“There’s many feet on the moor to-night, and they fall so light as they turn and pass,
So light and true that they shake no dew from the featherfew and the hungry grass.
I drank no sup and I broke no crumb of their food, but dumb at their feast sat I;
For their dancing feet and their piping sweet, now I sit and greet till I’m like to die.
Oh kind, kind folk, to the words you spoke I shut my ears and I would not hear!
And now all day what my own kin say falls sad and strange on my careless ear;
For I’m listening, listening, all day long to a fairy song that is blown to me,
Over the broom and the canna’s bloom, and I know the doom of the Ceol-Sidhe.
I take no care now for bee or bird, for a voice I’ve heard that is sweeter yet.
My wheel stands idle: at death or bridal apart I stand and my prayers forget.
When Ulick speaks of my wild-rose cheeks and his kind love seeks out my heart that’s cold,
I take no care though he speaks me fair for the new love casts out the love that’s cold.
I take no care for the blessed prayer, for my mother’s hand or my mother’s call.
There ever rings in my ear and sings, a voice more dear and more sweet than all.
Cold, cold’s my breast, and broke’s my rest, and oh it’s blest to be dead I’d be,
Held safe and fast from the fairy blast, and deaf at last to the Ceol-Sidhe!”
This poem, ‘The fairy music’ by Nora Chesson Hopper, captures the enchantment and other worldliness that it is associated with fairy music. Previously I have discussed the fairies’ liking for music and song and what seems to be the generally pleasure-seeking nature of their existence (see my earlier posting on fairy pastimes as well as chapter 11 of my British fairies). According to John Dunbar of Invereen, one of folklorist Walter Evans-Wentz’ Highland informants, the fairies were “awful for music, and used to be heard often playing the bagpipes.” (The fairy faith in Celtic countries, p.95)
Fairy musical skill
What I would like to do now in this posting is to discuss the actual nature and sound of that fairy music, based upon the first hand testimonies of those who have claimed to have been fortunate enough to have heard it. Nonetheless, there are a number of themes associated with fairy music which we may quickly recap:
- the music is often heard coming from particular knolls, hills or barrows, in which the fairies are taken to reside. This is a very common local story and it can be found from the Fairy Knowe on Skye to the ‘music barrows’ of southern England, for example at Bincombe Down and Culliford Tree in Dorset and Wick Moor, near Stogursey in Somerset.
- fairy musical skills and even instruments can be granted to fortunate humans. There are several sets of bagpipes in Scotland alleged to be fairy gifts. Fairy musical ability could be a blessing that made a man and his heirs rich (Evans- Wentz p.103). It could also be a curse, too: the favoured one might die young, being taken back by the fairies to play for them (Evans-Wentz p.40).
- conversely, talented human musicians were from time to time abducted to satisfy the powerful fairy need for music and dance. Almost always they met the fate of all who tarry in Faery. They believed that they had played for just a night, but find all transformed on their return home.
- fairy music can have magical or enchanting power- for example, from Ireland come stories of those who, on hearing it, felt compelled to dance- and then had to continue until they dropped from sheer exhaustion (Evans-Wentz p.69). Coleridge in his poem The eolian harp described “Such a soft floating witchery of sound/ As twilight Elfins make;” deliberately or not, a spell seemed to be cast upon the listening human; and,
- occasionally, humans are able to commit a fairy tune to memory and contribute it to the mortal repertoire. One such is Be nort da deks o’ Voe from Shetland. Two Welsh examples are Cân y tylwyth teg and Ffarwel Ned Pugh (see Wirt Sikes, British goblins c.7 and also Evans Wentz Fairy faith pp.118 & 131- two examples from Man).
The last two points are of particular significance into an enquiry into what fairy music actually sounds like. Most of our older sources are not very helpful on this. In his history of Aberystruth parish, the Reverend Edmund Jones in 1779 is typical of the vague descriptions normally found: “everyone said [the music] was low and pleasant, but none could ever learn the tune.” Gathering evidence for his book The fairy faith in Celtic countries, Evans-Wentz was told that fairy music consisted of tunes not of this world, unlike anything a mortal man ever heard (pp.124 & 24), being the finest, grandest and most beautiful kind (pp.32, 47 & 57). Evans-Wentz was informed that it often continued over an extended period- an hour or even a whole night.
The sound of fairy music
Evidently the otherworldly nature of the music gave witnesses problems when they later tried to describe their experiences. The testimony of those of a more artistic temperament might therefore prove more enlightening. Poet and mystic George Russell (AE) told Evans-Wentz that he first listened to the music in the air on a hillside in County Sligo. He heard “what seemed to be the sound of bells, and was trying to understand these aerial clashings in which wind seemed to break upon wind in an ever-changing musical silvery sound.” (p.61) This leads us much closer to the reality and, in fact, the best account comes from a close friend of Russell and his wife, the visionary writer Ella Young. Over the summer of 1917 and into 1918 she repeatedly heard the ceol sidhe, which in her opinion surpassed human symphonies. Interestingly the very same description was used on the Isle of Man in the 1720s (Simon Young and Ceri Houlbrook, Magical folk, 2018, p.173).
The fairy music was, Young said, “orchestral and of amazing richness and complexity.” The melodies could be exquisite, sometimes like very fast reels, at others slow and wistful. On August 27th 1917 she described “a certain monotony like slow moving waves with a running melody on the crests.” Interwoven with this might be voices singing in an unknown tongue, either solo or resembling Gregorian chant. Young noted “delicate and intricate rhythms” in a variety of tempos, including “music of stricken anvils.” She heard a “myriad, myriad instruments” among which she mentioned cymbals, bells (both silvery tinkling and deep tolling), trumpets, harps, violins, drums, pipes, organs and bagpipes. Several times, though, she could not compare the sound to anything she knew from earthly ensembles; she heard “very high notes- higher than any human instrument could produce,” “something like a Jew’s harp” and “a curious reedy instrument.” Again, Young was not alone in this: George Waldron recorded that on Man in the 1720s islanders would hear “Musick, as could proceed from no earthly instruments” (Magical folk, p.173).
Despite her eloquence and sensitivity, Young struggled to give a clear account; it was “not music I can describe… it is beyond words.” Moreover, she found it “difficult to recall this music and the sensation it creates.” Nevertheless, she wrote (in terms similar to Russell’s) that the orchestral sound resembled a “wave or gush of wind” and that its effect was to create “a sense of freedom and exultation.”
Young harboured some doubts over her aural visions. She wrote on September 9th 1917 that “my head has been for several days quite normal,” but then she heard the sounds again and concluded “I think the singing in my head was really astral.” In other words, its origin was aethereal and unearthly. She believed that all could hear the same if only they drew closer to nature and had a peaceful and patient heart.
It is difficult to know quite what to make of this. Young herself admitted concerns over her own sanity, but at the same time W. B. Yeats and both AE and his wife heard the same “faery chimes” and “solemn undertone” of song. Furthermore, as noted earlier, these experiences could last for hours; this lessens the likelihood that they can be dismissed as temporary auditory delusions. Either these witnesses all hallucinated together or these highly detailed and circumstantial experiences record some actual sensations. The consensus, at least amongst poets, was certainly to confirm that pipes and, particularly, bells were characteristic of fairy music (see for example Ceol sidhe by Francis Ledwidge or Fairy ring by Abbie Farwell Brown).
Cicely Mary Barker, ‘Fairy orchestra’
The soft low music of the tribe
In conclusion, whatever its nature, the idea of fairy music has always had an aura of mystery and enchantment and, as such, has always attracted poets. The opening verse from Nora Hopper embodied this, but even a poet like Rose Fyleman, whose fairy verse was generally very anodyne and was aimed at a junior audience, could still suggest a little of that magical strangeness; here’s her poem ‘Fairy music’:
“When the fiddlers play their tunes you may sometimes hear,
Very softly chiming in, magically clear,
Magically high and sweet, the tiny crystal notes
Of fairy voices bubbling free from tiny fairy throats.
When birds at break of day chant their morning prayers,
Or on sunny afternoons pipe ecstatic airs,
Comes an added rush of sound to the silver din-
Songs of fairy troubadours gaily joining in.
When athwart the drowsy fields summer twilight falls,
Through the tranquil air there float elfin madrigals,
And in wild November nights, on the winds astride,
Fairy hosts go rushing by, singing as they ride.
Every dream that mortals dream, sleeping or awake,
Every lovely fragile hope- these the fairies take,
Delicately fashion them and give them back again
In tender, limpid melodies that charm the hearts of men.”
Perhaps our best response is to hope to share Ella Young’s experiences and to know for ourselves that “This astral music is very much in sound delicately beautiful.” As Irish poet William Sharp wrote in his verse The nine desires, it is “The desire of the poet, the soft, low music of the Tribe of the Green Mantles.”
There are words to accompany this music, too, and I describe Young’s experience of that in a separate post on fairy speech and song.
An expanded version of this text will appear in my next book, Faeries, which will be published by Llewellyn Worldwide next year.