William Megarry, of Ballinderry [County Antrim], as his daughter who is married to James Megarry, J.P., told me, was one night going to Crumlin on horseback for a doctor, when after passing through Glenavy he met just opposite the Vicarage two regiments of them (the fairies) coming along the road towards Glenavy. One regiment was dressed in red and one in blue or green uniform. Theywere playing music, but when they opened out to let him pass through the middle of them the music ceased until he had passed by.’ Evans-Wentz 74

From James Summerville, eighty-eight years old, who lives in the country near Irvinestown, I heard much about the ‘wee people’ and about banshees, and then the following remarkable story concerning the ‘good people’:…  From near Ederney, County Fermanagh, about seventy years ago, a man whom I knew well was taken to America on Hallow Eve Night; and they (the good people) made him look down a chimney to see his own daughter cooking at a kitchen fire. Then they took him to another place in America, where he saw a friend he knew. The next morning he was at his own home here in Ireland. ‘This man wrote a letter to his daughter to know if she was at the place and at the work on Hallow Eve Night, and she wrote back that she was. He was sure that it was the good people who had taken him to America and back in one night.’ Evans-Wentz 73

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

Lancashire. 1921. We are surrounded by a dancing group of lovely female fairies. They are laughing and full of joy. The leader in this case is a female figure, probably two feet high, surrounded by transparent flowing drapery. There is a star on her forehead, and she has large wings which glisten with pale, delicate shades from pink to lavender; in rapid movement, however, the effect of them is white. Her fair is light golden brown and, unlike that of the lesser fairies, streams behind her and merges with the flowing force of her aura. The form is perfectly modelled and rounded, like that of a young girl, the right hand holds a wand. Although her expression is one of purity and ingeniousness, her face is at the same time stamped with a decided impression of power. This is especially noticeable in the clear blue eyes, which glow like a flame and have all the appearance of a living fire. Her brow is broad and noble, her features small and rounded, the tiny ears are a poem of physical perfection. There are no angles in this transcendently beautiful form. The bearing of head, neck and shoulders is queenly, and the whole pose is a model of a grace and beauty. A place blue radiance surrounds this glorious creature, adding to her beauty, while golden flashes of light shoot and play round her head. The lower portion of the aura is shell pink, irradiated with white light. She is aware of our presence and graciously remained more or less motionless for the purpose of this description. She holds up her wand, which is about the length of her fore-arm and is white and shining glows at the end with a yellow light. She bows low and gracefully, much as a great prima donna might bow on taking leave of a highly appreciative audience. I hear a very faint, far away music, too find-drawn to translate, such music as might be given forth by diminutive needles, delicately tuned, hung and struck with tiny hammers. It is more a series of tinkles than a consecutive air, probably because I am unable to contact it fully. Now the whole group has risen into the air and vanished.  Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 82-83

September 26, 1921. In a glade a few miles from home [Preston]. Beautiful old trees, touched with autumn tints, a stream gently flowing, and the whole bathed in autumn sunshine. The surface of this field is densely populated by fairies, brownies, elves and a species of grass creature, something between an elf and a brownie, but smaller, and apparently less evolved than either. The fairies are flitting through the air in short flights, taking very graceful poses as they fly. They express in the highest degree the qualities of light-heartedness, gaiety and joie de vivre. A number of them are flying about singly. They flit from place to place, pausing a moment between each flight. They seem to be bearing something which they give to the grass or the flowers at each stopping place, at least they put out their hand and touch the place where they come to rest, as if applying some substance, then they move swiftly away again. They become more clearly visible as they alight as and they move away; one loses them after they have landed. They are female, dressed in a white, or very pale pink, clinging, sheeny material of exceedingly fine texture. It is drawn in at the waist and shines with many colours like mother-of-pearl. The limbs are uncovered, the wings are oval, small and elongated. Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 78-79

Preston, 1922. A beautiful female nature-spirit, exactly like a small tree-deva, has a residence in a thick hedge near by, where the growth of brambles, creepers and bright red hawthorn berries is profuse. Evidently processes similar to those in trees take place in big hedges. This nature-spirit is of a particularly engaging character. She is perhaps three or four feet high, lightly robed in a flowing transparent filmy garment, and looks straight at us, with the frankest and friendliest of smiles; she is remarkably vital and gives the impression of great dynamic energy held in perfect control. Her aura is noticeably alive, and looks like a cloud, of soft but radiant hues, though which shafts of dazzling light flash and radiate. The colours are far beyond any earthly colours in delicacy, ranging through shades of soft luminous plae rose, pale soft green, lavender and misty blue, thoughout which brilliant lances of light are constantly passing. She is in a state of exalted happiness. As an experiment I yielded voluntarily to the powerful glamour of her presence, and for a time, unconscious of the body yet always sufficiently awake in it to return at will, experienced some measure of the joyful and radiant happiness which seems to be the permanent condition of all the dwellers in the fairy world. There is danger in too close a contact; it requires a decided effort to withdraw and take up the burden of fleshly existence once again. Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 77-78

Fairies: Kendal, December, 1922. A very lovely varietiy of fairy lives here. They have the softest and gentlest expression of countenance that I have yet seen, except perhaps on the faces of the Atlantean fairies seen on the western slopes of Snaefell. These are truly beautiful, and move about in the gentlest, quietest manner, with extreme grace and beauty. One of them has observed us and does not seem to be afraid. She is holding her light filmy garment, through which the pink and white form is just discernible, up with her right hand, and in her left she carries some object, which for the moment I cannot describe; the limbs are bare, the hair is long and hangs loose, tiny lights play like a garland round her head, and so beautiful is her carriage, that, were it not for the complete absence of self-consciousness and the perfect candour show in the expression of face and eyes, I should have thought she was posing. All around me I see others equally beautiful, each differing in some slight degree from the other. One, whose back is turned towards me, has lovely long dark hair, which hangs down well below the waist; one beautiful white arm is stretched out before her, a little to one side, as she walks slowly through the wood. This place is Fairyland indeed, and would time permit hours could be spend describing the life here. Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 76-77

Manx Fairies. On the western hopes of Snaefell. August, 1922. We encountered a charming race of ‘little folk’ whilst climbing the mountain from Sulby Glen, a race differing from the English nature-spirits in many respects. In height from four to six inches, they suggest, in miniature, the appearance of men and women of very ancient times. Unlike their brethren of the mainland, they move sedately and with an almost languorous grace about the hillside. Their eyes, which are soft and dreamy in expression, are elongated and narrow. Their faces wear a perpetual smile; the features are well modelled though the chin recedes unduly. Both sexes appear to be represented, the females have long dresses of bright mixed colours; the males are clothed in shiny material that looks like silk, the favourite colour being a royal blue of electric brilliance. They suggest remotely the cavalier and fine lady of the Stuart period, but I imagine that their appearance is modelled upon that of the people of a far earlier date. They make a sweet flute-like music which, coming from several directions at once, creates a kind of twittering effect. They are dancing and playing on the hillside, which they people in countless number. Appearing amongst them occasionally is a creature partly resembling a ghome, but with an animal’s hind legs. These little folks have no wings, and lack the vivid vitality which has characterised all the other types of fairies we have met. Their consciousness is only operating very partially through the forms; some of them seem almost to be walking in their sleep. They are extremely gentle and courteous in their relationship with each other, and express love rather than joy. Theirs is a very peaceful, quiet, dreamlike existence. The centre of vitality appears to be just within the small of the back, the astral body being connected to the physical at that point and floating immediately behind and above it. It is shapeless, and the predominating colours are silver and rose, brilliantly illuminated. The creature appears to be less than half incarnated. Probably the race is so ancient that it is about to die out.  Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 75-76

In the Garden. October 17th, 1921. She is decidedly fairy in colouring, full of laughter and happiness, very open and fearless in expression, and is surrounded by an aura of golden radiance in which the outline of her wings can be traced. There is also a hint of mockery in her attitude and expression, as of one who is enjoying a joke against the poor mortals who is studying her. Suddenly her manner changed and she becomes serious. Stretching out her arms to their full length, she performs an act of concentration which has the effect of reducing the size of her aura and of turning its energies inwards upon herself. Having maintained this condition for about fifteen seconds she releases the whole of the concentrated energy, which pours forth in all directions in streams of golden force, and appears to affect every single stem and flower within its reach. (She is in the centre of a clump of chrysanthemums.) She thus reinforces the vibration which is already there, probably as a result of previous similar activities on her part. Anotehr effect of this operation has been to cause the astral double of the whole clump to shine with an added radiance, an effect which is noticeable right down to the roots. Geoffrey Hodson, Fairies at Work and at Play,  (London: Theosophical Publishing House, 1930), 74-75

Michael Glasheen was indicted for having, on the 30th of August, 1883, at Listowran, county of Tipperary, maliciously, willfully, and with malice afore-thought, murdered his wife, one Maria Glasheen. Mr Ryan, QC, and Mr White, Q.C., prosecuted; and Dr Falkiner defended the prisoner. Mr Ryan, in opening the case, said in his long experience in criminal cases he never had the painful duty of presenting for the consideration of the a jury a case which was so horrible in its details, and revealing a state of superstition or ignorance that was so shocking. The prisoner at the bar was charged with the murder of his wife – a poor sickly woman, who was at the time of the murder confined to her bed, and in the last stage of consumption. The prisoner, on the 30th of August, came in to his sick wife, took her out of bed, killed her, and then attempted to burn the body. A very deplorable feature in the case was that it would be proved by the family of the prisoner – little children, the eldest of whom was not more than ten years of age. The prisoner had been drinking for some time previously, and the reason he assigned for the terrible deed was that his wife was a fairy. He hoped it could be proved that the prisoner was not responsible for his actions. Witnesses having been examined for the prosecution and the defence. His lordship, in sentencing the prisoner, said that the offence was a very serious one, and one for which the prisoner was liable to transportation for life. He would, however, only sentence him to five years’ penal servitude. Anon, ‘The Lisowran Murder Case’,  Nenagh Guardian, (8 Dec 1883), 3