Fairies were frequently supposed to reside in a kingdom of their own—which might be underground, e.g., gnomes; in the sea, e.g., mermaids; in an enchanted part of the forest; or in some far land. Sometimes they were ruled by a king or queen, as were the trolls in Ibsen's Peer Gynt and the fairies in Shakespeare's A Midsummer Night's Dream. Although fairies were usually represented as mischievous, capricious, and even demonic, they could also be loving and bountiful, as the fairy godmother in Cinderella. Sometimes fairies entered into love affairs with mortals, but usually such liaisons involved some restriction or compact and frequently ended in calamity, as did those of Melusine and Undine. Various peoples have emphasized particular kinds of fairies in their folklore, such as the Arabic jinni, Scandinavian troll, Germanic elf, and English pixie. Among the great adapters of fairy lore into popular fairy tales were Charles Perrault, the brothers Grimm, and Hans Christian Andersen. Other notable contributors were Andrew Lang and James Stephens.
See K. M. Briggs, The Fairies in English Tradition and Literature (1967); J. D. Zipes, Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales (1979), Fairy Tale as Myth/Myth as Fairy Tale (1994), and When Dreams Came True: Classical Fairy Tales and Their Tradition (1999); M. M. Tatar, Off with Their Heads!: Fairy Tales and the Culture of Childhood (1992); M. Warner, From the Beast to the Blonde: On Fairy Tales and Their Tellers (1995).
Simple narrative typically of folk origin dealing with supernatural beings. Fairy tales may be written or told for the amusement of children or may have a more sophisticated narrative containing supernatural or obviously improbable events, scenes, and personages and often having a whimsical, satirical, or moralistic character. The term embraces popular folktales such as “Cinderella” and “Puss in Boots,” as well as art fairy tales of later invention, such as those by Hans Christian Andersen. It is often difficult to distinguish between tales of literary and oral origin, because folktales have received literary treatment from early times, and literary tales can often be traced back to oral tradition.
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Fairy shrimp (Eubranchipus vernalis)
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In folklore, any of a race of supernatural beings who have magic powers and sometimes meddle in human affairs. Some have been described as of human size, while others are “little people” only a few inches high. The term was first used in medieval Europe. Fairy lore is especially common in Ireland, Cornwall, Wales, and Scotland. Though usually beneficent in modern children's stories, the fairies of the past were powerful and sometimes dangerous beings who could be friendly, mischievous, or cruel, depending on their whim. Fairies were thought to be beautiful, to live much longer than human beings, and to lack souls. They sometimes carried off human infants and left changelings as substitutes. They occasionally took human lovers, but to enter fairyland was perilous for humans, who were obliged to remain forever if they ate or drank there. Seealso leprechaun.
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A fairy (also fay, fey, fae, faerie; collectively, wee folk, good folk, people of peace, fair folk, and other euphemisms) is a type of mythological being or legendary creature, a form of spirit, often described as metaphysical, supernatural or preternatural.
The word "fairy" derives from the fae of medieval Western European (Old French) folklore and romance, one famous example being Morgan le Fay. "Fae-ery" was therefore everything that appertains to the "fae", and so the land of "faes", all the "faes". Finally the word replaced its original and one could speak of "a faery or fairy", though the word "fey" is still used as an adjective.
Fairies resemble various beings of other mythologies, though even folklore that uses the term "fairy" offers many definitions. Sometimes the term describes any magical creature, including goblins or gnomes: at other times, the term only describes a specific type of more ethereal creature.
Much of the folklore about fairies revolves about protection from their malice, by such means as cold iron (fairies don't like iron and will not go near it) or charms of rowan and herbs, or avoiding offense by shunning locations known to be theirs. In particular, folklore describes how to prevent the fairies from stealing babies and substituting changelings, and abducting older people as well. Many folktales are told of fairies, and they appear as characters in stories from medieval tales of chivalry, to Victorian fairy tales, and up to the present day in modern literature. Some tales tell of fairies having the ability to turn invisible. Once invisible, fairies are said to steal single socks from laundry baskets.
Although in modern culture they are often depicted as young, sometimes winged, females of small stature, they originally were depicted much differently: tall, radiant, angelic beings or short, wizened trolls being some of the commonly mentioned. Diminutive fairies of one kind or another have been recorded for centuries, but occur alongside the human-sized beings; these have been depicted as ranging in size from very tiny up to the size of a human child. Even with these small fairies, however, their small size may be magically assumed rather than constant.
Wings, while common in Victorian and later artwork of fairies, are very rare in the folklore; even very small fairies flew with magic, sometimes flying on ragwort stems or the backs of birds. Nowadays, fairies are often depicted with ordinary insect wings or butterfly wings.
Various animals have also been described as fairies. Sometimes this is the result of shapeshifting on part of the fairy, as in the case of the selkie (seal people); others, like the kelpie and various black dogs, appear to stay more constant in form.
The belief in their angelic nature was less common than that they were the dead, but still found popularity, especially in Theosophist circles. Informants who described their nature sometimes held aspects of both the third and the fourth view, or observed that the matter was disputed.
In old Celtic faery lore the sidhe (fairy folk) are immortals living in the ancient barrows and cairns. The Tuatha de Danaan are associated with several Otherworld realms including Mag Mell (the Pleasant Plain), Emain Ablach (the Fortress of Apples or the Land of Promise or the Isle of Women), and one of the most well known Tir na nÓg (the Land of Youth).
The concept of the Otherworld is also associated with the Isle of Apples, known as Avalon in the Arthurian mythos (often equated with Ablach Emain). Here we find the Silver Bough that allowed a living mortal to enter and withdraw from the Otherworld. According to legend, the Faery Queen sometimes offered the branch to worthy mortals, granting them safe passage and food during their stay.
Some 19th century archaeologists thought they had found underground rooms in the Orkney islands resembling the Elfland in Childe Rowland. In popular folklore, flint arrowheads from the Stone Age were attributed to the fairies as "elf-shot". The fairies fear of iron was attributed to the invaders having iron weapons, whereas the inhabitants had only flint and were therefore easily defeated in physical battle. Their green clothing and underground homes were credited to their need to hide and camouflage themselves from hostile humans, and their use of magic a necessary skill for combating those with superior weaponry. In Victorian beliefs of evolution, cannibalism among "ogres" was attributed to memories of more savage races, still practicing it alongside "superior" races that had abandoned it. Selkies, described in fairy tales as shapeshifting seal people, were attributed to memories of skin-clad "primitive" people traveling in kayaks. African pygmies were put forth as an example of a race that had previously existed over larger stretches of territory, but come to be scarce and semi-mythical with the passage of time and prominence of other tribes and races.
The question as to the essential nature of fairies has been the topic of myths, stories, and scholarly papers for a very long time.
As a consequence, practical considerations of fairies have normally been advice on averting them. In terms of protective charms, cold iron is the most familiar, but other things are regarded as detrimental to the fairies: wearing clothing inside out, running water, bells (especially church bells), St. John's wort, and four-leaf clovers, among others. Some lore is contradictory, such as Rowan trees in some tales been sacred to the fairies, and in other tales being protection against them. In Newfoundland folklore, the most popular type of fairy protection is bread, varying from stale bread to hard tack or a slice of fresh home-made bread. The belief that bread has some sort of special power is an ancient one. Bread is associated with the home and the hearth, as well as with industry and the taming of nature, and as such, seems to be disliked by some types of fairies. On the other hand, in much of the Celtic folklore, baked goods are a traditional offering to the folk, as are cream and butter.
“The prototype of food, and therefore a symbol of life, bread was one of the commonest protections against fairies. Before going out into a fairy-haunted place, it was customary to put a piece of dry bread in one’s pocket.”
Bells also have an ambiguous role; while they protect against fairies, the fairies riding on horseback — such as the fairy queen — often have bells on their harness. This may be a distinguishing trait between the Seelie Court from the Unseelie Court, such that fairies use them to protect themselves from more wicked members of their race. Another ambiguous piece of folklore revolves about poultry: a cock's crow drove away fairies, but other tales recount fairies keeping poultry. In County Wexford, Ireland, in 1882, it was reported that “if an infant is carried out after dark a piece of bread is wrapped in its bib or dress, and this protects it from any witchcraft or evil.”
While many fairies will confuse travelers on the path, the will o' the wisp can be avoided by not following it. Certain locations, known to be haunts of fairies, are to be avoided; C. S. Lewis reported hearing of a cottage more feared for its reported fairies than its reported ghost. In particular, digging in fairy hills was unwise. Paths that the fairies travel are also wise to avoid. Home-owners have knocked corners from houses because the corner blocked the fairy path, and cottages have been built with the front and back doors in line, so that the owners could, in need, leave them both open and let the fairies troop through all night. Locations such as fairy forts were left undisturbed; even cutting brush on fairy forts was reputed to be the death of those who performed the act. Fairy trees, such as thorn trees, were dangerous to chop down; one such tree was left alone in Scotland, though it prevented a road being widened for seventy years. Good house-keeping could keep brownies from spiteful actions, because if they didn't think the house is clean enough, they pinched people in their sleep. Such water hags as Peg Powler and Jenny Greenteeth, prone to drowning people, could be avoided by avoiding the bodies of water they inhabit.
Other actions were believed to offend fairies. Brownies were known to be driven off by being given clothing, though some folktales recounted that they were offended by inferior quality of the garments given, and others merely stated it, some even recounting that the brownie was delighted with the gift and left with it. Other brownies left households or farms because they heard a complaint, or a compliment. People who saw the fairies were advised not to look closely, because they resented infringements on their privacy. The need to not offend them could lead to problems: one farmer found that fairies threshed his corn, but the threshing continued after all his corn was gone, and he concluded that they were stealing from his neighbors, leaving him the choice between offending them, dangerous in itself, and profiting by the theft.
Millers were thought by the Scots to be "no canny" due to their ability to control the forces of nature, such as fire in the kiln, water in the burn, and for being able to set machinery a-whirring. Superstitious communities sometimes believed that the miller must be in league with the fairies. In Scotland fairies were often mischievous and to be feared. No one dared to set foot in the mill or kiln at night as it was known that the fairies brought their corn to be milled after dark. So long as the locals believed this then the miller could sleep secure in the knowledge that his stores were not being robbed. John Fraser, the miller of Whitehill claimed to have hidden and watched the fairies trying unsuccessfully to work the mill. He said he decided to come out of hiding and help them, upon which one of the fairy women gave him a gowpen (double handful of meal) and told him to put it in his empty girnal (store), saying that the store would remain full for a long time, no matter how much he took out.
It is also believed that to know the name of a particular fae could summon it to you and force it to do your bidding. The name could be used as an insult towards the Faerie in question, but it could also rather contradictorily be used to grant powers and gifts to the user.
Trooping fairies refer to fairies who appear in groups and might form settlements. In this definition, fairy is usually understood in a wider sense, as the term can also include various kinds of mythical creatures mainly of Celtic origin; however, the term might also be used for similar beings such as dwarves or elves from Germanic folklore. These are opposed to solitary fairies, who do not live or associate with others of their kind.
A common feature of the fairies is the use of magic to disguise appearance. Fairy gold is notoriously unreliable, appearing as gold when paid, but soon thereafter revealing itself to be leaves, gorse blossoms, gingerbread cakes, or a variety of other useless things.
These illusions are also implicit in the tales of fairy ointment. Many tales from the British islands tell of a mortal woman summoned to attend a fairy birth — sometimes attending a mortal, kidnapped woman's childbed. Invariably, the woman is given something for the child's eyes, usually an ointment; through mischance, or sometimes curiosity, she uses it on one or both of her own eyes. At that point, she sees where she is; one midwife realizes that she was not attending a great lady in a fine house but her own runaway maid-servant in a wretched cave. She escapes without making her ability known, but sooner or later betrays that she can see the fairies. She is invariably blinded in that eye, or in both if she used the ointment on both.
Fairies appeared in medieval romances as one of the beings that a knight errant might encounter. A fairy lady appeared to Sir Launfal and demanded his love; like the fairy bride of ordinary folklore, she imposed a prohibition on him that in time he violated. Sir Orfeo's wife was carried off by the King of Faerie. Huon of Bordeaux is aided by King Oberon. These fairy characters dwindled in number as the medieval era progressed; the figures became wizards and enchantresses. Morgan Le Fey, whose connection to the realm of faerie is implied in her name, in Le Morte d'Arthur is a woman whose magic powers stem from study. While somewhat diminished with time, fairies never completely vanished from the tradition. Sir Gawain and the Green Knight is a late tale, but the Green Knight himself is an otherworldly being. Edmund Spenser featured fairies in The Faerie Queen. In many works of fiction, fairies are freely mixed with the nymphs and satyrs of classical tradition; while in others (e.g. Lamia), they were seen as displacing the Classical beings. Fifteenth century poet and monk John Lydgate wrote that King Arthur was crowned in "the land of the fairy", and taken in his death by four fairy queens, to Avalon where he lies under a "fairy hill", until he is needed again.
Fairies appear as significant characters in William Shakespeare's A Midsummer's Night Dream, which is set simultaneously in the woodland, and in the realm of Fairyland, under the light of the moon. and in which a disturbance of Nature caused by a fairy dispute creates tension underlying the plot and informing the actions of the characters. According to Maurice Hunt, Chair of the English Department at Baylor University, the blurring of the identities of fantasy and reality makes possible “that pleasing, narcotic dreaminess associated with the fairies of the play”.
Shakespeare's contemporary, Michael Drayton features fairies in his Nimphidia; from these stem Alexander Pope's sylphs of The Rape of the Lock, and in the mid 1600s, précieuses took up the oral tradition of such tales to write fairy tales; Madame d'Aulnoy invented the term contes de fée ("fairy tale"). While the tales told by the précieuses included many fairies, they were less common in other countries' tales; indeed, the Brothers Grimm included fairies in their first edition, but decided this was not authentically German and altered the language in later editions, changing each "Fee" (fairy) to an enchantress or wise woman. J. R. R. Tolkien described these tales as taking place in the land of Faerie. Additionally, not all folktales that feature fairies are generally categorized as fairy tales.
Fairies in literature took on new life with Romanticism. Writers such as Sir Walter Scott and James Hogg were inspired by folklore which featured fairies, such as the Border ballads. This era saw an increase in the popularity of collecting of fairy folklore, and an increase in the creation of original works with fairy characters. In Rudyard Kipling's Puck of Pook's Hill, Puck holds to scorn the moralizing fairies of other Victorian works. The period also saw a revival of older themes in fantasy literature, such as C.S. Lewis's Narnia books which, while featuring many such classical beings as fauns and dryads, mingles them freely with hags, giants, and other creatures of the folkloric fairy tradition. Victorian flower fairies were popularized in part by Queen Mary’s keen interest in fairy art, and by British illustrator and poet Cicely Mary Barker's series of eight books published in 1923 through 1948. Imagery of fairies in literature became prettier and smaller as time progressed. Andrew Lang, complaining of "the fairies of polyanthuses and gardenias and apple blossoms" in the introduction to The Lilac Fairy Book, observed that "These fairies try to be funny, and fail; or they try to preach, and succeed.
Fairies are seen in Neverland, in the novel Peter and Wendy, the version of James Barrie's famous Peter Pan stories that was published in 1911. In the part of the story where Peter Pan and the lost boys had built a house for Wendy on Neverland, he stays up late that night to guard her from the pirates, but then the story says: "After a time he fell asleep, and some unsteady fairies had to climb over him on their way home from an orgy. Any of the other boys obstructing the fairy path at night they would have mischiefed, but they just tweaked Peter's nose and passed on.
The Victorian era was particularly noted for fairy paintings. The Victorian painter Richard Dadd created paintings of fairy-folk with a sinister and malign tone. Other Victorian artists who depicted fairies include John Atkinson Grimshaw, Joseph Noel Paton, John Anster Fitzgerald and Daniel Maclise. Interest in fairy-themed art enjoyed a brief renaissance following the publication of the Cottingley Fairies photographs in 1917 and a number of artists turned to painting fairy themes. Following in the footsteps of this trend, and utilizing modern digital technology, fantasy photographers like J. Corsentino created a new sub-genre of "fairy photography".
Fairies are often depicted in books, stories, and movies. A number of these fairies are from adaptations of traditional tales.
Engelbert Humperdinck's 1893 opera Hänsel und Gretel features the Dew Fairy in Act 3 who wakens the title characters from their sleep. Although the role is a small one, it serves to highlight the supernatural character of the woods in which the children find themselves, which is also the home of a cannibalistic witch and her gingerbread house.
Perhaps some of the most well-known fairies were made by Disney. Tinkerbell, from the Peter Pan stories by J.M. Barrie and the Disney adaptation. Also the Fairy Godmother in Disney's adaptation of Cinderella and the fairies in Sleeping Beauty. In Carlo Collodi's tale Pinocchio a wooden boy receives the gift of real life from a fairy described as the "lovely maiden with azure hair", who was dubbed the "Blue Fairy" for Disney's adaptation.
As would be expected, fairies appear in other media as well, including novels, video games, role playing games and music. A comprehensive list is beyond the scope of this article, but one recent and notable example is Susanna Clarke's novel Jonathan Strange & Mr. Norrell, which revolved about two magicians with close connections to the fairy world; it won the Hugo Award for Best Novel. Clarke drew heavily on British folklore for this work and her collection of short stories The Ladies of Grace Adieu, including retelling the story of Tom Tit Tot as her "On Lickerish Hill".
As fairy art, folklore and music inspired by it has continued to thrive in popular culture, various fantasy faires and conventions dedicated to everything fairy have sprung up around the country, such as Faerieworlds, Faeriecon and fairy festivals at Sproutwood Farm. Recording artist Gary Stadler released a series of fairy-influenced music CDs on Sequoia Records, beginning with "Fairy of the Woods" in 1994, and including "Fairy HeartMagic", that appeared on Billboard's top 25 New Age music chart in 2000, and featuring fairy artwork by Katlyn Breene of Zingaia.
Fairies are a companion and helper of Ofelia and the faun in the Spanish movie Pan's Labyrinth by filmmaker Guillermo del Toro. They originally look like large insects but shapeshift after Ofelia shows them a picture of what a fairy is supposed to look like.
The Fae are a playable race of characters in the MMORPG EverQuest 2, as of the release of the expansion pack Echoes of Faydwer. Their characteristics draw from many archetypes common to those found in North America. In the role playing game by White Wolf Studios called Changeling the Lost you play a human who has been stolen by the Fae, but who escapes and is supernaturally changed by the experience.
In the Artemis Fowl series, faires are depicted as wingless creatures who can "mesmerize" humans and live underground.
Fairies are a prominent figure in the Fablehaven series, written by Brandon Mull. At the end of Book 1, several are magically transformed to human size, enabling them to save Fablehaven from a demon set on destroying it. They revere the "Fairy Queen" who is considered the most powerful being in the Fairy world.