Five things we’ve learned about fairies through writing this blog

By Jade Westerman, Exhibitions Assistant at Palace Green Library

 

Our first step on the trail into the world of fairies was creating the exhibition Between Worlds: Folklore and Fairy Tales from Northern Britain. Between Worlds considered the various types of fairy folk that had existed in Northern British literature, history, and art. Our goal was to try to dispel the popular belief that fairies were pretty little creatures dancing at the bottom of the garden.

When we started this blog to run alongside the exhibition, we thought we would be prepared for all the weird and wonderful folklore and fairy facts that came our way. I’m happy to say that that was most certainly not the case…

Just as Between Worlds came to an end, so must this blog. For our final post, we thought we’d round it all up by telling you the top five fairy and folklore facts we found most interesting:

 

Folklore Fact No. 1:

Fairy_door_at_Red_Shoes_Ann_Arbor_Michigan_close-up

Photography by Dwight Burdette: close-up of fairy door at Red Shoes, 332 South Ashley, Ann Arbor, Michigan, https://commons.wikimedia.org/wiki/File:Fairy_door_at_Red_Shoes_Ann_Arbor_Michigan_close-up.JPG

Homes are a safe haven for many of us, and landscapes are sacred to fairy folk too. The consequences of trespassing on their land is dire and often deadly, depending on which stories you believe. Whether it’s from setting up camp, walking into a fairy ring, or crashing one of their parties, many unsuspecting mortals have been whisked away or had their lives threatened.

Even in Shakespeare’s A Midsummer Night’s Dream, the unsuspecting humans find themselves the play-things of the fairy king and queen, Oberon and Titania, especially after waltzing into their woodland (see Prof. David Fuller’s piece on Shakespeare’s play).

One of the most prominent examples is Thomas the Rhymer, who played a significant role in the Between Worlds exhibition. The romance between Thomas and the fairy queen is famous, with many people regularly trekking to Eldon Hills to visit the location Thomas was gifted his prophetic powers. To read more about this extraordinary story, check out Dr Victoria Flood and Poppy Holden’s posts.

 

Folklore Fact No. 2:

As folklore and fairy tales are rooted in the supernatural, it has been easy to manipulate them for one’s own purposes. Fairies have been the foundation of numerous hoaxes, including the famous Cottingley Fairies: a story of two young girls who nearly managed to convince the world of the existence of fairies.

Myths, folklore and fairy tales have always been a key tool for learning throughout history, and have often been manipulated for this purpose. One of the more surprising posts we received was on the adaptation of fairy tales by the Nazi regime. Many of the us know that there are variations of the story of Little Red Riding Hood, whether it’s the child-friendly or Brothers Grimm versions, but very few of us recollect a Nazi officer as the hero of that story. More on these sorts of tales can be read about here.

 

Folklore Fact No. 3:

Just as in our own human societies, fairy folk – both good and bad – have their own customs and etiquette too!

If you were to find yourself facing head-on with the Faerie Host, Andy Paciorek informs us that you should shout ‘God Bless you’! He also recommends throwing your left shoe at them (but if that doesn’t work, then you’re going to have to fight them with only one shoe on…).

We believe the general rule is try not to disturb them if you don’t need to. Don’t break a fairy ring if you ever come across them and, if you do want to draw a fairy in, then try using something shiny. But if you want to keep them away, then you should keep yellow flowers outside your house or have some iron objects lying around.

Read Pollyanna Jones’ eight tips on how to socialise with a fairy here.

 

Folklore Fact No. 4:

86. groach

Groac’h or Water Witch. © Andy Paciorek

The prominence of certain fairy types differs from region to region. Here in Northern Britain, we have hob goblins, fairies who abduct children and adults alike, and even fairy folk royalty (see Rosalind Kerven’s post on the ancient fairies of Northern Britain), amongst many others.fairy folk royalty (see Rosalind Kerven’s post on the ancient fairies of Northern Britain), amongst many others. But then in Scotland, there’s the Seelie and Unseelie Courts, described by author and illustrator Andy Paciorek as good and bad fairies. In County Durham itself, there’s the Water Witch, which waits by the water’s edge, luring in small children to feast on their flesh and bones.

 

800px-I_samma_ögonblick_var_hon_förvandlad_till_en_underskön_liten_älva

Illustration by Helena Nyblom for ‘The Seven Wishes’ from Among Pixies and Trolls (1913) by Alfred Smedberg, https://it.wikipedia.org/wiki/Pixie_(folletto)#/media/File:I_samma_ögonblick_var_hon_förvandlad_till_en_underskön_liten_älva.jpg

Our friends at the Museum of Magic and Witchcraft explained that Cornwall has a variety of fairies, but their most prominent is the piskie. The piskie runs rampant causing mischief and mayhem along its path. Like most fairies, in order to fend the piskies off, you need some iron. Otherwise, they’ll steal anything shiny and play tricks.

Special Collections and Archives at Cardiff University also had an folklore exhibition running at the same time as ours here at Palace Green Library. Lisa Tallis explained that they wanted to focus on the darker side of Welsh folklore, looking at demons and devils. She speaks of fairies such as the Bendith eu Mamau (Their Mothers’ Blessing), who are known to both bless favoured humans and steal new-borns from their beds.

 

Folklore Fact No. 5:

Folklore and fairy tales aren’t just a thing of the past or creativity to be inspired by the fairy and mythological folk. They still inspire people today, from writers to musicians to artists.

Many authors who have contributed to this blog are still inspired by the stories of fairy folk (the list of authors and their blogs can be viewed here). Adam Bushnell discusses in his post a few modern works that have used folklore and myth as the foundation of their narratives.

26735570_10214217378844056_232365784_o

The Brothers Gillespie performing at Palace Green Library Cafe ©Ross Wilkinson

The Brothers Gillespie performed for an audience here at Palace Green Library, playing many songs inspired by the folklore they’ve accumulated on their travels. They’re influenced not only by the likes of Nick Drake and other modern musicians but also the folk songs and fairy tales of old. Many singers today still perform the traditional folk ballads, such as one of our contributors Poppy Holden.

The enchanted atmosphere and landscapes the fairy tales create provide some  fantastic photo opportunities (read James Brown’s blog on his ventures into the fairy landscapes of Melrose, Aberfoyle, Middridge and Inglewood):

This slideshow requires JavaScript.

 

We hope you’ve all enjoyed reading this blog as much as we enjoyed putting it together! However, we couldn’t have done it without the help of all those who made some fantastic contributions:

The Cottingley Photographs: Fairies at the Bottom of the Garden

By Francesca Bihet, PhD Candidate at the University of Chichester


Foreword

The story of The Cottingley Fairies is one of the greatest fairy hoaxes of all time. The series of five photographs taken by two young girls caught the attention of a post-WWI nation. It wasn’t until 1983 when the two girls publically admitted that the photographs were fake.

Francesca Bihet explores how the Cottingley Fairies hoax  captured the imagination of a post-Victorian world devastated by war and changed the public conception of fairies forever. Read on to discover more…

Jade Westerman, Exhibitions Assistant at Palace Green Library


‘There are fairies at the bottom of our garden!

It’s not so very, very far away;

You pass the gardener’s shed and you just keep straight ahead —

I do so hope they’ve really come to stay.

There’s a little wood, with moss in it and beetles,

And a little stream that quietly runs through;

You wouldn’t think they’d dare to come merrymaking there—

Well, they do.’

Rose Fyleman, There are Fairies at the Bottom of Our Garden (1917)

BLOG IMAGE - Francesca Bihet - Cottingley Fairies

Kristian Nordestgaard, Frances and the Fairies (2011), https://www.flickr.com/photos/kristiannordestgaard/5436924953

On a summer’s afternoon in 1917 at the bottom of a Yorkshire Garden, two young girls, Frances Griffiths and Elsie Wright, were about to capture some of the most famous photographs of the 20th century. These images, claiming to have captured real fairies, were spread around the globe when Arthur Conan Doyle, author of the Sherlock Holmes novels and practising spiritualist, published them in the 1920 Christmas edition of Strand magazine. The photographs became part of a century long furore, with claim and counter claim over the veracity of the images. Much ink has been spilled over this controversy, which has not diminished with time.

However, the Cottingley images fit very easily into the cultural motif of children playing at the bottom of the garden, or just beyond the hedge boundary, with fairies. It is a regular theme in children’s books of the era.  In Rudyard Kiplings’s Puck of Pooks Hill (1906) and Rewards and Fairies (1910), Una and Dan play with Puck, the last fairy in England, who lives in an ancient barrow at the bottom of their garden. There is also E. S. Nesbit’s Five Children and It (1902), where a sand fairy grants the five siblings wishes and they have many magical adventures. Frances Hodgson Burnett’s The Secret Garden (1911), where orphan Mary Lennox opens up a forbidden garden in her uncle’s isolated mansion, is abound with references to magic and sprites. Even Cottingley’s own Elsie and Frances took their cardboard cut-out fairies from a poem, illustrated by Alfred Noyes, in the Princess Mary Gift Book (1914). In this poem, “A Spell for a Fairy”, the themes of children, fairies, nature and gardens become intrinsically intermixed.  The space at the bottom of the garden becomes a motif for wild, escapist fantasy. It is a landscape where children can run wild, just outside the dominion of their parents’ authority. It is a liminal space where children can play tricks on adults and encounter beings which invert the rules of normal time and space.

BLOG IMAGE - Francesca Bihet - Cottingley Fairies 2

Kristian Nordestgaard, Frances and the Leaping Fairy (2011), https://www.flickr.com/photos/kristiannordestgaard/5436924973

Prior to the Cottingley photographs fairies had also been a fascination for Victorian adults and a topic of serious academic pursuit. Folklorist Edwin Sidney Hartland’s The Science of Fairy Tales (1891) explores fairy mythology, claiming it had deep significance for understanding the cultural evolution of mankind. Similarly, Oxford Professor John Rhys wrote the two volume Celtic Folklore, Welsh and Manx (1901), exploring fairy-lore. For this he travelled around the Welsh countryside asking peasants if they believed in the fay folk. Civil servant and folklorist George Laurence Gomme in Ethnology of Folklore (1892) had even suggested that fairy-lore was the memory of Britain’s ancient aboriginal races clashing with invaders. For him fairylore could open-up understanding into unrecorded ancient history. Some Victorians took their fairies extremely seriously!

However, after WW1 we see a cultural shift in the position of the fairy, with the children’s miniature flower fairy taking over as the dominant cultural concept of the fairy figure. Fairies moved away from the dark folkloric creatures and became small butterfly winged creatures adorning domesticated garden flowers. Indeed, the Cottingley photographs, by tapping into such strong cultural themes, helped to shift the image of the fairy away from folklore. The Folk-Lore Society in London put up a notable wall of silence on the Cottingley photographs. Furthermore, the images looked so palpably fake they became objects of derision and due to the scale of the controversy fairies became less attractive to serious academics. Nevertheless, the transformation of miniature flower fairy became complete with the illustrations of Cicely Mary Barker and her Flower Fairies of the Spring (1923).

A moment at the bottom of a Yorkshire garden marks a watershed in the history of the fairy. For the Victorians, fairies represented a morbid fascination; they spoke of ancient beliefs, escape from encroaching scientific doubt, of industrialisation and fears of lost spirituality. As the horror of WW1 dawned and the sheer human carnage made man appear as a beast, so our ‘others’, the fairies seemed whimsical or sadly nostalgic in the face of such troubles. In this process fairies were forgotten, literally; sent out to play in the garden with the children.

 

Entry to Between Worlds: Folklore and Fairytales from Northern Britain is free; opening hours are 10am – 5pm 7 days a week until February 25 2018. For further information about your visit, please visit the Palace Green Library website at: https://www.dur.ac.uk/palace.green/whatson/details/?id=36250.