Lake District. August, 1922. A group of fairies are gambolling and dancing on a little plateau on the other side of the stream. Their bodies are female, their main clothing is pale blue; their wings, which are almost oval in shape, are constantly fluttering as they dance in a ring hand in hand. Some of them wear a loose girdle, from which is suspended an instrument like a horn. All are draped with a material which serves to conceal the form more completely than is usual with this type of nature-spirit. Their height is probably six inches. Their hair, which in all cases is brown, varies from very light to quite dark shades. The colouring of the fairy form is a very pale rose pink, beyond which, in nearly all cases, is a pale blue aura and pale blue wings. They are performing something not unlike a country dance; and I think it must be their thought that produces numbers of tiny daisy-like flowers, which appear and disappear – coming sometimes as single flowers and sometimes as wreaths or chains. They are discharging into the surrounding atmosphere a good deal of specialised energy, in the form of silver sparks, and the effect produced by this miniature electrical display, flowing through their auras and through the curious misty glamour, or haze, in which the whole group is bathed, is most beautiful; it extends to a height of probably eight or ten inches over their heads, and reaches its highest point over the centre of the group. The effect of it upon the fairies is to give them the sense of complete seclusion: in fact, the nature-spirits of other species which are in the neighbourhood do not enter within the charmed sphere. They have now changed their formation and are going through an evolution of considerable intricacy making radial chains across the circle. They do not remain in exactly the same spot, and when the group moves the secluding aura moves with it. The dance, which is also a ritual, resembles certain figures in the Lancers. They have a decided sense of rhythm, for although their movements are spontaneous and free they are to some extent ‘keeping time’. As I watch them, in the centre of the circle there has developed slowly a rose-coloured globular or heart-shaped form, whose pulsation discharges a force that flows out in fine lines, or striations. The auric encasement has now increased considerably in size, and is not unlike a large inverted glass bowl. They seem to have the idea that they are creating a building, for now radial divisions appear, extremely thin and glittering, which divide the erection into compartments. Gradually the group drifts away out of the range of my vision. Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 80-81