Title: Elfin music
An anthology of English fairy poetry
Compiler: Arthur Edward Waite
Release date: June 14, 2025 [eBook #76286]
Language: English
Original publication: London: Walter Scott, 1888
Credits: Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
[i]
The Canterbury Poets.
Edited by William Sharp.
ELFIN MUSIC: AN ANTHOLOGY
OF ENGLISH FAIRY POETRY.
SELECTED AND ARRANGED,
WITH AN INTRODUCTION,
BY ARTHUR EDWARD
WAITE.
LONDON
WALTER SCOTT, 24 WARWICK LANE
NEW YORK: THOMAS WHITTAKER
TORONTO: W. J. GAGE AND CO.
1888
| PAGE | |
| Introduction—Revival of the Romantic element in modern poetry—Origin of the term “Fairy”—Fays of early French literature—Source of the conceptions at the base of English fairy poetry—Huon de Bordeaux—Oberon—Spiritual traditions of Gothic and Celtic nations—Lineage of the fairies—Romance of Orfeo and Heurodis—Stature of the fairies—Their religious faith—The Fairy Queen—Robin Goodfellow—The elfin hierarchies—Romaunt of the Knight Launfal—Value of English fairy poetry—Plan of the present anthology | ix |
| The Foreview. | |
| Edgar Allan Poe—Fairyland | 3 |
| Prelude. | |
| Felicia Hemans—Fairies’ Recall | 7[vi] |
| The Fairy Family. | |
| Edmund Spenser—The Rolls of Elfin Emperours | 11 |
| Sir Simeon Steward—The Faery King | 13 |
| Ben Jonson—Queen Mab | 15 |
| Old Poem—The Fairy Queen | 16 |
| William Shakespeare—Queen Mab; Lullaby for Titania | 18, 19 |
| L. E. L.—The Fairy Queen Sleeping | 20 |
| Old Poem—Robin Good-fellow | 22 |
| William Shakespeare—Puck’s Song | 26 |
| Robert Herrick—The Fair Temple; Oberon’s Feast; Oberon’s Palace | 27, 31, 32 |
| Thomas Hood—The Water Lady | 36 |
| Samuel Minton Peck—The Pixies | 37 |
| Andrew James Symington—Song of the Water Sprite | 38 |
| Margaret Dixon—A Legend of the Water-Spirit, called Neckan | 40 |
| James Hogg—The Mermaid | 42 |
| Sarah Williams—Song of the Water Nixies | 46 |
| Philip Bourke Marston—Flower Fairies | 47 |
| Thomas Lake Harris—Song of the Twilight Fairies | 49 |
| L. E. L.—Fairies on the Sea-shore | 50 |
| Chronicles of Fairyland. | |
| Michael Drayton—Nymphidia: The Court of Fairy | 55 |
| William Allingham—Prince Brightkin | 77 |
| J. Rodman Drake—The Culprit Fay | 92[vii] |
| Travels in Fairyland. | |
| Sir Walter Scott—Thomas the Rhymer | 115 |
| James Hogg—Kilmeny | 126 |
| Philip James Bailey—A Fairy Tale | 136 |
| A. Mary F. Robinson—The Conquest of Fairyland | 149 |
| Men and Fairies. | |
| William Shakespeare—The Approach of Titania | 159 |
| Thomas Parnell—A Fairy Tale | 161 |
| John Leyden—The Elfin King | 167 |
| Old Ballad—The Young Tamlane | 175 |
| William Nicholson—The Brownie of Blednock | 185 |
| John Keats—La Belle Dame Sans Merci | 189 |
| Thomas Moore—The Mountain Sprite | 192 |
| Samuel Lover—The Fairy Boy | 193 |
| Samuel Lover—The Fairy Tempter | 194 |
| Mary Howitt—The Fairies of the Caldon-Low | 195 |
| Clarence Mangan—The Fairies’ Passage | 198 |
| James Teeling—Thubber-na-Shie; or, The Fairy Well | 202 |
| Samuel Lover—The Haunted Spring | 205 |
| Clarence Mangan—The Romance of the Fairy Cure | 207 |
| Edward Walsh—The Fairy Nurse | 209 |
| Samuel Ferguson—The Fairy Thorn; The Fairy Well of Lagnanay | 210, 213 |
| Charles Mackay—Kelpie of Corrievreckan | 216 |
| R. H. Horne—The Elf of the Woodlands | 221[viii] |
| William Allingham—Two Fairies in a Garden | 239 |
| Edmund Clarence Stedman—Elfin Song | 245 |
| Graham R. Tomson—The Ferlie | 248 |
| Miscellaneous. | |
| Robert Southey—The Fountain of the Fairies | 253 |
| Samuel Taylor Coleridge—Songs of the Pixies | 254 |
| Felicia Hemans—Fairy Favours; Water Lilies: A Fairy Song | 258, 260 |
| L. E. L.—Fantasies | 261 |
| Anonymous—The City of Gold | 262 |
| William Allingham—The Fairies; The Maids of Elfin Mere | 263, 265 |
| Epilogue. | |
| Richard Corbet—Farewell to the Fairies | 269 |
| Felicia Hemans—Fairy Song | 270 |
| Philip Dayre—An Invocation | 271 |
[ix]
This volume appears, I trust opportunely, during the initial signs of a revival of that romantic or supernatural element which is the first characteristic of primitive song-craft in every nation, and is, by a select section of discriminating literary critics, now welcomed as the salvation of modern poetry. Independently of this fact, there can be no need for apology in presenting for the first time to the lovers of phantasy an anthology of the fairy poetry which during six centuries has made beautiful by its gracious melody the minor paths of English song. I propose in this brief introduction to consider the Elfin mythology in its connection with poetry, without attempting an actually critical estimate of the literary value of the fairy flights which follow it; their poetic merit is, for the most part, sufficiently guaranteed by the names which are attached to them—Chaucer and Spenser in [x]the aurora or day-spring of our literature; Shakespeare, Drayton, Herrick, and other masters of melody in the splendour of its meridian light; Hogg, Horne, and Allingham at our own epoch of inspired imaginings.
From the days of Casaubon to Keightley, many conflicting derivations of the word fairy have been proposed by rival etymologists. It is now fairly established that it has come to us from the Latin fatum, through the Romance languages. A debased Latin verb, fatere, to enchant, was common in mediæval times, and was naturalised in Spain, Italy, and Provence. The French form was faer, féer. Of this verb, says Keightley, in his masterly Fairy Mythology, the past participle is faé, fé; hence in the romances we continually meet with les chevaliers faés, les dames faées, etc. From the verb faér, féer, to enchant, we are told by the same authority that the French made a substantive, faerié, féerie, illusion, enchantment, a word which was considerably extended in its meaning both before and after its assimilation into the English language, and which came to be employed, not only for illusion, but for the land which was par excellence the home of all gramary, illusion, and envoutement, namely, the Land of the Fairies, for the people who dwell therein, and for every individual member of the elfin tribe.
[xi]
It is also established, and by this etymology itself, that the original fairy of Frankish poetry and fiction was simply a female initiated into the mysteries and marvels of magic. Such was the mighty Morgue la Fay, the mystic sister of King Arthur, and such, in unconscious accordance with the original tradition, were those fairies of later French romance who delighted our childhood in the graceful and beautiful stories of Perrault and the Countess d’Aulnoy.
The immediate source of the conceptions which are at the base of English fairy poetry must be evidently sought in the romances and legends of early French chivalry, in such delightful, though comparatively unknown, stories as that of the Paladin Huon de Bordeaux, who was protected in direst extremity, and assisted in the successful prosecution of an almost impossible quest by the divine child Oberon, and then in a glade of dews and sunshine, fenced by the mystic darkness of a Syrian forest, was anointed with supernatural chrism, and instructed in the magical sentences which compel the obedience of elf and gnome and lutin, and “crowned King of all Faërie.”
Oberon himself, it is true, has a Teutonic origin, and is known to the early Germanic folk-lore by the names of Alberich, Alberon, etc., but the original inspiration of English fairy poetry is [xii]derived, as I have said, through the fairy imaginings of the French metrical romancers. By these, the supreme monarch of Elfland, who, despite the supposititious succession of Huon and his own translation to Paradise, continued to spread wide his golden rule as in pre-Provençal days, is represented as a child of four to five years, indescribable in his beauty, sirenian in voice and manner, clothed in a robe which sparkled with all manner of precious stones, and aërially conveyed in a superb, swan-drawn chariot. His palace, with its golden roof and diamond spires, seems to have followed him in his travels, and thus the Land of Faërie was substantially and for the time being in that spot wheresoever which was the tarrying-place of the Grand Master of the Elfin World.
Side by side with the fays of poetry and chivalrous history there persisted, in spite of the general diffusion of Christianity, the old spiritual traditions of the Gothic and Celtic nations, concerning the Elves, Trolls, Brownies, malignant or benevolent dwarfs, gnomes, and generally diminutive beings gifted with supernatural powers and of an other than mortal origin. These two hierarchies of supernal beings were confused in the popular imagination; the magical abilities which could only be painfully acquired by humanity were [xiii]identified with the magical prerogatives which were inherent in the natures of Kelpie, Elf, and Ghoul, and the mystical combination produced that new, glorious, and beautiful hierarchy of semi-spiritual essences which was governed by the elfin Oberon.
The discrepancies in fairy traditions, as preserved in English poetry, may be partly accounted for by the fact of this confusion. We find the most eminent fairy authorities in distinct disagreement on several important points. Spenser, the poet of the elfin world par excellence, in his account of the “Rolls of Elfin Emperours,” deduces all Faërie from the man-monster created by Prometheus. Shakespeare, on the other hand, refers them to an Indian origin, and the dictionaries of Fairy Mythology, in accordance with this supposition, fix his abode in India, and represent him nightly crossing the intervening seas with inconceivable rapidity to dance in the western moonlight. The oriental origin of magic was generally recognised at a very early period of European gramary; the original fairies of romance received their wisdom from Persia and from India, and after the transfiguration of the elfin world by the confusion of the several spiritual conceptions already noticed, it is easy to see how an eastern source was attributed to the later fairy lineage. [xiv]But on this point it must also be remembered that the Crusades were undoubtedly the means of acquainting western poets with the rich fountains of oriental romance, and that the general similarity between the Persian Peri and our own fairy, as well as the substantial identity of many supernatural fictions which are popular both in the West and in the East, are a sufficient warrant for attributing a part of this very transformation to the glamorous influence of Arabian imaginations.
The classical alternative which is offered by the poet-chronicler of Fairydom has also a base in fact. The Elizabethan age commonly identified the fairies of Gothic superstition with the classic nymphs who attended Diana, while the elfin queen was Diana herself, and was called by one of the names of that goddess, that is, Titania, which is found in the metamorphoses of Ovid as a title of the uranian queen. The opinion originated with the romance writers. Chaucer identifies the fairies with the inhabitants of the Latin Infernus—
The tradition spread wildly, and found during the early part of the fourteenth century a voice of poetic beauty in the lovely Scotch fairy-tale of “Orfeo and Heurodis,” which represents the Greek [xv]master of mystical song-craft as a “Kinge in Inglond, who abode in Traciens, or Winchester”—
On a certain morn of May, Heurodis, Eurodis, or Eurydice repaired with two of her maidens “to play bi an orchard side,” in the neighbourhood of the palace—
She fell asleep on the green, and when she awoke it was in a state of frenzy which frightened her virgins away, and they ran back to alarm the whole palace.
She was borne from the orchard to her bed by a long train of knights and ladies, and was visited by the distressed king, whom she informed, amidst great lamentations, that she must go from him—
The power of the Fairy King over the royal lady of earth appears to have been given him in virtue of her slumber beneath an elvish tree, which, though growing in her husband’s orchard, made the surrounding grass-plot the property of the elvish world. Orfeo repaired on the morrow to the “ympe-tree,” accompanied by a thousand knights, resolved one and all to die, if it were necessary, ere the queen should go from home; but on reaching the fay-bound place Heurodis, in the midst of the whole company, was spirited suddenly away. The king in his misery vowed never again to look upon the face of a woman, and retired into the wilderness with his harp, which subdued by its magical melody the fierce beasts that abounded on every side. This wilderness eventually proves to be a summer resort of the Fairy King, where Orfeo beholds distant visions of elfin hunters, elfin knights, and ladies at the dance, and then on a certain day of supreme election he falls into the hands of a joyous bevy of elfin damsels, among whom he recognises his own Heurodis. Their mutual emotion betrays him, and she is carried swiftly away by her companions. Orfeo [xviii]pursues the bright band with lyre and lamentations; a rock opens before them; he follows them into it, and thus reaches Fairy Land.
This description corresponds on the whole with the general drift of legend, which represents the Land of Faërie to be situated beneath the ground, so that the true elfin court is a subterranean [xix]pageantry—a point which is commonly ignored by modern fanciful writers.
The castle which Orfeo entered appears to have been a general receptacle for things and persons who had been spirited away from earth, or had in any way suddenly disappeared.
He did not, however, at once claim his bride, but repaired to the royal hall where the king and queen of fairyland were seated in a bright and blissful tabernacle, their crowns and vestures almost blinding him by their splendour. Orfeo performs in their presence on his harp, and wins such admiration from the king, that, with Herodian prodigality, he is promised whatever he may demand. The restitution of Heurodis is, of course, the favour in question, and the musician-monarch returns out of Fairyland with a wife beautified more than ever by the gramary of the elfin atmosphere, and, unlike the classical hero, successfully closes his quest by resuming his royal authority.
The entrance of several elements all foreign to each other into the later conception of Fairyland has assisted in the creation of other confusions [xx]besides the conflicting accounts of the elfin lineage. “Most spirits,” says a writer in Chambers’s Journal, “could contract and diminish their bulk at will, but the fairy alone seems to have been regarded as essentially small in size. The majority of other spirits, such as dwarfs, genii, etc., are represented as deformed creatures, whereas the fairy has almost uniformly been described as a beautiful miniature of the human being, perfect in face and form.” This statement, however, is not even generally correct; it is contradicted continually in legends and poetry alike. It is evident, for instance, that the “Queene of Faire Elfland,” with whom the immortal Rhymer of “bonny Ercildoune” performed his “mirk night” journey into Fairyland, was a spirit, at any rate, approaching the common stature of humanity. Such also were the elfin emperors of Spenser, and such the fay ladies whom Dryden celebrates in his magnificent modernised version of Chaucer’s “Flower and the Leaf,” and who were simply departed human beings in a certain state of bondage. The inhabitants of the Elfin World, and generally all classes of nature-spirits, are poetically depicted in all forms and sizes at the will of the bard or romancer, and are sometimes identical with the original human fairy of the Arthurian and Charlemagne cycles, sometimes with the diminutive good people of [xxi]Gothic lore. These formal discrepancies originated in time a harmonising tradition which well enters into the spirit of fairy mythology. In the fine ballad of “The Young Tamlane,” that elfin knight, who had passed from mortality into fairyhood, informs his mistress that he can quit his body when he pleases, and inhabit either earth or air.
The religion professed in the elfin world is another debated point. According to Chaucer, the book, and bell, and holy water, the matins and other prayers of monks and limitours, had, even in his day, thoroughly exorcised the fairies, and improved them off the face of the earth, a statement which may be true enough in the case of the trolls and the brownies, and other survivals of heathen times.
But Bishop Corbet, writing in the days of the Restoration, testified that the fairies “were of the old religion,” and that since the advent of Protestantism and Elizabethan glories they had departed hence. Herrick, however, adopts a middle course.
Intimately associated with the reigning Potentate of Fairyland, the monarch Oberon, and a person of, in some respects, more considerable importance, was the moonlight queen of elves, who is more or less identified by Chaucer, Shakespeare, [xxiii]and the romance of “Orfeo and Heurodis” with the queen of the classical Avernus, Prosperine, but who is distinguished by Drayton from that goddess in his poetic romance of “Nymphidia,” and who, as a matter of actual fact, is a combination of several mythological elements.
In the most ancient traditions we have glimpses of a time when this fair and glorious lady alone occupied the faëry throne, and, as in the case of Sire Thopas, was occasionally sought by human lovers. Shakespeare gives her the classical name of Titania, who is commonly identified with Mab, but their characters are sufficiently distinct. The latter, according to Keightley, has completely dethroned Titania, a statement which is scarcely borne out by the facts, for Mab was a person of general celebrity long before the appearance of the “Midsummer Night’s Dream,” which contains the first mention of the rival sovereign. The herald and messenger of the royal pair was the tricksy sprite indifferently known as Puck, Hobgoblin, and Robin Goodfellow, and who must also perhaps be identified with “the illusory candle-holder,” Jack o’ Lantern, or Will o’ the Wisp, whose fatal phosphorescent light is, in “Paradise Lost,” described as
The different hierarchies of fairy spirits who are supposed to be in relation with man may be grouped broadly into three general divisions:—1. Land Fairies. 2. Sea Fairies. 3. Elfin dwellers of the underworld. In the first class will be included such inhabitants of grove and forest as the lovely Korrigan of Brittany, the Moss Folk of Germany, and the Elves proper of English traditional poetry. It will include the fairies of field and meadow such as the Lutin of Normandy, the Little Monk of Neapolitan legends, the Good Neighbours of Scottish lore. It will comprise the domestic fairies who, under the name of Pixies, haunt our Cornish farms and homesteads, the Caledonian Brownie, the Germanic Kobold, and the Niss of Scandinavian legend. The Neckan and Merman are familiar instances of the nature-spirits included in the second division. The elves of the underworld—the trolls, dwarfs, wild-women, and still-folk of Germany, Scandinavia, and Switzerland—are unrepresented in English tradition and poetry, though in most of our early romances the Land of Faerie is supposed to be underground. [xxv]Modern imagination has added many supernatural characters to those of ancient legend. Some of its most graceful conceptions—its flower fairies, and sprites of the twilight—are included in this volume.
Besides the story of Orfeo and Heurodis, there are several ancient English metrical romances which are concerned with adventurous quests and travels into Fairyland. Their archaic form and considerable length naturally exclude them from a popular anthology, but this introduction may fitly close with an abstract of one which is singularly beautiful in conception and in high repute among discerning students of our early poetical literature.
The “Romaunt of the Knight Launfal,” by Thomas Chestre, is an amplified version of an antique Lay by Marie de France, a Norman poetess, who flourished in the thirteenth century. It is concerned with a “bacheler” named Launfal, who for generosity and largesse was made steward at the court of King Arthur, and was chosen by Merlin to bring home the king’s bride, Gwennere. The mission was undertaken by the knight—
After the marriage of Arthur, Launfal took leave of [xxvi]the court and repaired with two knights to Karlyoun, where he tarried, making good cheer for a year’s space, till he came to the end of his resources. His boon companions then forsook him, and he fell into great poverty. In this strait he borrowed a saddle and bridle from the mayor’s daughter, and rode away westward.
The weather was hot; he dismounted in a fair forest, and sat in the shadow of a tree, covering his worn garments with his mantle. After a space, two “gentyll maydenes,” wearing kirtles of Indian sandel and green mantles bordered with gold, appeared before him.
They came to him over the heath; he greeted them in all gentleness, while on the part of their lady, dame Tryamour, they returned his salutation, and invited him to follow them and speak with her. He courteously consented, and was conducted to an honourable pavilion, enriched with gold and crystal, as well as radiant carbuncles.
This fay lady informed Launfal that there was no man in all “Christenté,” be he king or emperor, whom she loved as much as himself, at which words the knight was inflamed with reciprocal passion,
[xxviii]
She tells him that she is acquainted with his present distress, and that if he will truly forsake all women for love of her, she will enrich him inexhaustibly—
She also promises him her steed Blaunchard and her squire Gyfre, with the additional advantage of her protection by magic art from dangers of war or tournament.
Sir Launfal entered into the agreement; they supped and slept together, and in the morning she dismissed him, warning him not to boast of his conquest if he wished to retain her love. He returned to Karlyoun, and was presently waited on by ten men, riding upon sumpters, and bearing gold, silver, rich garments, and bright armour. Once more he kept great cheer, but this time it was the poor and unfortunate whom he entertained. His reputation became so great that a tournament was cried in the town to do him honour. The knight closed it with a rich and royal feast which lasted a fortnight. During all this time he was visited nightly by his elfin mistress, but was [xxix]destined now to be divided from her by the challenge of a chevalier in Lombardy, who sent messengers praying him to cross the sea and take jousts with him for the honour of his lady. The challenge was accepted by Launfal, who repaired with his steed and his squire to Lombardy, and achieved so brilliant a victory that he was envied by “all the lords of Atalye,” who vowed revenge for the defeat of their comrade, but were themselves slain in great numbers, and the hero returned into Britain. The reputation of Launfal reached the ears of King Arthur, who sent for him. A feast of forty days took place, during which the queen took occasion to avow the passion that had long consumed her for the handsome cavalier who had conducted her to her bridal home; but the knight Launfal, faithful to his fairy mistress, repelled her advances, and the unexpected indignity, changing love into hatred, impelled the false wife to denounce Launfal to her husband as her attempted seducer. The infuriated monarch vowed his immediate death, and the unfounded accusation prompted the knight to boast for the first time of that mysterious mistress whose supernatural beauties he declared did utterly transcend and eclipse those of the royal lady. On the intervention of certain illustrious knights—Gawain and Percivall—a respite of a twelvemonth and a fortnight was granted Launfal [xxx]in order that he might produce his mistress, when, if his assertions were seen to be obviously true with regard to her wonderful charms, he should receive his pardon. But the unfortunate lover had broken his compact, he had boasted of his elfin lady, his horse and squire had vanished, the time mentioned drew rapidly to its close; in truth, the day came when Launfal must pay with his life the forfeit of his supposed crime, and Triamour apparently had left him to his fate.
The knights of the round table, who knew well the character of their queen, began plotting his rescue, and arranging for his flight across the sea, when “ten maydens bright of ble” came to the royal castle, the avant coureures of a lady against whose arrival King Arthur courteously appointed his fairest chamber, and then summoned his barons
Other ten maidens at this juncture rode up and, speaking apart with the monarch, announced the approach of the Lady Triamour. The queen, coming forward, urged her spouse to avenge her on Launfal; but
The lady rode into the hall, into the presence of the King, his queen, and her damsels. The maidens who had heralded her approach crowded round, assisting her to dismount. Arthur greeted her, and she returned his salutation with sweet words. She informed the monarch of her mission,
The king having confessed that she was fairer and brighter than his wife—
She carried her lover to a “jolyf ile,” called Olyroun; and on a certain day in every year you may still see the horse of the knight Launfal, and hear his loud neighing, as he goes wearily seeking his master, who, in all truth, was taken into fairy-land, and
as Thomas Chestre avers in his valedictory lines.
[xxxiii]
This little volume is devoted to a sweet and delightful section of poetic fancy, and not to the lofty flights of inspired imagination. It is full of felicity and beauty, and though not a tabernacle enshrining the rarest gems, it is a storehouse of dainty devices. If individual poems are occasionally found to fall below the general level of their writers, as perhaps in the case of Herrick, an explanation will possibly be seen in the unserious spirit with which the subject has been too frequently approached by our English poets, who have generally represented a class superior to the superstitions and sometimes to the faiths of the time. In such cases as that of James Hogg, the Ettrick Shepherd, for whom the doctrine of spiritual essences was still true, for whom those elemental intelligences
still survived in the “faith of reason,” we find the concentrated strength of a vivid and mature imagination devoted to the production of a true fairy poem which is “not for an age but for all time.”
A word, in conclusion, must be said on the arrangement of this anthology. The absence of a [xxxiv]sufficiently harmonious development of fairy fancy as it is found in our English poetry does not warrant a simple chronological plan; I have adopted another, which I trust will contribute towards the attractiveness and literary value of the book. It opens with a foreview, or bird’s-eye prospect of the fairy country, as it might be beheld by the traveller from without. A prelude follows, which implores the return of its inhabitants into the world of humanity. Then, in the first division there is a particular account of the court, country, and people of Fairyland, of its temples, palaces, and festivals. The second division contains the Chronicles of Fairyland, a series of pleasing poetic romances, where the scene is laid in the Fairy country and the actors are exclusively elfin folk. A third division is devoted to those wonderful and mystical travels or spiritual pilgrimages into Fairyland, which have been occasionally undertaken by favoured and adventurous mortals. The section entitled Men and Fairies comprises those poems and romances in which the different orders of elfin spirits enter into communication with man and mingle in the life of earth, dispensing supernatural benevolence, or working unheard-of woe, according to their various dispositions. Some poems which cannot be included in the foregoing divisions, but deserve by [xxxv]their merits a place in this elfin anthology, are comprised in a miscellaneous section. The work closes with an epilogue, which shows why the fairies have departed, and what are the conditions of their return.
My best thanks are due to Mr. William Allingham for his permission to insert several graceful poems; to Mr. Philip James Bailey for the use of his mystical “Fairy Tale;” to Dr. Charles Mackay for similar kindness in respect of his “Kelpie of Corrievreckan,” and to a number of recent writers who have generously contributed to the adornment of this collection. The omission of several poems by illustrious contemporary poets, whose copyrights are vigilantly reserved by their publishers, will be viewed by indulgent readers as a matter of necessity, however much it may be regretted.
ARTHUR EDWARD WAITE.
[1]
Edgar Allan Poe.
[5]
Felicia Hemans.
Edmund Spenser.
Sir Simeon Steward.
Ben Jonson.
Old Poem.
William Shakespeare.
William Shakespeare.
L. E. L.
Old Poem.
William Shakespeare.
[27]
Robert Herrick.
Robert Herrick.
Robert Herrick.
[36]
Thomas Hood.
[1] In a little water-colour sketch by Severn, given to Mrs. Hood by Keats, the nymph’s complexion was of a pale blue.
[37]
Samuel Minton Peck.
[38]
Andrew James Symington.
[40]
Margaret Dixon.
James Hogg.
Sarah Williams.
Philip Bourke Marston.
Thomas Lake Harris.
L. E. L.
[53]
Michael Drayton.
William Allingham.
J. Rodman Drake.
[113]
[118]
By Walter Scott.
Sir Walter Scott.
James Hogg.
Philip James Bailey.
A. Mary F. Robinson.
[157]
William Shakespeare.
[161]
Thomas Parnell.
John Leyden.
Old Ballad.
William Nicholson.
John Keats.
Thomas Moore.
Samuel Lover.
Samuel Lover.
Mary Howitt.
Clarence Mangan.
[202]
[Amongst the many old and fanciful superstitions embodied in the traditions of our peasantry, some of the most poetical are those connected with spring wells, which in Ireland have been invested with something of a sacred character ever since the days of Druidical worship. It is in some parts of the country an article of popular belief, that the desecration of a spring by any unworthy use is followed invariably by some misfortune to the offender; and that the well itself, which is regarded as the source of fruitfulness and prosperity, moves altogether out of the fields in which the violation has been committed.—Dublin University Magazine, vol. viii., p. 449.]
James Teeling.
[It is said, Fays have the power to assume various shapes for the purpose of luring mortals into Fairyland; hunters seem to have been particularly the objects of the lady fairies’ fancies.]
Samuel Lover.
[4] Fays and fairies are supposed to have their dwelling-places within old green hills.
[207]
James Clarence Mangan.
Edward Walsh.
Samuel Ferguson, M.R.I.A.
Samuel Ferguson, LL.D., M.R.I.A.
Charles Mackay.
R. H. Horne.
William Allingham.
[245]
Edmund Clarence Stedman.
Graham R. Tomson.
Robert Southey.
[254]
[The Pixies, in the superstitions of Devonshire, are a race of beings invisibly small, and harmless or friendly to man. At a small distance from a village in that county, half-way up a wood-covered hill, is an excavation, called the Pixies’ parlour. The roots of old trees form its ceiling; and on its sides are innumerable ciphers, among which the author discovered his own cipher and those of his brothers, cut by the hand of their childhood. At the foot of the hill flows the river Otter. To this place the author conducted a party of young ladies, during the summer months of the year 1793; one of whom, of stature elegantly small, and of complexion colourless yet clear, was proclaimed the Fairy Queen: on which occasion, and at which time, the following irregular ode was written.]
Samuel Taylor Coleridge.
Felicia Hemans.
[260]
Felicia Hemans.
[261]
L. E. L.
[262]
Anonymous.
William Allingham.
William Allingham.
[267]
Richard Corbet.
Felicia Hemans.
Philip Dayre.
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By ERIC MACKAY,
Author of “Love Letters of a Violinist” and “Gladys the Singer.”
AVE MARIA!
| First Litany | Virgo Dulcis. |
| Second Litany | Vox Amoris. |
| Third Litany | Ad Te Clamavi! |
| Fourth Litany | Gratia Plena. |
| Fifth Litany | Salve Regina. |
| Sixth Litany | Benedicta Tu. |
| Seventh Litany | Stella Matutina. |
| Eighth Litany | Domina Exaudi. |
| Ninth Litany | Lilium inter Spinas. |
| Tenth Litany | Gloria in Excelsis. |
AMEN!
“The Love Letters of Eric Mackay are the handiwork of a brilliant metrical artist and poet born. The series of Letters in six-line stanzas is a beautiful and passionate work:—its beauty that of construction, language, imagery—its passion characteristic of the artistic nature. The poem is quite original, its manner Elizabethan, freshened by a resort to the Italian fountain, from which the clearest streams of English song have so often flowed. Eric Mackay’s poetic ability is of varied range. He is a natural lyrist with a singing faculty and a novel metrical form such as few lyrists have at command.”—Stedman’s Victorian Poets, Revised Edition, 1887.
London: FIELD & TUER, “The Leadenhall Press,” 50 Leadenhall Street, E.C.
NOTICE.—Copies of the First Vellum Edition of “Love Letters of a Violinist,” as published by this firm, are now at a premium of Three Guineas. Book Collectors are respectfully informed that the present Edition of Eric Mackay’s New Volume is strictly limited. Applications should therefore be made at once.
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WILSON’S
TALES OF THE BORDERS
AND OF SCOTLAND:
HISTORICAL, TRADITIONARY, AND IMAGINATIVE.
Revised by ALEXANDER LEIGHTON.
No collection of tales published in a serial form ever enjoyed so great a popularity as “The Tales of the Borders;” and the secret of their success lies in the fact that they are stories in the truest sense of the word, illustrating in a graphic and natural style the manners and customs, trials and sorrows, sins and backslidings, of the men and women of whom they treat. The heroes and heroines of these admirable stories belong to every rank of life, from the king and noble to the humble peasant.
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The Land of the Vikings:
A POPULAR
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PARENTAL COMMANDMENTS
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THE WORLD OF CANT.
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“London Figaro.”—“It cannot be said that the author is partial; clergy and Nonconformist divines, Liberals and Conservatives, lawyers and tradesmen, all come under his lash.... The sketches are worth reading. Some of the characters are portrayed with considerable skill.”
“May the Lord deliver us from all Cant: may the Lord, whatever else He do or forbear, teach us to look facts honestly in the face, and to beware (with a kind of shudder) of smearing them over with our despicable and damnable palaver into irrecognisability, and so falsifying the Lord’s own Gospels to His unhappy blockheads of Children, all staggering down to Gehenna and the everlasting Swine’s-trough, for want of Gospels.
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