The Faerie Tradition
Transcribed from a live recording of
Please note: This lecture was transcribed
especially for SOL and the copyright is invested in Dolores Ashcroft-Nowicki,
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THE FAERIE TRADITION
Opening Lecture, Beltane 2001, at Taliaris
[Transcribed from a live recording, Annotated and edited(minimally),
by Brian Timmins]
What we are going to go into tonight, and after,
open it up for discussions, are the origins of the Fairy Folk
in Mythology, in Legend and what we might call "faction",
the sense that none of really do know where it originated, though
we know how old it is - roughly. We are going to look at the question
of what Fairies are. Are they an older branch of humanity, are
they aliens, are they from another dimension, or another order
of planetary life, are we even certain they exist? Are they truly
immortal and ever young, or are they creations of the created.
How many kinds of Fairies are there? This is liable to take us
quite a while because there are dozens I have found out. And,
we might ask ourselves, "What is the purpose of their existence?
what do fairies 'do'?" - if we are being exceptionally sceptical
- "what use are fairies?", (and they have a great many
uses), and basically the question that everybody wants to know
is - "How can we see them?". So, let us begin by looking
at the origins of Fairies.
Now we are used to seeing the
word 'Fairies' spelled as it is at the top of your programs, but
its true spelling is "Faerie" and is entirely different.
One is the true word, and one is what Victorians have made of
it, and we can blame the Victorians for quite a lot of the misconceptions
about the Faeries. Let us begin by saying there are groups of
people, particularly - where else - in America, which follow what
they term, is "The Fairy Tradition". Now, Faeries don't
have traditions they ARE. They exist. They do things their way.
To make them into this the same thing we might refer to as 'New
age shamanism', is quite wrong! It is not a religion. It is not
a faith. Faeries are, they exist, they do their own thing, they
are there as we will see, for a purpose.
Religions and traditions are
created by humans, mainly because they fear death. This is what
all religions come down to. And basically it is because all human
beings are afraid to die. They may say they are not, but everybody
is afraid to die. You may not fear it to the same extent as other
people because you know more about how to "go over",
but nobody in their right mind wants to go. We look to religion
to alleviate that fear. We look at it also as a form of a kind
of spiritual comforter, a dummy, which we can stick in our mouths
and suck on. It is a question of having a big mummy or a big daddy
out there that we can love, hate and blame. Faeries don't belong
in that area at all. So they are not part of a tradition, they
exist, they are, they have their own place.
Faeries have been on this planet,
been a part of it, almost since its beginning. They very probably,
as we will talk about later, started out as a life form, that
existed and lived, and did their own thing; but then moved on
to a different area, of time and dimension. We find them in Legend,
in Myth, in Folklore from the very earliest times.
We find for instance in ancient
Egypt and Summaria, tales and legends of other kinds of beings.
Now we forget that there are other kinds of beings, immortals,
ever-youngs, whatever you like to call them, besides the Gods.
We all know about the Gods. We know about the Greek Gods, we know
about the Egyptian Gods, we know about the Celtic Gods, we know
about the Hindu Gods and about the Shamanistic Gods. All these
Gods, and many of us can sit down and name them all. But, in all
those pantheons and mythological traditions, you will also come
across the lesser immortals, the Nymphs, the Dryads, the Oriads,
the Nixies, the Little People as they are sometimes called.
These people are mentioned, as
in passing, and people do not give them a second thought. Oh yes,
occasionally in a legend or a piece of folk-lore you might come
across Zeus having a quiet affair with a nymph, as he did with
Maia, who then produced Hermes, but you don't hear anything more
about Maia. You hear that Zeus - or Jupiter in the Roman pantheon
- was brought up and nurtured by nymphs, in a cave, surrounded
by animals. Does this sound familiar? And yet we are not told
what these nymphs were, we are only told that they were nymphs,
and that they were immortal.
It is conceivable therefore that
Faeries have been hiding in mythology, under the guise of these
immortals for as long as those immortals have been recognised
and worshipped, and probably before. If we are going to talk about
the oldest of the old, we need only go as far as two particular
immortal forms. One is Pan. You never find him mentioned amongst
the great pantheon of Olympus. But he is there. And even the Gods
will tell you in their many legends, that he is the oldest of
the old, he was here before time began. Pan is nothing more nor
less than the very spirit of nature, and nature's determination
to survive, which is why he has an always erect phallus. He is
there as a symbol of life ever going on, of eternal virility,
of nature's determination to survive at all costs. The greatest
of our instincts is a basic one - survive! Do whatever it takes
to survive. That is what Pan is all about. He is about an abundance
of life. When you have an abundance of life and energy, and you
are continually replenishing that with the very symbol of fertility,
which is the erect phallus, what do you get? You get an on-going
life that does not end. You get an immortality, you get a complete
and utter beginning-ness that never becomes latent, it never becomes
spent, never goes over into old age, and decay and death. Because
it continually renews itself like a spring that bubbles up from
the very depths of the earth. It does not stop, and as it hits
the light, it is born and it is born and it is born and it keeps
on being born.
This is the way that Faeries,
the Fair Folk, The Faerie, exist, they are in a perpetual present.
There is no past for them, there is no future, they live ultimately
and totally in a perpetual becoming-ness. This is very, very similar
to what Gurdjief tried to teach when he said "You must learn
to live in the now". Because the future hasn't begun, and
the past has gone. The only thing that matters is this moment
and this moment and this moment and if you can learn to concentrate
on that ever-becoming present, it becomes a form of immortality.
So we are here with this idea
of Pan. Now if we move to Egypt we get the idea of the elder Horus.
Something that, or someone who was there if not before then co-existent
with the creator, Atum-Ra, and the same thing is said of him.
It is after this older name sake that Isis names her son. Then
again we have many legends of whole groups, of whole tribes who
disappear, who are still there, but who have moved, they have
stepped sideways and shifted into another space-time continuum,
which sounds like science fiction and in many ways Faeries are.
When you are in this mode of ever-becoming, you don't have time
to grow old. You don't have time to grow old because you live
from second to second and each second you are re-born, you become
new all over again. Now that concept is, funnily enough, mathematically
possible, but you would have to change your way of looking, your
understanding of numbers, and your concept of time in order to
do it. You would literally need to continually travel back in
time so that you only lived in one second at a time, and you continually
lived in the same second, because that second was always being
re-born. It sounds complicated, but it is the only way in which
we can ultimately understand what Faeries are.
In the earliest times it seems
that from legends and from what we can ascertain from history,
such beings were plentiful, and gregarious - they were part and
parcel of the land. Most people could see, hear and interact with
them. It is only when humanity began to push ahead of its stated
evolutionary pattern that we began to lose touch with them, because
they stayed in their one-second-at-a-time, and we pushed on, we
wanted to know that curse of curiosity, we want to know how to
do this, we want to know how to go there, we don't want to walk,
we want to make something, what shall we make - we will make a
wheel. This is a nice sword, it is made of bronze. Aha but I have
a better sword, I made it from a piece of metal that fell out
of the sky. It's sharper, it's heavier, it lasts longer. Well
if it can make a sword, it can make a plough, it can make nails
and with nails like that we can make a better house. So we push,
and we have been continually pushing back our limits, our barriers,
our staging posts. Because of what we are, because of this driving
curiosity that humanity has within it, we have evolved far faster
than we should have, than it was estimated that we could.
Think how far we have come in
one century. When my father died in 1999 at the age of 94, he
could look back to a time when he was born, when there were no
planes, no radio and no telephones. Where maids still swept carpets
by hand, cars were very, very rare and they were still called
carriages. And yet, when he died, he had seen men walk on the
moon, he had seen computers come into being. He had sat down at
my computer and pressed buttons and was able to see a spaceship
launch on the Internet. That is an enormous amount packed into
And that is what we have done.
But in doing so we have left behind others, and they are content
to be left behind. And we have become so enamoured of what we
can do, that we no longer look at what is around us and under
our noses. We see only what is on a screen, or what is on a television,
or what is in front of us as we drive in a motor car, or look
out of the window of an aeroplane. We have forgotten to look where
we should be looking; towards those beings who are the epitome
of nature. They are nature's signature on the planet, and we have
forgotten how to see them to such an extent that we have almost
lost entirely the ability to see beyond the veil, and now it is
getting fairly rare for a full, a real, a true clairvoyant to
be born. There were some of us who had a partial ability, in those
talents, but nothing like what we should have. We have forgotten
many things that we should have remembered. One of those things
is the fair folk. We pride ourselves on being intelligent, and
yet we have forgotten how to be wise. There is a difference between
being intelligent and being wise.
n every country in the world,
from Scandinavia to South Africa, from the deserts of the Atacama
in Chile, right across the world to the deserts in the middle
east, from north to south and from east to west, we have legends
and stories and folk-lore. Of beings that are other than ourselves,
who co-exist with us on this planet. That they exist is something
that I firmly believe. I have come very close to such beings,
once and once only. I have learned to see them in a different
way. Not as the ancient folks saw them, but I have learned to
see them in the only way in which they feel they can now communicate.
Yet all over the world going back, tradition after tradition,
country after country, we find these stories of what the church
likes to call "The Little People". Let me take issue
Faeries are not always little.
They can sometimes be considerably bigger than humans. Yes there
are those amongst them who are smaller in stature. That is because
it is their nature to be so. Tolkien is the only one in latter
days who has given us a picture of what he called 'The High Elves',
as human in size, human in type and kind - warriors. Men of strength
and renown, women of great beauty and intelligence, and in doing
so he opened the eyes of a whole generation, and many generations
after, to what is possible - to such an extent that it recaptured
the imagination of those who had the imagination to capture. People
began to understand and delve into some of the old ideas, the
old stories, the old folklore and they found that there were indeed
other forms of beings, beings who were by no means tiny "Tinker
Bells". JM Barrie has got a lot to answer for.
Most of the time if you go back
in history and look at really, really early Faerie Tales - so
called - you will find that they are human in size, human in kind,
the only thing is that they do not act or live as humans. They
may be anything up to a thousand, or two thousand, or even longer,
years old; and that they never age. But they do come amongst us,
and do so even now.
One of these days I do hope that
we can tempt back to our shores, Bob Stewart who is really the
man who should be here tonight, talking to you. Because he can
bring the "feel" of Faerie into a room; a man who has
been steeped in the Faerie world, the Faerie ways, for many a
We talk of Faeries being magickal,
of having magickal powers, well so can we. We can walk into a
room and press a switch and a light comes on. Three hundred years
ago that would have got you burned at the stake. You would have
been accused of being a Faerie or a witch or whatever. Their powers,
so-called, are as real and as natural to them as ours are to us.
We can sit down and play a piano, we can tell the time by a wrist
watch, we can switch on a computer and talk to somebody at the
other end of the world, and within a few seconds send them a message,
and a few seconds later, an answer to that message will come back.
What else is that but Magick. So why should we doubt when Puck
says to Oberon, "I'll put a girdle round the world in a few
seconds". Why should we doubt Ariel when he flies off to
do Prospero's bidding and commands the elements; because he is
part of them. Somebody once spoke of Faeries as their bodies being
made of congealed air. A very fanciful notion. I just wonder what
happened to the basics like the alimentary canal and various other
bits and bobs that we need to exist.
There is something about the
idea of Faerie that either draws you, or repels you. There are
very few men out there who, if you went up to them and said, "Do
you believe in Faeries?" would say yes - very few men. It's
amazing because we have this Peter Pan story where one of these
little Tinker Bells falls ill, and is only save because the character
called Peter Pan comes down and says "Do you believe in Faeries?"
if so you must shout it out and Tinker Bell will recover. Personally
I would like to see Tinker Bell expire.
Let us look at Faeries in that
sense. Now there was a man called
Patten, a Victorian painter who painted Faeries, always lusciously
Reubenesque ladies sporting a pair of wings and a coronet of flowers
and nothing else. The males were always carefully covered and
as Katherine Briggs said, Victorian Faeries and Faerie paintings
in particular were a good way to spread pornography, nude female
figures; nubile female figures, very young nude female figures.
The Victorian age was anything
but what it purported to be. We all think of the Victorians as
patriarchs, as sort of stiff and starched; their wives always
addressed them as Mr. So-and-so. Everything always went on under
at least three layers of blankets with the lights out. In actual
fact it was without doubt, one of the most lecherous ages the
world has ever known. Incest and pederasty were rife. Young girls,
as young as eight or nine years of age, were regularly sold on
the streets to the stiff-collared Victorian fathers, who were
'upright' pillars of society.
It was Barnardo who finally started
gathering up these children and putting them out of reach. But
these pictures of the delicate, slender, long blond haired, butterfly
winged Faerie became ingrained in the mental patterns, the mental
processes of human beings. So, anybody who was asked to draw a
Faerie, premature to and up to their teens, would draw these bloody
Tinker Bells. In actual fact that was the first time wings were
really put on them. They didn't need to have wings to go from
one place to another. Their bodies were supposedly so light they
could lift off. Confounded Mr Newton of course and his ideas of
gravity. But then they did not exist in our world and in our gravity.
The world they lived in did not obey the same laws that we have
to live by in our world. All this pushed them farther and farther
away from our idea of what a human being should be like, so they
became non-human, un-human.
When of course the Church came
in and started to play their part. In the very early days of Christianity,
all the statues of the Gods that the Church Fathers could reach
were defaced, noses, ears, breasts and penises, anything that
"stuck out". You have only got to go into the British
Museum to see the beautiful statues that have been deliberately
mutilated. Along with the Gods, of course the fairies came in
for it as well. Even today in parts of Scotland - in 1983 a Reverend
was called in to a west highland cottage where it was said that
a young girl had been Pixie-led. she was bemused and out of her
head and sat in the corner singing strange songs - I think she
had been at the Uisghebah - but he laid his hands upon her and
when that did not work he beat her. He beat her so severely that
she damn near died, but he said "I saved her from the Faeries".
This idea of anything that you
don't understand, that you can't always see, or that is different
to the way that you particularly think, is evil has been another
wedge that has driven away the nature side of things, the Faerie
side of things.
Let me put this to you. Take
a flower, a rose, a rose garden, a plant, a rose plant. Would
you say that was alive? It has a life. It can be said that life
must have a sense of consciousness, a sense of itself. That life,
that consciousness, may be very dim. It may be much, much less
than ours which allows us to say "I am", "I am
here", "My name is" and so on. And to establish
an identity - that is not the way of a flower, or a plant. But
it still has a sense of being, and that tiny sense of being can
develop into a form that may be rose-like, but because the rose
senses other forms around it, it may, because it does not see,
it feels hot and cold, light and shade, it may sense what a human
form looks like - vaguely - and that consciousness may move towards
that, it may yearn to be like that. Those forms are not stuck
in earth, it can move around. So the rose may, either collectively
as a whole garden or as a single plant, may develop a form of
its own, and in doing so project it outward.
I know that one of the things
that I was taught, a long time ago, was the fact that every colour
has a note, every colour is a note of music and that when you
plant flowers, if you can tune in to their colours, that a garden
will make a chord of music. Where that occurs I say where such
beauty and such power, such life exists then it will very probably
project itself in a form that may be other than the form that
it already has. And, because we are close to it then it may be
projected in the form of a human being.
Alternatively, human beings for
thousands of years have been very busily creating their own Gods.
Don't let anybody ever tell you that we were created in God's
image. We've been doing that to him, or it ever since we decided
there would be somebody out there. All forms of Gods, in every
pantheon are the forms that we, as human beings, have decided
they should wear. We were the ones who decided that Hermes should
have winged sandals. We were the ones who decided that Zeus has
a full head of hair and an equally full-face beard. We are the
ones that decided that Aphrodite goes around dressed in a scarf.
We are the ones that decided that Apollo is equally nude but male.
Come on we have been doing this for ages and we do the same with
Faerie. We sense that there is a life there in these growing things
- trees, pools in forests, all sorts of places, and we give them
shapes, we give them forms and they inhabit them.
We say to ourselves here is a
God form and it's like this and it's like that and it's like the
other, and when we get several thousand people all looking at
this God form in their minds, it coalesces on the Astral plane,
because that's what the Astral plane is for. It is proto-sentient
matter, its only existence is to provide form which when it is
no longer thought about, goes back into its normal matrix self.
But if it's thought about continuously over hundreds and thousands
of years, in the same way, all of a sudden it becomes real. And
its imprint in the matrix is there for good so you only have to
think, oh yes, Aphrodite and up she comes.
It's the same way with the Faerie
Folk. We have thought about them for so long, for so many hundreds
of years, we have seen them as The Green People. We have seen
them as Elves. We have seen them as Brownies. We have seen them
as The Sidhe. And, we have given them form; and that's fine because
the form that we build, though it is not the form that they have,
acts as a bridge between their world and ours, and by utilising
those forms we give them, there is a chance that they be seen
by us. So they regard it as a bridge.
Think about the many highland
tales where a Faerie man comes knocking at the door of a midwife
and says my wife's in labour, come with me; and he puts her on
the back of his horse and takes her under the hills. When the
child is born the Faerie comes to her and gives her a bottle or
a jar of ointment, and says put this on the eyes of the child
and she does so, and then goes "uuh", because her own
eye is itching, rubs her own eye. It burns a little but what the
heck. She is given a bag of gold, and she is taken back home.
Several weeks later in the market,
she sees the Faerie man moving amongst the crowd and she stops
him and says "How is your wife, how is the child?"
He says, "Can you see me?"
She says "Yes I can see you."
He puts his hand over one of her eyes and says "Can you still
She says "No."
He puts his hand of the other eye and says "Can you see me?"
She says "Yes"
So he strikes her blind in one
eye because she did the forbidden thing, she stole the ointment.
She didn't mean to but she can now see them and they don't want
to be seen any more. They have seen what happens to their kind
when humans can see them. Do they exist? Yes. There are records
upon records of people who have seen them, who have interacted
with them, who have lived with them. There are records of people
who have mated with them; which is something else we will look
into later on.
Break, chat and reading by Paddy:
Dolores: "Faerie and
painting, and poetry and literature go hand in hand"
Paddy: "This is called A Pict Song, and I love it because
there is a real savage bit at the end"
From: Puck of Pook's Hill by Rudyard Kipling, Chapter 7: "The
The Winged Hats is a poetic allusion to the Vikings of Roman
'A Pict Song'
Rome never looks where she treads.
Always her heavy hooves fall
On our stomachs, our hearts or our heads;
And Rome never heeds when we bawl.
Her sentries pass on... that is all,
And we gather behind them in hordes,
And plot to reconquer the Wall,
With only our tongues for our swords.
We are the Little Folk... we!
Too little to love or to hate.
Leave us alone and you'll see
How we can drag down the State!
We are the worm in the wood!
We are the rot at the root!
We are the taint in the blood!
We are the thorn in the foot!
Mistletoe killing an oak...
Rats gnawing cables in two...
Moths making holes in a cloak...
How they must love what they do!
Yes... and we Little Folk too,
We are busy as they...
Working our works out of view...
Watch, and you'll see it some day!
No indeed! We are not strong,
But we know Peoples that are.
Yes, and we'll guide them along
To smash and destroy you in War!
We shall be slaves just the same?
Yes, we have always been slaves,
But you... you will die of the shame,
And then we shall dance on your graves!
Dolores: "There is another poem that you say, that has "But
we are the people of England"
Paddy: "Oh 'The Secret People', that is Chesterton"
(Ed: Though it was not performed
at the lecture, since it was mentioned, I thought it appropriate
The Secret People
Smile at us, pay us, pass us; but
do not quite forget;
For we are the people of England, that never have spoken yet.
There is many a fat farmer that drinks less cheerfully,
There is many a free French peasant who is richer and sadder than
There are no folk in the whole world so helpless or so wise.
There is hunger in our bellies, there is laughter in our eyes;
You laugh at us and love us, both mugs and eyes are wet:
Only you do not know us. For we have not spoken yet.
The fine French kings came over
in a flutter of flags and dames.
We liked their smiles and battles, but we never could say their
The blood ran red to Bosworth and the high French lords went down;
There was naught but a naked people under a naked crown.
And the eyes of the King's Servants turned terribly every way,
And the gold of the King's Servants rose higher every day.
They burnt the homes of the shaven men, that had been quaint and
Till there was no bed in a monk's house, nor food that man could
The inns of God where no man paid, that were the wall of the weak.
The King's Servants ate them all. And still we did not speak.
And the face of the King's Servants
grew greater than the King:
He tricked them, and they trapped him, and stood round him in
The new grave lords closed round him, that had eaten the abbey's
And the men of the new religion, with their bibles in their boots,
We saw their shoulders moving, to menace or discuss,
And some were pure and some were vile; but none took heed of us.
We saw the King as they killed him, and his face was proud and
And a few men talked of freedom, while England talked of ale.
A war that we understood not came
over the world and woke
Americans, Frenchmen, Irish; but we knew not the things they spoke.
They talked about rights and nature and peace and the people's
And the squires, our masters, bade us fight; and scorned us never
Weak if we be for ever, could none condemn us then;
Men called us serfs and drudges; men knew that we were men.
In foam and flame at Trafalgar, on Albuera plains,
We did and died like lions, to keep ourselves in chains,
We lay in living ruins; firing and fearing not
The strange fierce face of the Frenchmen who knew for what they
And the man who seemed to be more than a man we strained against
And we broke our own rights with him. And still we never spoke.
Our patch of glory ended; we never
heard guns again.
But the squire seemed struck in the saddle; he was foolish, as
if in pain,
He leaned on a staggering lawyer, he clutched a cringing Jew,
He was stricken; it may be, after all, he was stricken at Waterloo.
Or perhaps the shades of the shaven men, whose spoil is in his
Come back in shining shapes at last to spoil his last carouse:
We only know the last sad squires rode slowly towards the sea,
And a new people takes the land: and still it is not we.
They have given us into the hand
of new unhappy lords,
Lords without anger or honour, who dare not carry their swords.
They fight by shuffling papers; they have bright dead alien eyes;
They look at our labour and laughter as a tired man looks at flies.
And the load of their loveless pity is worse than the ancient
Their doors are shut in the evening; and they know no songs.
We hear men speaking for us of
new laws strong and sweet,
Yet is there no man speaketh as we speak in the street.
It may be we shall rise the last as Frenchmen rose the first,
Our wrath come after Russia's wrath and our wrath be the worst.
It may be we are meant to mark with our riot and our rest
God's scorn for all men governing. It may be beer is best.
But we are the people of England; and we have not spoken yet.
Smile at us, pay us, pass us. But do not quite forget.
We were talking about time just now, and I have found a piece
here which goes into that idea. The early Faerie specialists had
a vivid sense of the relativity of time, founded perhaps on the
experiences of dream or trance. For a dream that encompasses several
years, may be experienced between rolling out of bed and landing
on the floor.
In his study of the supernatural
lapse of time in Faerie-land (Ed: [The] "Science of Fairy
Tales; An enquiry into Fairy Mythology" by Edwin Sidney Hartland),
Hartland speaks of a Pembrokeshire example of a visit to Faerie-land.
Young shepherd joined a faerie
dance and found himself in a glittering palace surrounded by the
most beautiful gardens, where he passed many years in happiness
among the faerie people. There was only one prohibition: in the
middle of the garden there was a fountain, filled with gold and
silver fish, and he was told he must on no account drink out of
it. He desired increasingly to do so, and at last plunged his
hands into the pool. At once the whole palace vanished, and he
found himself on the cold hillside among his sheep. Only minutes
had passed since he joined the faerie dance.
But sometimes it can work the
other way. A dance of several minutes may take a year and a day
of common time or, as long as two hundred years in the mortal
world. This is fairly typical of encounters with the folk of "Tir
na n'Og" (Ed: Literal translation from Irish Gaelic - "Land
of the Young"), people from the land of the ever young. We
might even say, the land of the eternal present.
There have been numerous recorded
events where people have vanished and returned after many years
looking the same as when they left, only to die mysteriously within
a few days. There are several very well recorded events of people
vanishing and never being seen again. Of course nowadays the cry
is "They were taken by aliens". Well, they might just
as well say they have been taken by the Faeries, but of course
we are modern people, we are intelligent people, and we do not
believe in Fairies - but it's much easier to believe in aliens.
This I cannot quite understand. If you can believe in aliens,
you should be able to believe in Faeries.
There are two well-recorded instances
of total disappearance. All witnessed. On one occasion a farmer
came out of the barn. He had two buckets, one in each hand, full
of water with which he was going to water the horses in a field
adjoining the farm. (Ed: Dolores shows a sketch) The farm is here,
the barn is here, the field is here and here, going down the middle
between them is a long drive. No trees, this is on the prairies
of America. The local parson and his wife are driving in their
carriage up to the farmhouse, the farmer sees them, they see him,
they wave, he waves. He crosses across their path goes into the
middle of that field and vanishes. In their sight. They hear his
voice calling for help, they cannot find him. Nobody can find
him. But the voice continues to call for help for several weeks,
until finally, it fades away.
The second story concerns a young
boy of twelve. His father one evening, asks him to go and make
sure that the stable door is locked up for the night. He goes
out, leaves the door open so that he can see his way across the
yard. His mother, sitting by the fire turns her head and watches
him. He gets half way to the stable and he vanishes. His voice
is heard calling out for help. Again, for several days, but he
is nowhere to be found and is never found.
Those are two isolated cases
but with research, you could very probably dig up five, six or
seven hundred in the last one hundred and fifty to two hundred
years. Reports, of the same kind of thing.
We can go back into poetry history
and read of Thomas the Rhymer, and read of Tam Lin the young Knight
that was taken by the Faerie Queen and always there is this price
to pay, and you pay the price by dying early when you come back.
Arthur C Clarke is amongst a
group of people - and heaven knows he has his own, what shall
I say, he carries with him his own sense of worth, in that few
people would argue with a man of his intellectual stature - who
maintain that disappearances can really be seen as proof of the
existence of parallel worlds.
How does anybody here take The
Prediction Magazine? Then you must have read the article, a very,
very interesting article in this month's issue that gives credence
to this. A man of his late thirties, forties, he has two children,
a girl ChloA, who is about twelve or thirteen years of age, i.e.
of an age to understand things, a boy Christian about seven, his
wife Georgina is pregnant, and close to her time. His daughter
comes running in and says to him, "Mum's not feeling well".
He goes in, decides that they should get to the hospital, puts
his wife into the car, says to ChloA, "Look after your brother",
and proceeds to drive his wife to the hospital. Now this is a
man with a family, he has a full memory of his life up to the
time when he married, from the time of his marriage to the births
of his children, right up to this moment. On the way to the hospital
the car is in an accident. He loses consciousness, he comes round
briefly to see his wife's body beside him. Her head is bleeding
but he cannot hold onto consciousness long enough to ascertain
whether she is alive or dead. He next wakes up in a hospital,
and this is where the nightmare begins.
His first question is, "Where
is my wife, is she all right, has she had the baby?"
They say, "What wife, what baby? You were alone when you
were brought in."
He says, "No my wife Georgina, she was expecting a baby,
we were coming to the hospital."
"You are mistaken, there is only you."
His brother comes in, he calls himself Graham, and says "What's
all this talk about a wife? You have never married. You don't
have a family. You don't have a wife."
He gets upset naturally. He wants to telephone people, everybody
he 'phones, his neighbours, his family, his friends tell him
the same thing, "You do not have a family, you have never
A few nights later his daughter ChloA comes in, with a big bunch
of flowers, and he says to her, "Is your mother all right?"
She said, "Well yes, you were with her when she had the
Then she goes out into the corridor,
he gets up, goes out into the corridor - she is not there. He
calls people and says look my daughter brought me some flowers,
they say, "No, your brother must have brought those."
He is discharged from hospital,
he goes home to a house with no trace of his family. Now what
do you do in a situation like this? Clarke would say a parallel
world. You have a man here without a family, and the same man
with a family, and in that one moment of disaster, there is a
flip. Very often you get the same idea in tales where people are
taken by Faeries, where they are changed totally and utterly,
and can never move back. Or, if they move back, their bodies decay
immediately because it's maybe two hundred years or a hundred
years or whatever since they left. So we are talking about separate
existences here, but there are bridges like wormholes in space,
between the land of Faerie and our own land. And there seems to
be constant movement between these two worlds judging by the amount
of tales told, recorded instances and so on.
If you want to know more about
this kind of traffic and social intercourse between humanity and
Faeries, you want to get hold of Robert Kirk's book "The
Secret Commonwealth of Elves, Fauns and Fairies", Lewis Spence's
book "Fairy Tradition in Britain" and this one is one
of the finest, it's by Katherine Briggs and it's called "An
Encyclopaedia of Fairies". She has written several books
on the subject. This is particularly interesting simply because
it gives you the many types of Faerie, and those that can be called
Faeries, because not all of them are the Tinker Bell type or even
Tolkien-like Elves. Another one, by Maureen Duffy, which is slightly
more hectic is called "The Erotic World of Faery". Don't
be mistaken, this is a serious, well written book. The author
maintains and quite rightly, a lot of the way we look at Faeries
in our time is derived from - shall we say - the censure on paintings,
particularly of the female nude, and paintings that would otherwise
be seen as 'not quite nice', but because they were of Faeries,
this is allowed because it is - shall we say - Art, rather than
Some questions and remarks from
Q: How long was the man unconscious?
DAN: I don't think it actually said, but it seems that he came
round when they had taken him from the accident site, to the
Hospital, so I would think that maybe we are talking about an
hour or two hours at most.
Q: Is that between the time he regained consciousness and then
lapsed back into unconsciousness.
DAN: Yes, I think so - I would read it as such.
Q: I had a far more cynical thought about that was this in The
DAN: No this was in, I think this was in England. I'm not sure
but it gave the impression it was in England.
Remark from floor: There was a play by JB Priestly called "I
have been here Before" which has a similar, but not quite,
the same theme.
DAN: Priestly wrote three time plays.
Remark from floor: "An Inspector Calls" of course,
is the most famous one.
Remark from floor: Yes, and "Time and The Conways"
DAN: Which was the first professional job I ever had. Here's
to JB Priestly.
Remark from floor: He wrote a good story.
DAN: Yes he did indeed.
Remark from floor: "An Inspector Calls" is an absolute
Remark from floor: Yes it is, brilliantly done by Alaistair
Let us look at why Faeries exist.
Or why we think they may exist. If you read a lot of books and
information about Faeries, you might be forgiven if you think
of them as always seeming to have a good time - it is always party
time. They dance, they sing and they leap lithely from flower
to flower. Hide under toadstools and what have you. In actual
fact, I think we should look at them in more depth. Certainly
they seem to be part of, synonymous with, responsible for certain
aspects of the health of the planet; the well being of Earth itself;
the planet in the sense of Gaia, the intelligent being, maybe
- which they have been called - Gaia's children.
Dryads, Nymphs, Oriads, Nixies,
what-have-you we know, are responsible for their own particular
tree, or their own particular glade, their own particular part
of a wood. Rather like a Diva, - which is more of an angelic type
- but still a creation of the created, which becomes a form which
looks after and guards and is present wherever there is great
natural beauty or great natural power. But Divas are not Faeries.
Neither are they angels. Faeries, Angels and Divas are all different
as well. They are distinct types, but there is a tendency for
humanity to lump them all together, "I don't understand these",
"I don't really believe in them", and "They are
all the same". That is definitely not true.
In the book by Joan Grant called
"Winged Pharaoh", (Ed: Sekeeta, an Egyptian Princess
of the first Dynasty - circa 7600 BC - relates her life story)tells
the story of a time in Egypt when all the Kings were Priest-Kings.
When they had power. And she finds her father - The Pharaoh -
healing the plants in his garden and he is kneeling beside, he
is pointing his fingers at them sending the energy down his arms
- his own energy - into the plant in order to make it stronger.
The words she uses to describe this process are very significant,
because they were written in, I think, in either the late thirties,
or early forties, (Ed: 1937) and they describe a process we didn't
even know about at the time and that is, the fact that vibration
of which the universe is made, collects in tiny vortices - spinning
spirals - and the girl says to her father, "What are you
doing?" and he said, "The little spinner that is the
life spirit of this plant is too weak to spin, I am giving it
some of my energy."
Now you read that, and you link
it up with what you know about vortices of energy (Ed: No books
yet available on 'Theory of Everything' -TOE, see http://www.virtualchaos.org
- great stuff with an excellent, related, reading list - Oh Gods,
more reading, as if Dolores' list was not big enough) and the
law of migration (Ed: "Law of Migration", EG Ravenstein,
1834-1914: Partial quote: 'Each Migration produces a counterflow'
- relevant or what?)you realise that this woman is tuning in to
something. She was tuning in to the fact that every plant is a
living thing, and we might say, a living being. It's all very
well for vegetarians to say "I don't eat meat", no,
but you pull a carrot out of the ground and chomp on that. Experiments
prove that plants can feel. That they have a natural "Oops,
I don't like you", or "I love you, come closer".
When the experiment was performed by attaching plants to electrical
devices - lie detectors or something of that nature - then throwing
(live)shrimps into a boiling pot of water, plants reacted - they
were going 'Aaaaargh! Don't do this to me".
So, we must then agree, that
plants have some amount of sentience. I'm not saying they have
a lot, but they have some small amount. The bigger and more complicated
the plant, then the bigger and more complicated the sentience.
The Dryad for instance, of a thousand year old oak is likely to
be far more 'with it' than the nature spirit of a dandylion. We
must look at Faeries along with these nature spirits because they
seem to have a lot of connections, the Faeries seem to be more
entwined, closer to, understand more of, and be attuned to nature
as a living force than we are. We are just about beginning to
learn that we have to do certain things to maintain the balance
on this planet. Whether we will succeed is a moot point.
ut the Faerie world is closely
entwined with it. There is, in a booklet I have read lately, about
Faeries, something that says Faeries were born with the planet,
they evolved with the planet, they will die with the planet. Which
gives an insight into that legend that says "Fairies have
no souls and therefore they don't die but they will disappear
when the earth disappears". I find that very, very hard to
believe and also I question whether this was thought up by the
church as a means of saying "Don't get to close to the Faerie
World because you may lose your soul". I don't believe that
anything that could bring a universe as diverse and as beautiful
and as orderly as the one in which we live, could possibly say
to one set of beings "You are going to have a soul"
and to another set of beings "You're not".
here is also a long held belief
that if a human being marries or mates with a Faerie, if it is
true love between them, then they will share a soul. That being
why the Faeries often seek mates from amongst the human beings.
Faeries exist, I think, first
and foremost because they are closely entwined with the nature
of this planet, and secondly because in their continued existence
nature continues to exist, and in the existence of nature the
Faeries continue to exist. I think they are closely bound with
the natural forces and the natural things of the earth. I think
that - shall we say - I cannot really say the 'lower' types, but
the different types, whose lives, whose existence is bound up
with a particular object, a tree, a pool, a plant or what-have-you,
and that these are the true nature spirits. I do not confuse Faeries
with The Elementals. I think that is wrong. I think - and I could
be very wrong, always understand that, I'm giving you what I think
not that I am saying "This is right". I am merely telling
you what I think and you can go on from there. I think elementals
are just that, I think the embodiment of an elemental is what
we human beings decide a Sylph, a Salamander, a Mermaid or Undine,
or a Gnome will look like. The essence of what they truly are,
inhabits those forms. But, I repeat, I think elementals are just
that, they are minute portions of that element. In the same way
that you can take a glass of water, and with an eye-dropper select
one drop out of it. You could say "This drop is an Undine"
that is water, this is a Water Elemental, and it is an Elemental
as long as it is outside the glass of water, or the pool from
which you took it. But as soon as you drop it back again, it loses
form and becomes part of the whole.
If fairies are closely entwined
with nature, how can we interact with them? We have been apart
from them for so long, that it's not going to happen tomorrow.
It is going to take a generation or more before they to begin
to trust us and start to become part of our lives again, and then
only in small groups. We have a group here. If everybody here
began to consciously try to make contact with them, it could be
the day after tomorrow, it could be many years before you could
say "I actually saw a Faerie today". But if you have
children and you bring them up to believe, not in the 'Fairy'
Faeries, but in Faeries as we are now talking about them, as beings
of another area of being, another place of being, then they will
grow up with a natural affinity that will make them aware.
There is a book by Julian Jaynes,
called "The origin of Consciousness in the Breakdown of the
Bicameral mind" - 1990. (Ed: Dictionary definition of bicameral:
Composed of or based on two legislative chambers or branches -
left and right brain here) It has a very good theory to put before
you which is quite difficult to explain off-hand, but basically
he is saying that in earliest times we used the less analytical,
or shall we say the imaginative part of our brains far more than
we used the left side of the brain. (Ed: In 1981 Dr Roger Sperry
won the Nobel Prize for discovering that each hemisphere of the
brain "thinks" in a different way. The verbal left brain
hemisphere processes words and the visual right brain hemisphere
processes pictures - LH: Analytical, RH: Intuitive)it was easier
for human beings to see, to contact these beings than to believe
in them. They walked with them, they understood them, they saw
them, if not frequently then a damn site more often than they
do now. Then we lost that ability when we suddenly began to be
able to use the analytical side of our brain. It was a great step
forward for humanity. That side of the brain had been very hit
and miss, and it had not really started to function. We are very
wasteful of our brains. We start out with a reptilian brain, move
to the cerebellum - the back brain - then we got it all together
and we developed the limbic system - the mid brain - then we suddenly
found we could really expand, we grew the two frontal lobes. Between
the two frontal lobes there is a bundle of nerve endings and nerve
lines that is called the corpus callosum and there are bio-chemists
who have made a study of the corpus callosum and who maintain
that it too, is the beginning of a new brain. To accommodate it
we are gradually going to have to grow bigger heads.
Well this is not something unprecedented
because that has happened before. In Neanderthal times and the
coming of cro-magnon man. The ability to think analytically, to
use that very clever and very logical side of the brain changed
the human race forever and we lost the other side; the imaginative
side, the dream side, the side that could see the Gods, speak
with the Gods, knew where the Faeries could be found, could interact
with these beings of that "other place". We got so enamoured
with what we could do and what we could accomplish that we left
them behind and never even looked back. It is going to take a
long time to undo that. We are talking about thousands of years.
Yet, there is hope because of the persistence of Faerie lore,
Faerie tales, Faerie legends and the on-going insistence of a
little group of people that say "They are there", "I
have seen them", "I have spoken with them".
We look at the shape that we,
as human beings, have given to Faeries, and of course because
we think that we are marvellous they have got to look like us
- unless you happened to be Hieronymus Bosche. Even the little
grotesques are more or less human. There is a type of Faerie,
believe it or not, called the Tiddy Ones, (Ed: The name of the
Fen Fairies -Tiddy Mun controls floods) and it suddenly dawned
on me when I was reading about this I thought "My God, Ken
Dodd knows about Faeries". What else is his 'Tickling Stick'
but a Magic Wand. You get little bits of revelation like this
when something comes up and hits you in the face and you think
"Ooh, I wonder if that's where he got that from?".
There is, in the old village
tradition, the smugglers agents that used to pass up the folk-ways,
they called The Cracky Men When the Cracky Men came in they were
super peddlers - like a supermarket on legs. They brought all
their lace, brandy, tobacco and whatever.
Remark from the floor: "My
fathers's family were part of The Hawkers Gang"
DAN: "That does not surprise
me, part of their family still is I suspect"
Remark from the floor: "The Hawkers Gang were a big band
DAN: "From the Fens?"
Remark from the floor: "No, Dymchurch - Romney Marsh"
Remark from the floor: "Were those the ones who when they
didn't like someone, they used to put people down a forty foot
well head first?"
Remark from the floor: "I don't think we actually had any
forty foot wells on Romney Marsh"
DAN: "Far easier just to put them in the marsh and let it
take care of them"
How can we see Faeries? Well,
as I said before, the bodies we give them are the ones we expect
to see. But, explanations are often easier when you have something
to hang on to. Sometimes people say, do and picture things and
you think to yourself "That is a perfect explanation, that
is a perfect symbol". Has anyone here seen the film called
'The Cocoon'? (Ed: A chorus of yeses) Well you will remember that
these alien beings took on human form, but they could unzip this
human form and when they were not wearing that they were just
like a sort of roughly human bundle of light fibres. If you look
at the human forms we give Faeries, but you read about the fact
that Faeries always give off a light, there is always a light
that surrounds them, it's quite easy to say OK while thinking
about Cocoon, you unzip the voluptuous Victorian Nude, that is
usually seen as the Faerie Queen, inside it is a body of light.
Now we know about bodies of light, we use them, we create them,
we travel in them, so that is more, could be similar to, the real,
the true form of what we call Faerie. It is a fact that whenever
they have been seen trouping, whenever they do their rades (or
rides), under the full moon and the new moon, that the whole procession
carries its own light with it. It could be that like the Cocoon
people, this light seeps through the imitation form that we expect
to see; but if we had that Faerie ointment, on our eyes, we would
perhaps see them as different coloured lights, vaguely human shaped,
beautiful in the extreme.
There was in the early twenties,
a very beautiful musical play put on called "The Immortal
Hour" which told the story of Angus Ogue and his wife Etain
and the King Medea. It was one of the most beautiful plays with
lovely music. The most famous piece of which was a song called
"The Lordly Ones"
(Ed: See The Immortal Hour)
"How beautiful they are
The Lordly Ones
Who dwell in the hills the hollow hills
They have faces like flowers
And their breath is the wind that flows over summer meadows
Filled with dewey clover
Their limbs are more light than shafts of moonshine
They are more fleet than the March wind
They laugh and are glad and are terrible"
A true corollary, incidentally,
is that that musical play was banned after about five performances
by the government because the man who wrote it was a Communist.
Don't care if you write beautiful poetry and beautiful music,
you are a Communist so you know, we are going to ban it.
The idea of what Faeries look like, we have been told, are wispy
little creatures, Elves are tiny things, something like this,
or something like that and they are all sort of thin faced and
pointed ears and what have you. Well
From the floor: And shimmery,
dont forget shimmery
You have only got to look and
read about the Tuatha De Danaan (Ed: Fourth ancient, invasion
of Ireland)or the Fianna (Ed: Warrior 'Brothers in Arms' to Fion
MacCumhail/Finn mac Cumal/Finn McCool - take your pick)to realise
that these guys had muscles. Schwarzeneggers - yet. The great
Faerie Folk of Ireland stood six feet tall and more, and spent
most of their time hurling rocks at people. And yet all of a sudden
the Tuatha disappeared. They, in their own words, went sideways,
into the world as it should be rather than the world as it was.
So many of the Faerie Folk did this. Tolkien for the first time,
went back to that and made his Elves the elder race; the beautiful
ones, the first born. He made them like men and women; tall and
beautiful and strong. They too had immortality of a kind. They
could be killed but they did not die of disease or old age; unless
they chose to become mortal, and they were given the choice. But
some of them chose to go to The Halls of Mandos. He was one of
the God-forms, he was (Ed: in charge of)the Hades of that time,
of that place. So yes, they could be killed, but Tolkien presented
them as these beautiful, strong, human-like figures. I think that
is another way in which we should look at them. Now it's all very
well to go along with some of the ideas of them. We've got this(DAN
shows illustrations from a book) well she's barely bigger than
the rose. These are all tiny people. These are all pictured as
being very small, but this one, we could say is of human size.
Ian, you were telling me something
just now about the Vikings.
Ian: The Vikings they believe that Spirit, as they call him in
their world, made two people, placed them on the earth, and he
said, "Make children". And soon I will come and see
what you have made. So the Vikings, the two, as they do made children
lots of them. And one day the lady was in the garden, she heard
the footsteps of Spirit coming, so quickly, she gathered all her
children, washing away, scrubbing away and she had four of them
ready oh lovely, look at these. Put them in the front room, then
she heard Spirit enter the house. So all the other children, she
put them in the back room quickly, they were dirty, put them all
back there. She and her husband, were in the front room with the
four children, round the blazing fire, talking to Spirit. He said,
"Are you doing well, is everything fine?" - yes. "Are
these your children?" - yes, yes these are the children we
have made. Spirit said, "Well are these all your children?"
- yes, yes perfect children as you wanted all clean and nice.
"Well I know you have got other children, and those are the
children you haven't told me about, and will always remain hidden,
and will be called the Hidden Folk". That's what the Vikings
believe the Faeries are, Hilde Folk as they call them - The Hidden
We hear a lot about the Small
Folk, the Brownies, the Pixies. We will be going into these a
little later in the workshop. Talking about the Brownies, they
are the little folk who really do help and who are close to human
beings as well as some of those who are not close and who are
really, not nice. Not all Faeries are nice. Some of them can be
anything but nice. Let me recommend to you another book. It is
fiction, it is by Katherine Curts, and it's the first of the books
of "The Adept". It is interesting really because she
gives such a different view of the Faerie Folk. It concerns the
Faerie flag of the Macleods. This flag is an actual flag - it
does exist. There is, in the castle of The Macleod of the Macleods,
their Faerie Flag that was given to them by the Faeries, and the
only people allowed to touch it are the Macleods, and you must
be a true Macleod by blood and not by marriage. In the story,
this is stolen. It is in a frame, protected by glass, and they
steal the whole thing. When the showdown comes, and the glass
is broken, the Faerie Folk stream out of this underground cave
and - they've got teeth and claws and they just fasten on these
guys who have taken the Faerie Flag and just rip them to bits.
It's the one person who is a MacLeod who takes the flag and wraps
it round himself and protects the others that he is with and says
"I am a MacLeod of the MacLeods, you cannot touch me.",
and the flag goes back. But one of the characters who is a bit
of a sceptic suddenly comes face to face with this Faerie which
has got a mouthful of teeth.
You will find, especially amongst
the Highland Faeries, that some of them can be not just mischievous,
they can be downright malicious. Highland children are brought
up to know what to do if you get Faerie-led. Because they try
and entice people - especially the children - into the marshes,
or into the Lochs, or into wells or anywhere they can be harmed.
The children are taught that if they suspect they are being Pixie-led,
if you keep finding yourself at the same turning in the road,
no matter how many times you walk down the road, you turn your
coat inside out, or you link your fingers and tuck your thumbs
in, or you put your shoes on the opposite feet. From the floor:
So that is why my grandchildren do that.
From the floor: Not many people realise it but Tolkien introduces
those as well. In the walk across the Dead Marshes Gollum calls
them "tricksey lights" which will lead you astray if
you are not careful.
DAN: You have to be careful,
not all of them are pleasant.
From the floor: Hence that poem.
DAN: Yes indeed it does.
From the floor: There's actually quite a number of signs that
are in the language, "off with the fairies" and "pixilated"
and stuff like that in usage that must come from that.
There is too much in folklore that is not folklore so much as
it is 'this happened' kind of thing. For instance The Green Children,
very often they are called The Green People. They nearly always
dress in green, green, scarlet, and gold are their favourite colours.
There is a persistent legend somewhere - I think it is in Derbyshire
- of two green children, green of skin, green of hair, emerging
from a cave mouth and they are crying because they are lost. They
are taken in by the villagers, and the boy dies soon after, but
the girl grows up amongst them and as she begins to eat their
food, she loses the green tinge to her skin, though she always
maintains her green hair. This comes up in many examples of interaction
One of the ways in which we can
see them even if we are not clairvoyant is to look for them in
the world around us; because particularly the plant life, the
trees, the Faerie Folk of the growing things, they will tend to
use anything and everything, mainly shadows, the way leaves and
bark and flowers are put together. If you have young children,
you will probably have heard them say, "Oh look mummy, look
there's a tree and there's a face in that tree. Can you see that
face mummy?" All to often mummy says "Don't be silly
dear", unless she happens to be one of our kind. But that
is the way they can show you that they are there. A simple acknowledgement
"I see you", "I know you're there", "Thank
you for showing yourself", is enough to start what sometimes
is called a co-walker, and a co-walker is Faerie person who will
be with you, becomes a companion. That Faerie walker will always
be with you and they will attach themselves to you, rather in
the same way that an elemental can attach themselves to a person
if they are of the right kind. If you really want to catch a glimpse
of them, go out with a camera and take photographs of landscapes,
trees, forests, plants and everything and anything. The kind of
landscape you'll find around here. When they are developed go
over them with a small looking glass and you will see in - at
least one in every picture - you will be able to detect a face.
That is the way they show themselves to you now, because they
know you can't see them in any other way, unless you are very,
I have a picture, and I looked
to find it, but I don't know where I put it - in one of my safe
places - and it is the picture of the daughter of a friend of
mine, Emily. She was always one who attracted this kind of being.
Maureen had taken this picture, Emily was walking along and Maureen
was slightly up on a rise, and took this picture of Emily. When
she had the pictures developed, there was a small dark figure,
walking beside her and actually had its arm around Emily's waist
and Emily had her hand on its shoulder. When she asked Emily about
it, Emily said, "Oh yes, he is often there". This was
the first Maureen had heard about this. I wish I could have found
it but it's just one of those things that disappears every now
and again, it will suddenly appear later when I don't want it.
From the floor: I have asked
Stan to send the pictures of the faces in that tree. I have given
him Taliaris' Email, because Bob's had crashed so he couldn't
get it through to Bob. I hope so because these two faces are so
clear in this particular tree.
I have a friend in Jersey who
has an old granite fireplace. God knows he has lived in this house
long enough. But all of a sudden faces and images have started
to emerge on this granite fireplace. It's almost as if the stone
has worn away to reveal something. There's a dog, there's a cat,
there's a beautiful owl, there's a woman with a child in her arms.
All these things, they are there for a few days and they go. Then
something else comes up in the same place.
Most children and a lot of adults
- you would be surprised - in a day-dream or when lying back,
on a plain wall will suddenly see faces coming out of the wall
and going back again. They are sometimes elementals and sometimes
they are the spirits of place, the spirits that are there and
have always been there.
One thing I ask you to remember
is that one of the places - hand on heart - one of the places
that has more Faerie sightings, than any place you will find,
is New York. Now New York, if you know New York, is definitely
not a Faerie land; but think about this underneath all those buildings,
the original land is still there and so are the beings that lived
on it. This is true about any place that is built up. The land,
the original land is still there and if there were being of that
nature, attached to that land, they too will be there, because
for them, the buildings don't exist.
I think that's a note on which to bring this to an end because
it's a quarter to eleven, and a lot of us have been at work for
a long time doing sweet Fanny-Adams all day. We will see you tomorrow
To finish another poem from Paddy:
"We Who are Old", by
William Butler Yeats.
We who are old, old and gay, oh so old
Thousands of years, thousands of years if all were told,
Give to these children, new from the world, silence and love
And the long dew-dropping hours of the night and the stars above
Give to these children, new from the world, rest far from men
Is anything better, is anything better? tell us it then.
We who are old, old and gay, oh so old
Thousands of years, thousands of years if all were told,
Yeats was a poet who was
totally and utterly convinced of the existence of Faeries; and
if you want to read the words of another one, get a book called
"The Candle of Vision" by AE. His name was George Russel
but he styled himself simply as 'AE'. This is a beautiful book,
full of his experiences of Faerie Land and other types of mystical