| 000 | 03166cam a22003733u 4500 | ||
|---|---|---|---|
| 001 | 76286 | ||
| 003 | UtSlPG | ||
| 005 | 20260610134751.0 | ||
| 006 | m | ||
| 007 | cr n | ||
| 008 | 260607r20251888utu|||||o|||||||||||||| d | ||
| 010 | _a01005726 | ||
| 040 | _aUtSlPG | ||
| 041 | 7 |
_aen _2iso639-1 |
|
| 050 | 4 | _aPN | |
| 100 | 1 |
_aWaite, Arthur Edward, _d1857-1942 |
|
| 245 | 1 | 0 | _aElfin music |
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2025 |
|
| 300 |
_a1 online resource : _bmultiple file formats |
||
| 336 |
_atext _btxt _2rdacontent |
||
| 337 |
_acomputer _bc _2rdamedia |
||
| 338 |
_aonline resource _bcr _2rdacarrier |
||
| 490 | 1 | _aThe Canterbury poets | |
| 500 | _aRelease date is 2025-06-14 | ||
| 508 | _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.) | ||
| 520 | _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.) | ||
| 534 |
_pOriginally published: _cLondon: Walter Scott, 1888 |
||
| 653 | _aEnglish poetry | ||
| 653 | _aFairy poetry, English | ||
| 700 | 1 |
_aSharp, William, _d1855-1905 |
|
| 830 | 0 | _aThe Canterbury poets | |
| 856 | 4 | _uhttps://archive.org/details/elfinmusicanthol00wait/page/n5/mode/2up | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/76286 |
| 999 |
_c117011 _d117011 |
||