The Faeries and Death

“Many poets, and all mystic and occult writers, in all ages and countries, have declared that behind the visible are chains on chains of conscious beings, who are not of heaven but of the earth, who have no inherent form, but change according to their whim, or the mind that sees them. You cannot lift your hand without influencing and being influenced by hordes. The visible world is merely their skin. In dreams we go amongst them, and play with them, and combat with them. They are, perhaps, human souls in the crucible — these creatures of whim.” WB Yeats, Irish Fairy and Folk Tales (1918)

In the 1997 film Photographing Fairies, the faeries were portrayed as small, amorphous humanoids, only rendered visible after the consumption of a white-petalled flower, which brings about the altered state of consciousness necessary to interact with them. The whole film is concerned with death, at many levels, and the faeries’ role is clearly as arbiters between the material world and transcendence. In the words of Arthur Conan Doyle (who makes an appearance in the film), they are ‘the handmaidens of the eternal.’ The relationship between faeries and death in folklore and history is rather more nebulous, but the film was drawing on an authentic tradition that connects the faeries with death and/or the land of the dead in a variety of ways. In fact, many of the folktales and anecdotes involving faeries invoke some kind of transcendence from consensual reality (such as the dilation or expansion of the concept of time in faerieland), even if death is not an explicit part of the story. It would seem as if the faeries are with us but not with us at the same time; much like the dead.

The Folklore Roots of the Faeries and Death

One rooted tradition is that the faeries are the Pagan dead (or perhaps post-Purgatory Christians not good enough for heaven but too good for hell), living in a world of limbo, which occasionally coincides with ours. A story that captures this idea well, was collected by the folklorist William Bottrell in Cornwall in the early 1870s. In The Fairy Dwelling on Selena Moor, we find Mr Noy, a farmer in the district of Buryan, becoming lost and bewildered on the moors at night, a common motif in faerie folklore, and which may be an embedded code in the story for the protagonist entering the altered state of consciousness necessary for interacting with a supernatural reality. Noy is missing for three days, before being found by a search-party, sleeping in a ruined ‘bowjie’ (a Cornish term for cow-shed) on Selena Moor with his horse and dogs tied up nearby. Incredulous at the passage of time — he was convinced he had spent no more than a few hours sleeping — he tells the story of what happened to him after becoming disorientated on the moor. After finding himself in an unknown stretch of woodland he heard music and saw lights some way ahead in a clearing…

“His dogs slunk back, and the horse wasn’t willing to go on, so he tied him to a tree, took his course through an orchard towards the lights, and came to a meadow where he saw hundreds of people, some seated at tables eating and drinking with great enjoyment apparently, and others dancing reels to the music of a tambourine, played by a damsel dressed in white, who stood on a heaping-stock just beside the house door, which was only a few paces from him. The revelers, farther off, were all very smartly decked out, but they seemed to him, at least most of them, to be a set of undersized mortals; yet the forms and tables, with the drinking-vessels on them, were all in proportion to the little people. The dancers moved so fast that he couldn’t count the number of those that footed jigs and reels together, it almost made his head giddy only to look at their quick and intricate whirling movements.”

The ‘damsel’ turns out to be Grace Hutchens, an old-flame, who had died three years before, after getting lost herself on the moor. Removing Noy from the faerie revels, Grace warns him: “Embrace me not, nor touch flower nor fruit; for eating a tempting plum in this enchanted orchard was my undoing… People believed, and so it seemed, that I was found on the moor dead; it was also supposed that I must have dropped there in a trance, as I was subject to it. What was buried for me, however, was only a changeling, or sham body, never mine I should think, for it seems to me that I feel much the same still as when I lived to be your sweetheart.”

John Anster FitzGerald – ‘A Faerie Banquet’ (1859)

She continues to tell Noy about her existence with the faeries (sometimes termed sprites in the story), who had trapped her in their reality after she’d eaten a plum (another common motif for capturing mortals in faerieland). Grace’s intriguing descriptions certainly confirm them to be inhabiting a land of the dead: “Their mode of life seemed somewhat unnatural to her, for all among them is mere illusion or acting and sham. They have no hearts, she believed, and but little sense or feeling; what serves them, in a way, as such, is merely the remembrance of whatever pleased them when they lived as mortals — maybe thousands of years ago… ‘For you must remember they are not of our religion, but star-worshippers. They don’t always live together like Christians and turtle-doves; considering their long existence such constancy would be tiresome for them.'”

As the faeries call Grace back to supply them with more cider, she informs Noy that when he dies he will be able to join her again. But he decides to try the old trick of turning his coat inside out and throwing it towards the assembled faeries, which indeed, disperses them into the ether, along with Grace, before the farmer feels a blow to his head and falls asleep. The story adds further testimony from Noy that many of the faeries he saw, “bore a sort of family-likeness to people he knew, and he had no doubt but some of them were changelings of recent date, and others their forefathers who died in days of yore, when they were not good enough to be admitted into heaven, nor so wicked as to be doomed to the worst of all places. Over a while, it is supposed they cease to exist as living beings, for which reason fewer of them are now beheld than were seen in old times.”

Ylenia Viola – ‘The Ruin’

The Fairy Dwelling on Selena Moor is one of those folktales with lots of oddly specific delineated features, which suggests that the story Bottrell collected was an amalgamation of a real incident (with Mr Noy operating in a non-usual state of consciousness), and current folk beliefs into the ontology of the faeries in the later 19th century. This ontology was that the faeries were dead people, perhaps sometimes dating back to a pre-Christian epoch, and that faerieland was a transcendent land of the dead, which, under special circumstances, could be penetrated by the living.

The Celtic Legend of the Dead and the Faeries

This idea was encountered many times by WY Evans-Wentz as he travelled through the Celtic countries of Britain, Ireland and Brittany between 1907-11, collecting the faerie traditions that he would publish as The Fairy-Faith in Celtic Countries. The belief that the faeries were intimately connected to the dead seemed to be especially prevalent in Ireland and Brittany, where time and again Evans-Wentz was given the view that they were one and the same, summed up by an unnamed Dublin engineer talking about the folk traditions in his home county: “The old people in County Armagh seriously believe that the faeries are the spirits of the dead; and they say that if you have many friends deceased you have many friendly faeries, or if you have many enemies deceased you have many faeries looking out to do you harm.”

Bridget O’Conner from Cloontipruckilish, Co. Clare, used the old tactic of placing her testimony in the past in the face of the folklorist outsider, but again associates the faeries with the dead:

“Old Peggy Gillin, dead these thirty years, who lived a mile beyond Grange, used to cure people with a secret herb shown to her by her brother, dead of a faerie-stroke. He was drowned and taken by the faeries, in the big drowning here during the herring season. She would pull the herb herself and prepare it by mixing spring water with it. Peggy could always talk with her dead relatives and friends, and continually with her brother, and she would tell everybody that they were with the faeries.”

Ylenia Viola – ‘A.I.R. I’

In Brittany, the faeries were known as fées or corrigans, and usually seem to have been understood as ancestral spirits, often appearing to warn of, or to predict, death. Evans-Wentz found many folktales about the fées and the dead in and around the village of Carnac, where there are extensive remains of prehistoric megalithic stone rows and burial chambers. M. Goulven Le Scour was a source of many traditions, although once again, her testimonies were usually drawn from the past:

“My grandmother, Marie Le Bras, had related to me that one evening an old fée arrived in my village, Kerouledic (Finistère), and asked for hospitality. It was about the year 1830. The fée was received; and before going to bed she predicted that the little daughter whom the mother was dressing in night-clothes would be found dead in the cradle the next day. This prediction was only laughed at; but in the morning the little one was dead in her cradle, her eyes raised toward Heaven, The fée, who had slept in the stable, was gone.”

There are many more testimonies along these lines in all the regions visited by Evans-Wentz. They are often confused and ambiguous, and some of his interviewees deny any connection between the faeries and the dead. But there is an underlying consistency in the belief, allowing Evans-Wentz to sum up: “The animistic character of the Celtic Legend of the Dead is apparent; and the striking likenesses constantly appearing in our evidence between the ordinary apparitional fairies and the ghosts of the dead show that there is often no essential and sometimes no distinguishable difference between these two orders of beings, nor between the world of the dead and faerieland.”

Burial Mounds and Faerie Hills

The contiguous relationship between the faeries and death also find form in the physical environment. Burial mounds, most often dating from the Bronze Age, exist in great numbers throughout Western Europe, and in Britain and Ireland they can be prominent features in the landscape. They have also become bound up with faerie folklore, often being seen as the underground dwelling abodes of the faeries. In Ireland the association is made explicit; the faeries (aes sídhe) are ‘the people of the mounds’. Jeremy Harte makes the valid point that faerie hills are not always burial mounds and that perhaps the folkloric prerogative was to house the faeries under any prominent hill or mound for the purposes of a narrative rather than any close correlation between prehistoric burial locations and the faeries. Indeed, two of the most famous faerie hills are natural and not burial mounds. These are Doon Hill at Aberfoyle, where the Rev. Robert Kirk consorted with the faeries and met his death in the late 17th century, and the Faerie Hill of Sithean Moor on Iona, which has a long association with the faeries, and was also the location of the mysterious death of a young occultist by the name of Marie Fornario in 1929.

A 16th-century faerie mound – Olaus Magnus

But throughout Britain, and especially in Ireland there is a direct correlation between prehistoric burial mounds and faerie folklore, usually with the mounds having an appropriate name appended. Leslie Grinsell even produced a distribution map of these sites in his 1976 book Folklore of Prehistoric Sites in Britain, with the largest concentration in Scotland. There is no such map yet produced for Ireland, but the number is likely to be in the hundreds. The folklore frequently consists of the burial mounds becoming open to mortals at certain times, whereupon the faeries can be seen and interacted with, usually feasting and making music. A common motif includes people who steal faerie objects from within the mound, the earliest example being recorded by William of Newburgh in the late 12th century, where the mortal finding himself in the midst of a banquet in a faerie mound known as Willy Howe (Humberside), steals a silver cup, then makes off with it after throwing the contents out to disperse the faeries. According to Newburgh the cup ended up being presented to Henry II. Other stories present the mound-dwelling faeries as helpful to humanity. Grinsell recounts several examples of this motif, including one from The Pixies’ Mound at Stogursey, Somerset, where a ploughman on his way to the fields noticed a small broken peel (wooden shovel for baking cakes) on the mound. He mended it, put it back on the mound, and then when he returned home in the evening found a freshly baked cake in its place.

17th-century English woodcut with dancing faeries outside burial mound with door

This apparent close connection between faerie folklore and burial mounds may represent further evidence that the faeries are indeed the dead, and that the stories told about them are to all intents a filtered down form of ancestor worship, with offerings and rituals denuded of their original meaning and rendered into a symbolic folkloric language. This is almost certainly only part of the story when it comes to faerie beliefs, but the folklore does present a consistent theme of the faeries and the dead being intimates, tied together in the collective memory as inseparable concepts, however far distilled, for the purposes of narrative storytelling.

Faerie Funerals

But faeries die too. Those living in the faerieland on Selena Moor were not immortal according to Grace Hutchens’ testimony, and there is a relatively common folklore motif of faerie funerals/burials (Aarne Thompson Index F268.1), which might muddy the waters of the theory that the faeries are the dead. William Blake, a firm believer in the world of faerie, famously claimed to have observed a faerie funeral where he saw “a procession of creatures the size and colour of green and grey grasshoppers, bearing a body laid out on a rose-leaf, which they buried with songs and then disappeared.”

John Anster Fitzgerald – ‘A Faerie Funeral’ (1864)

A particularly interesting example was collected in Cornwall by Robert Hunt in 1865, and published in Popular Romances of the West of England. It tells the story of Richard, a fisherman returning home with his catch past Lelant Church, when he heard the bells tolling with a ‘muffled sound’. He peered into a window and saw the dimly illuminated scene of a faerie funeral:

“Richard beheld the bier borne between six — whether men or women he could not tell — but he saw that the face of the corpse was that of a beautiful female, smaller than the smallest child’s doll. It was, Richard said, ‘as if it were a dead seraph,’ — so very lovely did it appear to him. The body was covered with white flowers, and its hair, like gold threads, was tangled amongst the blossoms. The body was placed within the altar; and then a large team of faeries, with picks and spades, began to dig a little hole close by the sacramental table.”

Often the faerie funerals turn out to be predictors of the death of those observing them. A typical example was collected by the folklorist James Bowker and published in Goblin Tales of Lancashire in 1883. In the story Adam and Robin are walking past Langton church on a moonlit night when they hear the bells peal twenty-six times; the age of Robin. As they approach the avenue of trees leading to the church they see a small, dark figure step out of the churchyard “chanting some mysterious words in a low musical voice as he walked.” They ducked back into the trees…

” … and standing together against the trunk of a large tree, they gazed at the miniature being stepping so lightly over the road, mottled by the stray moonbeams. It was a dainty little object; but although neither Adam nor Robin could comprehend the burden of the song it sang, the unmistakable croon of grief with which each stave ended told the listeners that the faerie was singing a requiem. The men kept perfectly silent, and in a little while the figure paused and turned round, as though in expectation, continuing, however, its mournful notes. By-and-by the voices of other singers were distinguished, and as they grew louder the faerie standing in the roadway ceased to render the verse, and sang only the refrain, and a few minutes afterwards Adam and Robin saw a marvellous cavalcade pass through the gateway. A number of figures, closely resembling the one to which their attention had first been drawn, walked two by two, and behind them others with their caps in their hands, bore a little black coffin, the lid of which was drawn down so as to leave a portion of the contents uncovered. Behind these again others, walking in pairs, completed the procession. All were singing in inexpressibly mournful tones, pausing at regular intervals to allow the voice of the one in advance to be heard, as it chanted the refrain of the song, and when the last couple had passed into the avenue, the gates closed as noiselessly as they had opened. As the bearers of the burden marched past the two watchers, Adam bent down, and, by the help of a stray gleam of moonlight, saw that there was a little corpse in the coffin. ‘Robin, mi lad,’ said he, in a trembling voice and with a scared look, ‘it’s the picture o’ thee as they have in the coffin!'”

Robin is, quite reasonably, freaked out by this turn of events and reaches out to touch the lead faerie. The procession immediately vanishes, and the two men run back home ashen-faced. Sure enough, one month later, Robin falls from a hay-rick and is fatally wounded.

Ylenia Viola – ‘A.I.R. II’

This strange projection of a mortal human into the faerie world as a portent of death once again links the folklore to the psychogenesis that created it. These are not simply fireside stories; they are embedded with meaning. In all of the cases discussed, this meaning is our culture’s attempt to understand what death is and who might be around to help us, be with us, or warn us, when death is close or upon us. The folklore is sending us messages that seem to infer that there are metaphysical entities who are more familiar with the land of the dead than we are and that death is simply an alternative form of consciousness, available to everyone given the right circumstances, and perhaps not something to be afraid of.

Breaching the Consciousness Gap — The Faeries as Arbiters of Death

The folklore that portrays the faeries as inhabiting the land of the dead shows them as representatives of the past and what is gone. In the same way as a memory of someone dead can be conjured up in consciousness before disappearing into the subconscious, so the faeries are able to make appearances in our collective stories that attempt to understand death and its connection with life. Their somewhat wacky behaviour perhaps exemplifies our fear of the unknown — they live in an undiscovered country, and have their own customs and rules. But it’s a place that can be accessed and brought into our comprehension of reality — physically and metaphysically — so as to come to terms with death, both our own and of others.

Accessing the transcendent world of the dead, without dying, and making contact with the faeries, seems dependent on an altered state of consciousness. Many of the previous posts on this site have investigated this in some detail as an essential key to comprehending the faerie phenomenon (here‘s an example). And the folklore we’ve been investigating in this article is usually dependent on the protagonist(s) going through an endogenous transformation of their conscious state through a variety of means, which are coded and embedded in the stories to signpost the listener/reader that something supra-natural is about to happen, such as Mr Noy’s exhausted confusion, or Adam and Robin’s fear. Modern renditions of the faeries as arbiters of death, such as Photographing Fairies, are more at liberty to constitute precise causes of the altered state, in this case, the ingestion of a psychoactive flower. But the consistent feature is that the faeries exist in some liminal zone that bridges the gap between material reality and consciousness and that ultimately once the gap has been fully breached we find ourselves in a transcendent form of consciousness beyond time and space; usually known as Death.

Ylenia Viola – ‘Between Dream and Reality’

Thanks to Ylenia Viola for permission to use her transcendent artwork in this article. The cover image is A.I.R. from her ‘Enchanted Metamorphosis’ gallery. Ylenia’s artwork can be found at her website: Fairytalesneverdie

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