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Article Fairy Marriages in Tolkien’S Works GIOVANNI C
article Fairy marriages in Tolkien’s works GIOVANNI C. COSTABILE Both in its Celtic and non-Celtic declinations, the motif the daughter of the King of Faerie, who bestows on him a of the fairy mistress has an ancient tradition stretching magical source of wealth, and will visit him whenever he throughout different areas, ages, genres, media and cul- wants, so long as he never tells anybody about her.5 Going tures. Tolkien was always fascinated by the motif, and used further back, the nymph Calypso, who keeps Odysseus on it throughout his works, conceiving the romances of Beren her island Ogygia on an attempt to make him her immortal and Lúthien, and Aragorn and Arwen. In this article I wish husband,6 can be taken as a further (and older) version of to point out some minor expressions of the same motif in the same motif. Tolkien’s major works, as well as to reflect on some over- But more pertinent is the idea of someone’s ancestor being looked aspects in the stories of those couples, in the light of considered as having married a fairy. Here we can turn to the often neglected influence of Celtic and romance cultures the legend of Sir Gawain, as Jessie Weston and John R. Hul- on Tolkien. The reader should also be aware that I am going bert interpret Gawain’s story in Sir Gawain and the Green to reference much outdated scholarship, that being my pre- Knight as a late, Christianised version of what once was a cise intent, though, at least since this sort of background fairy-mistress tale in which the hero had to prove his worth may conveniently help us in better understanding Tolkien’s through the undertaking of the Beheading Test in order to reading of both his theoretical and actual sources. -
Notes on the Folk-Lore of the Northern Counties of England and The
S*N DIEGO) atitty, ESTABLISHED IN . THE YEAK MDCCCLXXVIII Alter et Idem. PUBLICATIONS OF THE FOLK-LOKE SOCIETY. II. LONDON: PRINTED BY NICHOLS AND SONS, STREET. 25, PARLIAMENT FOLK-LORE OP THE NORTHERN COUNTIES OF ENGLAND AND THE BORDERS. A NEW EDITION WITH MANY ADDITIONAL NOTES. BY WILLIAM HENDERSON, AUTHOR OF " MY LIFE AS AN ANGLER." " Our mothers' maids in our childhood . have so frayed us with hullbeggars, spirits, witches, urchins, elves, hags, fairies, satyrs, pans, faunes, sylvans.kit-with-the-candlestick (will-o'-the-wisp), tritons (kelpies), centaurs, dwarfs, giants, imps, calcars (assy-pods), conjurors, nymphs, changelings, incubus, Rohin-Goodfellow (Brownies), the spoorey, the man in the oak, the hellwain, the firedrake (dead light), the Puckle, Tom Thumb, Hobgoblin, Tom Tumbler, Bouclus, and such other bug- bears, that we are afraid of our own shadows." REGINALD SCOTT. LONDON: PUBLISHED FOR THE FOLK-LORE SOCIETY BY W. SATCHELL, PEYTON AND CO., 12, TAVISTOCK STREET, COVENT GARDEN. W.C. 1879. TO THE MOST HONOURABLE THE MARQUESS OF LONDONDERRY, IN EEMEMBRANCE OF MUCH KINDNESS AND OF MANY PLEASANT HOURS SPENT TOGETHER, THIS VOLUME IS, BY PERMISSION, INSCRIBED WITH EVERY SENTIMENT OE RESPECT AND ESTEEM BY HIS LORDSHIP'S ATTACHED FRIEND, WILLIAM HENDERSON. VI The Council of the Folk-Lore Society, in issuing this work as one of the publications for the year 1879, desire to point out to the Members 'that it is chiefly owing to the generous proposal of Mr. Henderson they arc enabled to produce in the second year of the Society's existence a book so much appreciated by the Folk-Lore student. -
Leprechauns Are the Most Well-Known Elves (Fairies) of Ireland
Leprechauns are the most well-known elves (fairies) of Ireland. They live in the large green hills and in the forests of Furniture may be moved around the room, County Antrim. A leprechaun is an ugly and the whiskey or milk will be found to little creature with pointed ears. He have gone down overnight, and then to is about 40 centimetres tall. He likes have been replaced with water (especially being alone and avoids contact with the whiskey!). If all this begins to happen, humans or any other leprechauns or the family involved will know they must fairies. His job is to make shoes for the start leaving out presents of food and other fairies. Because they are a kind of drink to keep the cheeky little fairy happy. fairy, leprechauns are often invisible. Then, the leprechaun will go round the When they are not invisible, you can house at night finishing the jobs that the recognise a leprechaun because he has a people have no time to do. shoe in one hand and a hammer in the other. He also likes to smoke a pipe of Leprechauns guard the fairies' treasures tobacco which smells horrible! as they must prevent humans from stealing it. They hide the treasures in a 4-leaf Leprechauns are naughty, they like to shamrock garden called Lucky Charm cause mischief. They like to hide in garden. According to myth, Leprechauns trees and although they are small, they hate the rainbow, because it will show can usually move very fast and are nearly where the gold is hidden. -
Brae Lochaber Gaelic Oral Tradition and the Repertoire of John Macdonald, Highbridge
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] BRAE LOCHABER GAELIC ORAL TRADITION AND THE REPERTOIRE OF JOHN MACDONALD, HIGHBRIDGE Andrew Esslemont Macintosh Wiseman A thesis submitted in fulfilment of the requirements for the degree of Master of Philosophy Celtic Department Faculty of Arts The University of Glasgow October 1996 © A.E.M. Wiseman 1996 ProQuest Number: 10992213 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992213 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. -
Download Extract
BLOOMSBURY CHILDREN’S BOOKS Bloomsbury Publishing Plc 50 Bedford Square, London WC1B 3DP , UK BLOOMSBURY, BLOOMSBURY CHILDREN’S BOOKS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain in 2019 by Bloomsbury Publishing Plc Text copyright © T.C. Shelley, 2019 T.C. Shelley has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers A catalogue record for this book is available from the British Library ISBN: PB: 978-1-5266-0083-7; eBook: 978-1-5266-0082-0 2 4 6 8 10 9 7 5 3 1 Typeset by RefineCatch Limited, Bungay, Suffolk To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters iv t is a well- known fact that fairies are born from a baby’s I first laugh. What is not as well docu mented is how monsters come into being. Monsterkind is divided into three categor ies. The Great Monsters – iden ti fi able by their huge size – include trolls, ogres, goblins, dragons, abom in ables and other such monstros it ies. The subgenus, Imps, covers all stunted and smaller species – pixies, brownies, lepre chauns, sprites, boggarts, gargoyles and so on. And, lastly, of course, there are the Monster Witches: banshees, Baba Yagas, snitches, hags, wyrd sisters (hatched in triplets), and the wet witches like sirens and Jenny Greenteeth. -
The Adorabyssal Oracle
THE ADORABYSSAL ORACLE The Adorabyssal Oracle is an oracle deck featuring the cutest versions of mythological, supernatural, and cryptozoological creatures from around the world! Thirty-six spooky cuties come with associated elements and themes to help bring some introspection to your day-to-day divinations and meditations. If you’re looking for something a bit more playful, The Adorabyssal Oracle deck doubles as a card game featuring those same cute and spooky creatures. It is meant for 2-4 players and games typically take 5-10 minutes. If you’re interested mainly in the card game rules, you can skip past the next couple of sections. However you choose to use your Adorabyssal Deck, it is my hope that these darkly delightful creatures will bring some fun to your day! WHAT IS AN ORACLE DECK? An Oracle deck is similar to, but different from, a Tarot deck. Where a Tarot deck has specific symbolism, number of cards, and a distinct way of interpreting card meanings, Oracle decks are a bit more free-form and their structures are dependent on their creators. The Adorabyssal Oracle, like many oracle decks, provides general themes accompanying the artwork. The basic and most prominent structure for this deck is the grouping of cards based on elemental associations. My hope is that this deck can provide a simple way to read for new readers and grow in complexity from there. My previous Tarot decks have seen very specific interpretation and symbolism. This Oracle deck opens things up a bit. It can be used for more general or free-form readings, and it makes a delightful addition to your existing decks. -
Fairy and Folk Tales of the Irish Peasantry, by 1
Fairy and Folk Tales of the Irish Peasantry, by 1 Fairy and Folk Tales of the Irish Peasantry, by William Butler Yeats This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Fairy and Folk Tales of the Irish Peasantry Author: William Butler Yeats Editor: William Butler Yeats Release Date: October 28, 2010 [EBook #33887] Language: English Fairy and Folk Tales of the Irish Peasantry, by 2 Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK FAIRY AND FOLK TALES *** Produced by Larry B. Harrison, Brian Foley and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) FAIRY AND FOLK TALES OF THE IRISH PEASANTRY. EDITED AND SELECTED BY W. B. YEATS. THE WALTER SCOTT PUBLISHING CO., LTD. LONDON AND FELLING-ON-TYNE. NEW YORK: 3 EAST 14TH STREET. INSCRIBED TO MY MYSTICAL FRIEND, G. R. CONTENTS. THE TROOPING FAIRIES-- PAGE The Fairies 3 Frank Martin and the Fairies 5 The Priest's Supper 9 The Fairy Well of Lagnanay 13 Teig O'Kane and the Corpse 16 Paddy Corcoran's Wife 31 Cusheen Loo 33 The White Trout; A Legend of Cong 35 The Fairy Thorn 38 The Legend of Knockgrafton 40 A Donegal Fairy 46 CHANGELINGS-- The Brewery of Egg-shells 48 The Fairy Nurse 51 Jamie Freel and the Young Lady 52 The Stolen Child 59 THE MERROW-- -
Three Irish Legends
Read and listen. Three Irish Legends The Leprechaun Leprechauns, also known as ‘the little folk’, are very likeable and reflect the wonderful Irish sense of fun. Legend says that every leprechaun has a pot of gold which he must give to anyone who can catch him. But leprechauns are very clever and quick so there’s not much chance that you’ll be able to catch one! There are countless stories about leprechauns, like this one. A man was walking through a forest one day when a leprechaun jumped out in front of him. The man managed to grab him and he made the leprechaun take him to where his treasure was hidden. The man didn’t have a spade with him so he couldn’t dig it up, but he tied a red handkerchief to a bush so he could find it again. He went to get his spade but when he came back he couldn’t find the treasure, because there was a red handkerchief tied to every bush in the forest! New Horizons Digital 2 • Unit 5 pp.48–49 © Oxford University Press PHOTOCOPIABLE The Banshee Banshee is Irish (the language of Ireland) for fairy woman. If you hear the frightening crying of the banshee at night, it means that someone close to you has died. They say that sometimes she’s a mysterious white figure with long silver hair and a grey cloak. She’s tall and thin and her face is pale with eyes which are red from crying. At other times she’s able to appear as a lovely young girl with long red hair. -
Fairy Tales; Their Origin and Meaning
Fairy Tales; Their Origin and Meaning John Thackray Bunce The Project Gutenberg EBook of Fairy Tales; Their Origin and Meaning by John Thackray Bunce Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Fairy Tales; Their Origin and Meaning Author: John Thackray Bunce Release Date: June, 2005 [EBook #8226] [This file was first posted on July 3, 2003] Edition: 10 Language: English Character set encoding: iso-8859-1 *** START OF THE PROJECT GUTENBERG EBOOK, FAIRY TALES; THEIR ORIGIN AND MEANING *** E-text prepared by David Deley FAIRY TALES, THEIR ORIGIN AND MEANING With Some Account of Dwellers in Fairyland BY JOHN THACKRAY BUNCE INTRODUCTORY NOTE. The substance of this volume was delivered as a course of Christmas Holiday Lectures, in 1877, at the Birmingham and Midland Institute, of which the author was then the senior Vice-president. -
Working Introduction
University of Pardubice Faculty of Humanities Department of English and American Studies The Influence of the Irish Folk Tales on the Notion of Irishness Thesis Author: Bc. Soň a Šamalíková Supervisor: Mgr. Olga Zderadič ková, M. Litt 2002 Univerzita Pardubice Fakulta humanitních studií Katedra anglistiky a amerikanistiky Vliv irských lidových příběhů na irství Diplomová práce Autor: Bc. Soň a Šamalíková Vedoucí: Mgr. Olga Zderadič ková, M. Litt 2002 Contents Introduction 1 Irishness 3 History 6 Folk tales and the oral tradition in Ireland 15 Fairy tale, myth, legend 17 Irish myths 19 Some Irish myths in detail 23 Irish legends 37 Irish fairy tales 43 Irish folk tales and nationalism 46 Folk tales and Irishness outside Ireland 53 Conclusion 57 Résumé (in Czech) 59 Bibliography 64 Introduction The Irish of the twentieth century are a complex, scattered nation, living not only in Ireland, but also in a part of the United Kingdom--Northern Ireland, as well as in the rest of the country. In large numbers, they can be found in many 0 other countries of the world, mostly the United States of America. The Irish have a long history. Originally a specific Celtic people with a distinctive culture, for many centuries they were exposed to the cultures of numerous invaders, for many centuries they suffered oppression--most painfully under the English overrule. As Professor Falaky Nagy comments, the Irish are ”a people who, for centuries, have been told that their language, their culture, and their religion were worthless and that they should try to be more like the English” [Tay]. -
ML 4080 the Seal Woman in Its Irish and International Context
Mar Gur Dream Sí Iad Atá Ag Mairiúint Fén Bhfarraige: ML 4080 the Seal Woman in Its Irish and International Context The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Darwin, Gregory R. 2019. Mar Gur Dream Sí Iad Atá Ag Mairiúint Fén Bhfarraige: ML 4080 the Seal Woman in Its Irish and International Context. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029623 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Mar gur dream Sí iad atá ag mairiúint fén bhfarraige: ML 4080 The Seal Woman in its Irish and International Context A dissertation presented by Gregory Dar!in to The Department of Celti# Literatures and Languages in partial fulfillment of the re%$irements for the degree of octor of Philosophy in the subje#t of Celti# Languages and Literatures (arvard University Cambridge+ Massa#husetts April 2019 / 2019 Gregory Darwin All rights reserved iii issertation Advisor: Professor Joseph Falaky Nagy Gregory Dar!in Mar gur dream Sí iad atá ag mairiúint fén bhfarraige: ML 4080 The Seal Woman in its Irish and International Context4 Abstract This dissertation is a study of the migratory supernatural legend ML 4080 “The Mermaid Legend” The story is first attested at the end of the eighteenth century+ and hundreds of versions of the legend have been colle#ted throughout the nineteenth and t!entieth centuries in Ireland, S#otland, the Isle of Man, Iceland, the Faroe Islands, Norway, S!eden, and Denmark. -
Nostalgia and the Irish Fairy Landscape
The land of heart’s desire: Nostalgia and the Irish fairy landscape Hannah Claire Irwin BA (Media and Cultural Studies), B. Media (Hons 1) Macquarie University This thesis is presented for the degree of Doctor of Philosophy in Media and Cultural Studies. Faculty of Arts, Department of Media, Music, Communication and Cultural Studies, Macquarie University, Sydney August 2017 2 Table of Contents Figures Index 6 Abstract 7 Author Declaration 8 Acknowledgments 9 Introduction: Out of this dull world 1.1 Introduction 11 1.2 The research problem and current research 12 1.3 The current field 13 1.4 Objective and methodology 14 1.5 Defining major terms 15 1.6 Structure of research 17 Chapter One - Literature Review: Hungry thirsty roots 2.1 Introduction 20 2.2 Early collections (pre-1880) 21 2.3 The Irish Literary Revival (1880-1920) 24 2.4 Movement from ethnography to analysis (1920-1990) 31 2.5 The ‘new fairylore’ (post-1990) 33 2.6 Conclusion 37 Chapter Two - Theory: In a place apart 3.1 Introduction 38 3.2 Nostalgia 39 3.3 The Irish fairy landscape 43 3 3.4 Space and place 49 3.5 Power 54 3.6 Conclusion 58 Chapter Three - Nationalism: Green jacket, red cap 4.1 Introduction 59 4.2 Nationalism and the power of place 60 4.3 The wearing of the green: Evoking nostalgia for Éire 63 4.4 The National Leprechaun Museum 67 4.5 The Last Leprechauns of Ireland 74 4.6 Critique 81 4.7 Conclusion 89 Chapter Four - Heritage: Up the airy mountain 5.1 Introduction 93 5.2 Heritage and the conservation of place 94 5.3 Discovering Ireland the ‘timeless’: Heritage