03167cam a22003733u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000070011910000370012624500160016326400510017930000470023033600260027733700260030333800360032949000250036550000310039050801960042152018870061753400540250465300190255865300260257770000310260383000250263485600720265985600430273199900190277476286UtSlPG20260610134751.0mcr n260607r20251888utu|||||o|||||||||||||| d  a01005726  aUtSlPG 7aen2iso639-1 4aPN1 aWaite, Arthur Edward,d1857-194210aElfin music 1aSalt Lake City, UT :bProject Gutenberg,c2025  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier1 aThe Canterbury poets  aRelease date is 2025-06-14  aCharlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)  a"Elfin music : An anthology of English fairy poetry" by Waite and Sharp is a collection of poetry written in the late 19th century. The volume gathers English-language fairy verse across roughly six centuries, curated and introduced to explore the lore, landscapes, and figures of Faërie. It foregrounds iconic beings such as Oberon, Titania, Puck, and Queen Mab alongside sprites, pixies, water-nymphs, and mermaids, arranged in themed sections that move from vistas of Fairyland to chronicles, travels, and human–fairy encounters.  The opening of this anthology presents Arthur Edward Waite’s substantial introduction, which traces a contemporary revival of the romantic and supernatural in poetry; the etymology of “fairy” from Latin via French romance; and the blending of French, Teutonic, Celtic, and classical traditions into England’s elfin mythology. Waite contrasts lineages and beliefs (from Spenser’s elfin emperors to Shakespeare’s Indian-threaded lore), debates fairy stature and religion, and sketches the elfin court—Oberon, Titania/Mab, and Robin Goodfellow—alongside a taxonomy of land, sea, and underworld spirits. He retells key medieval romances—“Orfeo and Heurodis” and “The Knight Launfal”—to show how mortals journey into Fairyland, and explains the book’s thematic arrangement. After this, the selections begin with Poe’s dreamlike “Fairyland” and Hemans’s invocation to recall the elves, followed by portraits of the fairy family: Spenser’s dynastic rolls, Steward’s dressing of Oberon, Jonson’s and Shakespeare’s Queen Mab and lullaby for Titania, Puck’s fleet song, and Herrick’s playful fairy chapels and feasts. Early pieces also widen the realm to pixies, water sprites, and mermaids, setting a lyrical, otherworldly tone for the sections that follow. (This is an automatically generated summary.)  pOriginally published:cLondon: Walter Scott, 1888  aEnglish poetry  aFairy poetry, English1 aSharp, William,d1855-1905 0aThe Canterbury poets4 uhttps://archive.org/details/elfinmusicanthol00wait/page/n5/mode/2up40uhttps://www.gutenberg.org/ebooks/76286  c117011d117011