too, moving her old bones as light as the youngest girl of them all: but her dancing, no, nor the dancing of all the rest, is not worthy the speaking about to the work that was going on down upon the strand.

    Every inch of it covered with all manner of fish jumping and plunging about to the music, and every moment more and more would tumble in out of the water, charmed by the wonderful tune. Crabs of monstrous size spun round and round on one claw with the nimbleness of a dancing-master, and twirled and tossed their other claws about like limbs that did not belong to them. It was a sight surprising to behold.

    But perhaps you may have heard of father Florence Conry, a Franciscan friar, and a great Irish poet; bolg an dana, as they used to call him – a wallet of poems. If you have not, he was as pleasant a man as one would wish to drink with of a hot summer’s day; and he has rhymed out all about the dancing fishes so neatly, that it would be a thousand pities not to give you his verses ; so here’s my hand at an upset of them into English:

    The big seals in motion,
    Like waves of the ocean
    Or gouty feet prancing,
    Came heading the gay fish,
    Crabs, lobsters, and cray fish,
    Determined on dancing.

    The sweet sounds they follow’d,
    The gasping cod swallow’d;
    ‘T was wonderful, really !
    And turbot and flounder,
    ‘Mid fish that were rounder,
    Just caper’d as gaily.

    John-dories came tripping;
    Dull hake by their skipping
    To frisk it seem’d given;
    Bright mackrel went springing,
    like small rainbows winging
    Their flight up to heaven.

    The whiting and haddock
    Left salt water paddock
    This dance to be put in:
    Where skate with flat faces
    Edged out some odd plaices;
    But soles kept their footing.

    Sprats and herrings in powers
    Of silvery showers
    All number out-number’d.
    And great ling so lengthy
    Were there in such plenty
    The shore was encumber’d.

    The scollop and oyster
    Their two shells did roister,
    Like castanets fitting;
    While limpets moved clearly,
    And rocks very nearly
    With laughter were splitting.

    Never was such an ullabulloo in this world, before or since; ’twas as if heaven and earth were coming together; and all out of Maurice Connor’s wonderful tune !

    In the height of all these doings, what should there be dancing among the outlandish set of fishes but a beautiful young woman – as beautiful as the dawn of day.  She had a cocked hat upon her head; from under it her long green hair – just the colour of the sea – fell down behind, without hinderance to her dancing. Her teeth were like rows of pearl; her lips for all the world looked like red coral; and she had an elegant gown, as white as the foam of the wave, with little rows of purple and red sea weeds settled out upon it: for you never yet saw a lady, under the water or over the water, who had not a good notion of dressing herself out.

    Up she danced at last to Maurice, who was flinging his feet from under him as fast as hops – for nothing in this world could keep still while that tune of his was going on – and says she to him, chaunting it out with a voice as sweet as honey -

    ” I’m a Iady of honour
    Who live in the sea;
    Come down, Maurice Connor,
    And be married to me.

    “Sliver plates and gold dishes
    You shall have, and shall be
    The king of the fishes,
    When you ‘re married to me.”

    Drink was strong in Maurice’s head, and out he chaunted in return for her great civility. It is not every lady, may be, that would be after making such an offer to a blind piper; therefore ’twas only right in him to give her as good as she gave herself – so says Maurice,

    I’m obliged to you, madam :
    Off a gold dish or plate,
    If a king, and I had ‘em,
    I could dine in great state.

    With your own father’s daughter
    I’d be sure to agree;
    But to drink the salt water
    Wouldn’t do so with me ! ”

    The lady looked at him quite amazed, and swinging her head from side to side like a great scholar, “Well,” says she, ” Maurice, if you’re not a poet, where is poetry to be found?”

    In this way they kept on at it, framing high compliments; one answering the other, and their feet going with the music as fast as their tongues. All the fish kept dancing too: Maurice heard the clatter, and was afraid to stop playing lest it might be displeasing to the fish, and not knowing what so many of them may take it into their heads to do to him if they got vexed.

    Well, the lady with the green hair kept on coaxing of Maurice with soft speeches, till at last she overpersuaded him to promise to marry her, and be king over the fishes, great and small. Maurice was well fitted to be their king, if they wanted one that could make them dance; and he surely would drink, barring the salt water, with any fish of them all.

    When Maurice’s mother saw him, with that unnatural thing in the form of a green-haired lady as his guide, and he and she dancing down together so lovingly: to the water’s edge, through the thick of the fishes, she called out after him to stop and come back. “Oh then,” says she, “as if I was not widow enough before, there he is going away from me to be married to that scaly woman. And who knows but ’tis grandmother I may be to a hake or a cod – Lord help and pity me, but ’tis a mighty unnatural thing! – and may be ’tis boiling and eating my own grandchild I’ll be, with a bit of salt butter, and I not knowing it ! – Oh Maurice, Maurice, if there’s any love or nature left in you, come back to your own ould mother, who reared you like a decent Christian ! ”

    Then the poor woman began to cry and ullagoane so finely that it would do any one good to hear her.

    Maurice was not long getting to the rim of the water; there he kept playing and dancing on as if nothing was the matter, and a great thundering wave coming in towards him’ ready to swallow him up alive; but as he could not see it, he did not fear it. His mother it was who saw it plainly through the big tears that were rolling down her cheeks; and though she saw it, and her heart was aching as much as ever mother’s heart ached for a son, she kept dancing, dancing, all the time for the bare life of her. Certain it was she could not help it, for Maurice never stopped playing that wonderful tune of his.

    He only turned the bothered ear to the sound of his mother’s voice, fearing it might put him out in his steps, and all the answer be made back was – “Whisht with you, mother – sure I’m going to be king over the fishes down in the sea, and for a token of luck, and a sign that I’m alive and well, I’ll send you in, every twelvemonth on this day, a piece of burned wood to Trafraska.”

    Maurice had not the power to say a word more, for the strange lady with the green hair seeing the wave just upon them, covered him up with herself in a thing like a cloak with a big hood to it, and the wave curling over twice as high as their heads, burst upon the strand, with a rush and a roar that might be heard as far as Cape Clear.

    That day twelvemonth the piece of burned wood came ashore in Trafraska., It was a queer thing for Maurice to think of sending all the way from the bottom of the sea. A gown or a pair of shoes would have been something like a present for his poor mother; but he had said it, and he kept his word. The bit of burned wood regularly came ashore on the appointed day for as good, ay, and better than a hundred years. The day is now forgotten, and may be that is the reason why people say how Maurice Connor has stopped sending the luck-token to his mother.

    Poor woman, she did not live to get as much as one of them; for what through the loss of Maurice, and the fear of eating her own grandchildren, she died in three weeks after the dance – some say it was the fatigue that killed her, but whichever it was, Mrs. Connor was decently buried with her own people.

    Seafaring men have often heard, off the coast of Kerry, on a still night, the sound of music coming up from the water; and some, who have had good ears, could plainly distinguish Maurice Connor’s voice singing these words to his pipes: -

    Beautiful shore, with thy spreading strand,
    Thy crystal water, and diamond sand;
    Never would I have parted from thee
    But for the sake of my fair lady. [a]

    [a] This is almost a literal translation of a Rann in the well-known song of Deardra.

    Source: Thomas Crofton Croker – Fairy Legends and Traditions, first published 1825

    republished by: Collins Press, Cork, 1998.

    Faeries, Elves & Other kin

    Michele Burke June, 2009

    Faeries, Elves & Other kin: The Fae and their Origin.

    The name fairy comes from the Old French word faerie. The word faerie as we commonly know it has been hackneyed by using it to describe paranormal beings and the like. Never the less, there is an enormous amount of differentiation in categorizing a faerie from today’s modern literature and those of literature from the middle ages, particularly those of the Celtic tradition as well as from other faerie traditions such as those from  Germany, England and many Slavic countries.

    Oftentimes when one thinks about the Fae, they envision them as tiny winged creatures flittering around a glittering unearthly light in some children’s fairy tale or a Disney movie (Tinkerbelle and Thumbelina). These modern Fearies found their origins in the oral traditions, which began to be written down throughout the 18th and 20th centuries.

    Faeries can be best described as spirits. They are not divine being because they are not goddess or gods (as some of them would like us to believe,) nonetheless, they are not corporeal (mortal); and for this reason, the Fae are oftentimes, classified as minor divinities or lesser gods.

    Nevertheless, if one would for a moment consider the idea of faeries, then they would find that faery folk have been around far longer than most would have expected. According to Joe (1999),

    Perhaps the earliest form of faeries can be found loosely in the mythical beings in Greek mythology, such as the nymphs, satyrs and sileni. The nymphs from ancient Greek myths can be considered as fairies and they existed as early as the time of Homer writing the Iliad and the Odyssey. Even the river gods in Greek myths can be classified as fairies. These are spirits or minor deities of nature or of the natural phenomena. (p.1)

    Moreover, the Norse adaptations of the Fae can be seen in a vast array of dísir (“lesser female deities in the Norse religion”) (Joe, 1999) and elves that belong to the Teutonic traditions. Valkyries were also classified as faeries.

    Who are the Fae? Where do they come from?

    Many civilizations and cultures have their own adaptations of faeries. But for the sake of starting somewhere, we will begin with the Celtic tradition. In the Celtic belief there were deities in Britannia, Gaul (Belgium and France), and Hispania (Spain) throughout the time the Romans occupied these regions. However, once Christianity over took the region the situation changed. The deities that were once worshipped before the widespread adoption of Christian beliefs were condensed to the standing of faeries in Celtic folklore and mythology; The same stands true in Ireland and the gods of the Tuatha De Danann who were stripped of their titles as gods and goddess and given instead the roles of fairies or lesser gods (e.g. Lugh and Dagda).

    The early Celtic tradition of fairies, the earlier Welsh or Irish deities were not fairies in the customary sense. Their appearance was much like that of mortal man, both in shape and size, with the exception that they have magical and mysterious powers and they appeared to be forever young, save for they do not  have wings contrary to popular belief. Conversely, the Dananns were typically seen as a “race of fair people. They can die just as mortals can, but their lives could last hundreds or even thousands of years” (Joe, 1999).

    The major quandary with the way that these earlier Celtic traditions had their status lowered is in how the Christians have twisted them into beings in the service of the Devil; furthermore, Christian authors have written that faeries were in reality demons. Fortunately, this outlook is no longer shared, in our day.

    Ending on a Poetic Note

    Faery Queen of the Rainbow Realm

    Cerulean skies and raindrops form her realm.

    On her throne she sits her rainbow hued wings outspread.

    Dressed grandly in deep sky draperies, iris blossom crown her head.

    From her hand Faery archer’s dip their arrows into her shimmering light,

    Taking aim fiery arrows soar high into the stormy night, illuminating the murky sky with polychromatic rays of hope to darkened hearts.

    Promising joy and healing to come.

    ~ Michele Burke (Burke, 2008)

    Bibliography and Works Cited:

    Joe, J. (1999). Dísir. Retrieved May 18, 2009, from

    http://www.timelessmyths.com/norse/beings.html#Disir

    Joe, J. (1999). Timeless Myths. Retrieved May 19, 2009, from

    http://www.timelessmyths.com/celtic/faeries.html

    Spiritfae.com, (1999). Types of Faeries, Retrieved May 19, 2009. From

    http://spritefae.com/types.htm

    Callie’s Cavern

    Callie May, 2009

    Fairy Cross Stone

    callie1.thumbnail Callies Cavern

    There are two kinds of Fairy Cross Stones, Andalusite and Staurolite.  Andalusite has markings that resemble a cross; these stones are naturally long tubes with the cross on one or both ends.  Andalusite is oftentimes tumbled.  Staurolite resembles crosses themselves and is often found on a larger matrix.  Both stones have the same meaning and are often called Fairy Cross Stones.

    callie2.thumbnail Callies Cavern

    The name Fairy Cross Stone gives hint to the stone’s power.  These stones are thought to attract fairies and therefore they represent the four elements and their power.  They help you balance these elements.  Fairy Cross Stones also help you see past illusion.  Using the power of the fairies they attract, these stones can be a gateway to mystery, helping you understand events and dissolve illusion.  By connecting different planes it can facilitate communication between these levels of existence.  It is even believed that these stones first formed as a result of the tears the fairies cried at the crucifixion of Jesus.

    Fairy Cross Stones are also protective and healing.  They can dispel negative thoughts and feelings.  It is a very creative stone that can help transmute conflict into harmony.  With their problem solving properties, you are able to see the problem more rationally and se the various sides allowing us to remain strong.

    If you have a tendency to over work or over commit yourself, Fairy Cross Stones combat these negative personality traits.  This property also makes the stone helpful if you are trying to quit smoking.  They aid in healing the affects of these bad habits and alleviate depression and stress, even helping us understand death.

    As a good luck talisman they were used to war off ill wishes and curses, which helped overcome the feeling of going mad.  They represent devotion, change, and power.  Fairy Cross Stones tend to be a little more expensive, but their usefulness in ritual makes them an excellent addition to your collection.

    Faeries, Elves and Other Kin

    Michele Burke May, 2009

    fc06 Faeries, Elves and Other Kin

    Copyright 2008 Howard David Johnson

    Earth Faeries

    Amidst the roots, mushrooms and stones

    A gathering of undeniable elemental forces dwell

    Governing the seasons and milieu

    Presiding over the Faerie realm

    Sylphs, Undines, Gnomes and Salamanders reign

    Over the air, water, earth, and flame

    Unseen but felt, permeating the being, absorbed like a sponge

    Gathering their forces

    Bringing forth the essence and color of the seasons

    ~Michele Burke, (2009)

    Hymn of Pan

    From the forests and the highlands

    We come, We come;

    From the river girt islands,

    Where loud waves are dumb

    Listening to my sweet piping’s

    The wind in the reeds and the rushes

    The bees on the bells of thyme,

    The birds on the myrtle bushes,

    The cicale above in the lime,

    And lizards below in the grass,

    Were as silent as ever old Tmolus was

    Listening to my sweet piping’s

    The Seleni, and Sylvans, and Fauns,

    And the Nymphs of the woods and the waves,

    To the edge of the moist river lawns.

    And the brink of the dewy caves,

    And all that did then attend and follow,

    Were silent with love, as you now, Apollo,

    With envy of my sweet piping’s.

    I sang of the dancing stars,

    I sang of the Daedal earth,

    And of Heaven- and the giant wars,

    And Love and Death, and Birth!

    ~ Percy Bysshe Shelly (1792-1822)


    Bibliography and Works Cited

    Shelly, P. B. (1792-1822). Hymn of Pan. Retrieved April 22, 2009, from http://faerymists.tripod.com/fypoetry/Shelley/Shelley.htm

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