Ways to Spot the Tylwyth Teg

One of the Welsh coblynau

The faery folk of Wales, the tylwyth teg, seem to have some particular fashions of their own which make them unique. Here are two accounts that typify this.

I have mentioned before the valuable record of folklore to be found in Francis Kilvert’s Diaries. In December 1870 he spoke to David Price who lived near Capel-y-ffin in the Black Mountains. Price was a good parishioner, telling the Reverend Kilvert that faeries were seldom seen any more because people’s minds were on God instead, but he didn’t deny their existence, all the same; indeed, in a memorable phrase, he affirmed that “the faeries travel yet.” As evidence of this, he described a sighting by his own nephew who worked down a colliery in Monmouthshire. He had seen the faes dancing in a field to beautiful sweet music. They had all come over a stile very near to him, so there had been little mistaking what he witnessed. The young man described them as “very yellow in the face- between yellow and red- and dressed almost all in red.” He didn’t like seeing them, and was fully convinced of the reality of what he saw- as indeed was his uncle. The dancers were, the youth recalled, about the size of an eleven year old girl.

Compare this account to that of one Dr. Edward Williams, recorded for 1757. It took place at Bodfari, which is south-east of St Asaph in Denbighshire:

“On a fine summer day (about midsummer) between the hours of 12 at noon and one, my eldest sister and myself, our next neighbour’s children Barbara and Ann Evans, both older than myself, were in a field called Cae Caled near their house, all innocently engaged at play by a hedge under a tree, and not far from the stile next to that house, when one of us observed on the middle of the field a company of—what shall I call them?—beings, neither men, women, nor children, dancing with great briskness. They were full in view less than a hundred yards from us, consisting of about seven or eight couples: we could not well reckon them, owing to the briskness of their motions and the consternation with which we were struck at a sight so unusual. They were all clothed in red, a dress not unlike a military uniform, without hats, but their heads tied with handkerchiefs of a reddish colour, sprigged or spotted with yellow, all uniform in this as in habit, all tied behind with the corners hanging down their backs, and white handkerchiefs in their hands held loose by the corners. They appeared of a size somewhat less than our own, but more like dwarfs than children. On the first discovery we began, with no small dread, to question one another as to what they could be, as there were no soldiers in the country, nor was it the time for May dancers, and as they differed much from all the human beings we had ever seen. Thus alarmed we dropped our play, left our station, and made for the stile. Still keeping our eyes upon them we observed one of their company starting from the rest and making towards us with a running pace. I being the youngest was the last at the stile, and, though struck with an inexpressible panic, saw the grim elf just at my heels, having a full and clear, though terrific view of him, with his ancient, swarthy, and grim complexion. I screamed out exceedingly; my sister also and our companions set up a roar, and the former dragged me with violence over the stile on which, at the instant I was disengaged from it, this warlike Lilliputian leaned and stretched himself after me, but came not over. With palpitating hearts and loud cries we ran towards the house, alarmed the family, and told them our trouble. The men instantly left their dinner, with whom still trembling we went to the place, and made the most solicitous and diligent enquiry in all the neighbourhood, both at that time and after, but never found the least vestige of any circumstance that could contribute to a solution of this remarkable phenomenon. Were any disposed to question the sufficiency of this quadruple evidence, the fact having been uniformly and often attested by each of the parties and various and separate examinations, and call it a childish deception, it would do them no harm to admit that, comparing themselves with the scale of universal existence, beings with which they certainly and others with whom it is possible they may be surrounded every moment, they are but children of a larger size…”

This account is reproduced in Elias Owen’s Welsh Folklore, in Gwynn Jones’ Welsh Folklore & Folk Custom and in Wirt Sikes’ British Goblins. Sikes mistakenly refers to the beings seen as knockers or coblynau– mine faeries- hence the drawing at the head of this post. The text itself doesn’t give such an impression; perhaps Sikes inferred it from the the neckerchiefs tied round their heads- it’s not clear. There seems little reason for not calling them tylwyth teg.

The similarities between the two stories are intriguing and, as far as complexion and clothing go, they confirm what we learn elsewhere. Both Evans Wentz in The Fairy Faith and John Rhys in Celtic Folklore record that red was a particular colour preferred by the tylwyth teg for their clothes- hence the common habit of comparing them to little soldiers, the British redcoats of the time. As for their skin tones- well, on this point matters are somewhat less certain. It’s widely thought that tylwyth teg (the fair family) suggests that the Welsh faes tend to be pale and blond- and there’s certainly evidence to this effect. Nevertheless, as I’ve described before, there’s also material that indicates that a range of rather less healthy or natural skin tones might be encountered- absolute chalk white certainly being amongst them. See my British Fairies and Faery Lifecycle for more on these issues. Suffice to say, orange and crimson skin need not surprise us.

A view over Cae Caled cottage and the surrounding fields. NB: Cae Caled is a holiday cottage for two, if you feel like trying to meet the tylwyth teg yourselves…

Some Obscure British Faeries

The Chichevache

About eighteen months ago, I examined the long list of faeries and other sprites that had been assembled during the early nineteenth century in the so-called Denham TractsAs I remarked then, one aspect of this list is that it reminds us how many faery names have become utterly unfamiliar and mysterious to us. 

In this posting, I want to go back to the Denham list to have a look of some of the more obscure and puzzling of these words.

caddies: A term from Yorkshire, the diminutive of the rare cad(d)- a spirit. In John Hutton’s A Tour to the Caves, in the Environs of Ingleborough and Settle (1781), caddy is given as a word for a ghost or bugbear.  It is very clearly a sort of supernatural being, as two examples will show.  “One of these cadds or familiars still knocking over their pillow,” was used by Francis Osborne in his Advice to a Son, (1656) page 36, whilst “Rebellion wants no cad nor elfe/ But is a perfect witchcraft of itself,” appears in ‘Elegies,’ by Henry King, Poems (1657).

calcars: mentioned by both Reginald Scot in The Discoverie of Witchcraft (1584) and by Denham, the word appears to derive from the verb calculare.  Halliwell’s Dictionary of Archaic & Provincial Words defines ‘calcar’ as an astrologer, ‘to calke’ being to calculate or to cast a figure or nativity.  In John Bale’s 1538 play Kynge Johan “calking” is mentioned along with conjuring, coining and other frauds (1838 edition, page 71).  Nevertheless, it has also been connected to caucher and related to the French noun ‘cauchemare,’ a nightmare. Overall, though, it seems to be more to do with sorcery and magic than with Faery.

chittifaces:  Skeat’s Glossary of Tudor and Stuart Words and Wright’s Dialect Dictionary define this as someone with a thin and pinched face, a freckled visage or a small baby face.  It also is defined as a puellulus improbulus– a bad little girl. It might be used contemptuously: Thomas Otway’s 1683 play, The Souldiers Fortune, includes the line “Now, now, you little Witch, now you Chitsface” (Act 3, scene 1).

Possibly related is Chaucer’s term ‘chichevache’ which is used in the ‘Clerk’s Tale’ in the Canterbury Tales, line 1188Lest Chichevache yow swelwe in hire entraille!” [swallow you in her insides]. John Lydgate’s early fifteenth century poem Bycorne & Chychevache reaffirms that “Chichevache eteþe wymmen goode.”  This a monster that devours obedient wives (and therefore is very hungry, according to Chaucer’s joke).  In Lydgate’s verse, the creature is contrasted satirically with the bicorn, part panther and part cow, which eats devoted husbands and is, apparently, very well fed and plump.  Denham mentions bygorns in his list as well.

We might also note that in French chevaucher means simply ‘to ride a horse,’ so that a connotation of nightmare may have been incorporated into this name as well.

clabbernappers:  Some topographical and historical research reveals that in Southfleet parish in Kent there once was a large cave known that was called the Clabber Napper’s Hole. The related legend, as transcribed in the Gentleman’s Magazine for 1803 and reprinted in vol.26 for December 1846, was that the occupier of the cave was a kidnapper or freebooter. The article proposed that clabber derived from “caer l’abre,” the dwelling in the woods, though there is no attempt to explain why a Welsh word and a French word would be combined- as is frequent in old and dodgy etymologies where words with suitable meanings are randomly put together with no thought for historical likelihood.  

A more literal interpretation of the name might suggest that it was simply an onomatopoeic word, the meaning of which was a sort of noisy abductor (of children).  The Clabber Napper might, therefore, have been a sort of nursery sprite used to scare children.  If so, it might have been adopted by the putative smugglers to keep people away from their lair, or it might have been used by parents to discourage their children from playing there.

gringes: in some old dialects, to gringe or grange means to grind the teeth (Dickinson’s 1878 Glossary of Words and Phrases Pertaining to the Dialect of Cumberland). On that basis we might imagine another nursery sprite- a monster that grinds its teeth a lot and is used to keep children in their beds at night.

Probably the wrong sort of Miffy…

Miffies: Miffy is a nickname for the devil in Gloucestershire according to Thomas Wright’s Dictionary of Obsolete and Provincial English vol.2. Presumably it is related to Old French maufé meaning the devil. In addition, ‘miff’ means displeasure or ill humour, hence the modern meaning of being or feeling miffed over something.

Mock-beggars: There are numerous places known as Mockbeggar, Mock Beggar, or some variant thereon. E. Cobham Brewer’s Dictionary of Phrase and Fable, 1894, defines Mock-Beggar Hall as an ostentatious dwelling whose mean spirited and stingy owners will turn away the poor from their door.  

This is the literal interpretation of the phrase; however, John Florio’s 1611 dictionary of English and Italian, Queen Anna’s New World of Words, defines ‘beffana’ as a bugbear or scarecrow, which might explain how it got into Denham’s list.

Nickies & Nacks: these are water sprites- Denham also mentions the related nixies (but this is just an adaptation of the German name nixe and first seems to have been used about 1816 by Sir Walter Scott) and nisses, which might be another pronunciation of the word, but is much more likely to be taken from Swedish and Danish, a nisse being a sort of domestic goblin or brownie.  Keightley seems to have been one of the first to use it in print in the Fairy Mythology (1828), so it is again a late borrowing and not an authentic British sprite; the nisse’s role had already been long filled by our own brownies and hobs. 

Nicks, necks and nickies all can be traced back to Anglo-Saxon nicer or nicor, becoming nekir and nyker in Middle English.  All the Germanic languages of the continent have related words with a similar meaning. The nickie, neck or nack is a supernatural being found living in the sea or in inland waters- other familiar terms might be water-demon or kelpie.   In Middle English the word was also used to denote a siren or mermaid.  The creature first appeared in the poem Beowulf as a dreadful creature of the night; it continued to be deadly and terrible in subsequent centuries.

In Layamon’s Brut of about 1200 (lines 10851-2) we are told about a lake in Scotland “Þat water is unimete brade; nikeres þer baðieð inne; þer is ælvene ploȝe in atteliche pole” (The water is immeasurably broad; nikers bathe there; there too is the play of elves in the hideous pool).

The Ayenbite of Inwite (Prick of Conscience) of 1340 (line 61) describes to us the how sea creatures called “nykeren… habbeþ bodyes of wyfman and tayl of visse” (have the bodies of women and the tails of fish).  Like sirens, according to Robert Mannyng in 1338, the nikers will sing to sailors a “mery song þat drecched þam ferly long [tormented them for a long time].”  The Treatise of Ghostly Battle (1500) also describes their tricks to lure men: “The nykare or meremaydene, that cast opone the water syde dyverse thyngis whyche semene fayre to mane, but anone as he taketh hit, she taketh hyme ande devoureth hym.”  This image persisted into Victorian times: in 1853 in Hypatia Charles Kingsley had a character ask “’What is a nicor, Agilmund?’ ‘A sea-devil who eats sailors.’”

The word nick or neck has almost completely faded from English, except for the river spirit known as Nicky Nicky Nye on the Welsh-English border. Its loss is a shame, as it would overcome the confusion between inland and marine mermaids that we now have- and which made me suggest the coinage ‘meremaid‘ as a substitute.

A secondary meaning (but one that is now the common understanding of the word), is demon or devil. So, in 1481, William Caxton’s translation of the History of Reynard Fox contains a reference to “fowle nyckers, Come they out of helle?”  This meaning was preserved in the poem, ‘Nickar the Soulless,’ published by Sebastian Evans in Macmillan’s Magazine for 1863 (and later in Brother Fabian’s Manuscript and Other Poems, 1865).  Nickar, the devil, makes a deal for a man’s soul so that he may see again and marry the naked fairy girl he once saw bathing in a river.  Today, of course, we still refer to ‘Old Nick.’

Spoorns & spurns: ‘Spurn’ generally denoted a fight or a spur but in the Dorset dialect it meant an evil spirit.  Keightley speculated that both “Calcar and Sporn (spurs?) may be the same, from the idea of riding” and hence some kind of nightmare, an evil spirit that rode people in their sleep and caused frightening dreams and paralysis (Keightley, Fairy Mythology, note to page 334).

Tantarrabobs: ‘Tantara’ and ‘tantaran’ was a noise or distubance (as in a tantrum). Tantarabobus, Tantarabobs, or Tankerabogus were variants upon a South Western dialect name for the Devil; it also denoted a noisy playful child. Thus, tantara-bogus was a noisy bogle (Joseph Wright, English Dialect Dictionary).

Thrummy-caps: According to Henry Farnie in his Fife Coast from Queensferry to Fifeness (1860, 112-113) Thrummy-cap was the vindictive ghost of a drowned carpenter who haunted the harbour where he died. James Halliwell-Phillips meanwhile reported that thrummy-caps were faeries from Northumberland and were “Queer looking little old men” who lived in the vaults and cellars of castles (Dictionary of Archaic & Provincial Words, 1848).

It’s not wholly clear how or why this relates to the above, but ‘thrum’ means a weaver’s ends, the extremity of the warp on the loom that can’t be woven.  It is a piece of material about nine inches in width.  Thrum therefore meant a frayed fringe or tuft, so that a thrummy-cap would be a ragged or shaggy looking hat knitted from these off-cuts of coarse woven woollen cloth.  Perhaps, rather like the Redcaps of the same area, the Northumbrian thrummy-caps were associated with the distinctive headgear.

Tints:  As a noun, the word is defined as being an obscure northern term for goblin. Another sense of the word ‘tint’ is a tiny touch, scrap or taste whilst ‘tinte’ means lost (coming from a Middle English verb of that meaning, tine, to lose (J. Wright, English Dialect Dictionary). Tinted was therefore ‘lost’ or ‘neglected.’ As well as to lose or to be lost, tine/ tyne could also mean to trouble or to be troubled or distressed.

There is a story in which an Eskdale goblin named Gilpin Horner was heard two men crying out “Tint, tint, tint,” the word in this context apparently meaning ‘lost.’   They responded to his cry, “What de’il’s tint you?” (Who the devil’s lost- or even taken- you) and the goblin then appeared to them, “something like a human form, but surprisingly little, distorted in features and misshapen in limbs.”  The men fled and Horner pursued them and took up residence in the home of one of the pair.  It was “undoubtedly flesh and blood” as it ate and drank with the family and had a taste for cream.  This treat it stole to eat whenever it could; it was also cruel to the children if they provoked it.  One day, though, a voice was heard calling the goblin’s name and it leapt up and left for ever. (George Allan, Life of Sir Walter Scott, Baronet: With Critical Notices of His Writings, 1834, 247-248). 

In another legend from the Borders area, a man tried to taunt the duergars of the Simonside Hills in Northumberland by going out one night calling “Tint! tint!” The duergars at first appeared with little lights near a bog, trying to lure him in- much like a will of the wisp– but the story concludes with an “innumerable multitude” of them with “hideous visages” and clubs in their hands, surrounding the man.  He tried to fight them off with his staff but they had no physical forms and, every time he struck out, he only seemed to multiply the number assailing him, until he collapsed in a faint until morning (Charles Tibbits, Folk-lore and Legends: English, 1890,182-183).

Wirrikows: the Scottish wirry-cowe, worricow, and variations thereon, was a bugbear or goblin; the name might also be used for a scarecrow or for the devil himself. The name probably comes from a combination of the words ‘worry’ (in the sense of harassment) and ‘cowe’ or hobgoblin.  Denham mentions “kows or cowes” separately in his list.  An example is the Hedley Kowe of Hedley near Ebchester, which was a mischievous bogie that could take a variety of forms in order to play tricks on its hapless victims (see my Beyond Faery, 2020). 

Examples of the Scottish word’s usage are found in Thomas Donaldson’s Poems, Chiefly in the Scottish Dialect of 1809: “Where harpie, imp, an’ warricoe/ An’ goblins dwell” and in Sir Walter Scott’s 1816 novel Black Dwarf– “They do say there’s a sort o’ worricows and lang-nebbed things about the land” (ii, in Tales of my Landlord, 1st Series, I, 51).  

The wirrikow was, apparently, a dreadful thing to meet: James Hogg refers in The Brownie of Bodsbeck (1818) to “the waefu’ [woeful] wirricowe.”  In James Lumsden’s play, Doun I’ Th’ Loudons (1908, page 276) the sprite is described as “Hump-backit an’ bow’d- a wirricow- And scrimply [barely] fowre feet three!”  He had a red face, according to Hogg (“haffats in a lowe”) and would make people scream with fear and alarm.  For example, she “Scream’d at ilk clough, an’ skrech’d at ilka how, As sair as she had seen the wirry-cow” (A. Ross Helenore, 1768, 77).

A Nixie, by Arthur B Davies

As I said at the start, much has been lost from British folklore, with only tantalising scraps remaining. However, with some digging in etymological and dialect dictionaries, we can start to restore some idea of what our ancestors knew (and feared).

“I get around”- some oddities of faery travel

I’ve posted several times on faery motion and movement, such as their use of whirlwinds; here I want to look at ways they may be transported by other beings. Although, these days, we tend to assume that faeries fly everywhere, there’s no trace of wings or of fluttering flight in the traditional records. They can, magically, ‘teleport‘ themselves from place to place or enchant items to carry them, it’s perfectly true, but most of the time they get around in very prosaic ways: on their own two feet, or on something else’s four feet.

It’s pretty well known that the faes ride horses (just as the surrounding human population would have done in times past) and these animals are always described as being proportionate to their size. If they’re the size of children, they’ll be mounted on ponies; if they’re seen smaller, the steeds might be as big as greyhounds. Just like humans, too, the faeries will use their horses for all suitable activities: they go out on their annual ‘rades’ in processions of horses, but they’ll also hunt on them, exactly as would human gentry and nobles. The horses are reputed to be very swift (“as fast as the wind”) and to be highly prized, being richly caparisoned when they are taken out.

Jean Baptiste Monge

Needless to say, it’s often easier to make use of someone else’s animals- that way you don’t have to stable or feed them, and it is widely known that faeries do just this, taking horses from farmer’s stables at night and riding them until they’re worn out. This process is frequently accompanied by the knotting of the horses’ manes and tails, at least some of this done ostensibly to provide the diminutive riders with reins and stirrups. These are necessary not just because the riders are often so much tinier than their mounts, but because they like to drive the horses at frenetic pace across the fields and moors. These exertions leave the horses exhausted and covered in a foam of sweat, much to the dismay of their human owners.

So far, so familiar, but it doesn’t stop there. If horses aren’t available, other four-legged beasts will do. On the Isle of Anglesey it was reported that the local tylwyth teg rode donkeys or (to be exact) they gave a mortal man one to ride when he travelled with them; this might, conceivably, have been some sort of joke or put down on their part: they got well-bred steeds and he got a bad tempered ass. Very definitely proportionate to the smaller breed of fae, in Nithsdale in southern Scotland the elves were reported to ride on cats. One assumes they used magic to control their mounts. On Shetland, the trows rode the farmers’ cows. When the cattle were released into the pastures in Spring, if any of them were found to be weak- or collapsed, frothing at the mouth- it was known to be because the trows had been riding it.

Erle Ferronniere, Fee au chat noir

Unlikely as cats sound, they are at least four legged. However, as we know, even two legged victims will do and there are reports from around the Britain Isles of unfortunate human victims being saddled and mounted to act as steeds for faeries overnight. Usually they are forced to carry riders around, although there is one report of a man taken and used as a cart horse in one Scottish sithean. According to the poem, Montgomerie’s Flyting of Polwarth, some of the Scottish elves were known to ride other two legged creatures: “Sum saidlit ane scho aip all grathit into green” (some saddled a she-ape, all clad in green).

Modern fantasy art shows faes riding birds and other wildlife. Pretty as these images are, and despite the fact that we are attracted to them because they emphasise the unity of the faeries with their environment, there is not very much traditional support for the idea. As we’ve just seen, we hear of the elves riding apes, but they must be few and far between in any part of Britain; it’s also reported that the Highland hag, the cailleach bheur, and her follower rides on wolves and swine. The Gyre Carling, another name for the faery queen in Fife, was also said to ride a pig: in one poem she “schup her on ane sow and is her gaitis gane” (she settled herself on a sow and went her ways). Making use of more common mammals and fowls is not reported.

Erle Ferroniere

Much of this suggests that the faeries are stuck in a pre-modern world- often our view of them. We like to romanticise their pre-industrial, rural aspects, whereas the evidence indicates that they move with the times just as their human neighbours do. Faery industry is known- dyeing and milling (for which see my How Things Work in Faery) but more pertinently, contemporary reports indicate that they will use cars, buses and aeroplanes to get around (see Marjorie Johnson’s Seeing Fairies for such sightings). Humans no longer need to employ horse power, although they will use them for special occasions and special purposes; the same would seem to be true of the faes.

Faeries and Yew Trees- some strange connections

Hope Bagot yew tree- note the ‘clooties’ tied on the limbs as offerings by visitors.

In Britain, yew trees are closely associated with churchyards. It’s sometimes said that this was ordained because yew wood was ideal for longbows, so that English kings wanted to preserve the trees by planting them in a protected environment. This is a nice story, but it’s plainly wrong, as very many yews far older than the Middle Ages can be found growing around churches, in addition to which they are to be found growing by wells and on ancient sites such as hill forts. Their significance stretches back much further than the Hundred Years War and is by no means linked to the Christian church.

An example of such a tree grows within the boundary of the church of Hope Bagot near Ludlow in Shropshire. I visited recently, drawn by the holy well and by the report of an ancient tree. The Hope Bagot yew is monumental: it is about eight metres or twenty five feet in circumference, very obviously of great age- at least 1000 years- and its canopy extends over a huge area, shading far more than the small bubbling well beneath its roots. It’s a remarkable sight and easily attests to the awe and majesty of these trees.

Yews are not regularly associated with faeries, unlike rowans and elders, but there are a number of accounts that demonstrate that these significant trees very properly do have supernatural associations. They have magical properties that make them significant to the faes.

Firstly, I have recounted elsewhere the story of the ‘meremaid‘ that lived in a pool at Marden in Herefordshire. Through some accident now forgotten, the church bell rolled into the pool and was captured by the maid. Horses tried to drag it out, but failed, and the villagers were advised by a ‘wise man’ that the job could only be accomplished using a team of sterile cows (called freemartins) equipped with yokes made of yew and fitted with bands of rowan (some accounts also say that the drivers had whips whose handles were made from rowan). The recovery had to be performed in silence. Everything was going well, with the bell being hauled steadily out of the mud, the meremaid fast asleep inside, when one of the men cried out in excitement. The maid awoke and plunged back into the pool dragging the bell with her. She angrily cried out that she’d have drowned the team as well, had not the magical woods prevented her: “If it had not been/ For your wittern (rowan) bands/ And your yew tree pin/ I should have had your twelve freemartins in.”

The second instance of a faery association with yew comes from Mathafarn, in Powys in mid-Wales. Wirt Sikes (British Goblins, 73) describes an abduction in a faery ring that occurred there in the Ffridd yr Ywen (the Yew Forest). Two farm labourers, Twm and Iago (Tom and Jack) were working in the wood one summer’s day when a mist descended. They thought evening had come and set off homewards, when they came across the yew that gave the wood its name, right at the heart of the forest. This was at a spot called the ‘Dancing Place of the Goblin,’ and the clearing was filled with a strange light. The pair decided it was not as late as they’d thought and decided to take a nap there. When Twm woke up, Iago had disappeared- abducted in a dance of the tylwyth teg under the yew tree. The rest of the story concerns Iago’s rescue, although this proves ultimately tragic: once he is pulled back into the world of men a whole year later, he eats food and crumbles away.

The last story takes us to Scotland. J G Campbell (Superstitions of the Highlands & Islands of Scotland, 1900, 173) describes the glaistig of Morvern. She haunted a lonely area of mountain, known as the Garbh-shlios, the rough country side, which extends along the coast from the Sound of Mull to Kingairloch, a distance of about seven miles. This glaistig herded the sheep and cattle that roamed over the wild pastures. She was said to be a small, but very strong, woman and she would take refuge at night in a particular yew tree (craobh iuthair), for protection from the wild animals that prowled over the ground. The glaistig once competed with a local man rowing a coracle across to the island of Lismore. He had thought himself to be a good rower, and he felt ashamed when he was bested by a woman- but he confessed that he never rowed so hard in all his life. When the boat reached the other shore, the mysterious little woman vanished and he realised he had tested his strength against the glaistig.

Yews appear in a lot of Irish legend too and are linked with the Tuatha De Danann. For example, there is Fer Hi (yew man) son of Fogabal (yew tree fork) who was the king of the sidhe of Cnoc Aine. Fer Hi played a harp in a yew tree and used his music to sow dissent between two mortals in order to take revenge upon one of them. The magical yew in which Fer Hi sat is described by the stories as “beautiful but venomous.”

What can be said in conclusion about yews in British faerylore? It’s evidently a wood with magical properties, one that can repel faes in the same way as rowan but which can also provide them with shelter. This is a contradictory nature, puzzling, but typically faery too. The trees’ magical power also protects and even sanctifies wells and other ancient sites.