Summary

Portrait of W. Y. Evans-Wentz W. Y. Evans-Wentz The Fairy-Faith in Celtic Countries

Ocean’s eternally murmuring sounds set up a responsive vibration in the soul of the peasant, as he in solitude drives home his flocks amid the weird gloaming at the end of a December day; and, later, when he sits brooding in his humble cottage at night, in the fitful flickering of a peat fire, he has a mystic consciousness that deep down in his being there is a more divine music compared with which that of external nature is but a symbol and an echo
Source: Gutenberg

Portrait of W. Y. Evans-Wentz W. Y. Evans-Wentz The Fairy-Faith in Celtic Countries

When we stop to consider how long it may have taken the Brythonic Fairy-Faith, as well as that of the Gaels, to become so widespread and popular among the Celtic peoples that it could take such definite shape as it now shows in all the oldest manuscripts in different languages, we can easily wander backward into periods of enlightenment and civilization beyond the horizon of our little fragments of recorded history. Who can tell how many ages ago the Fairy-Faith began its first evolution, or who can say that there was ever a Celt who did not believe in, or know about fairies?
Source: Gutenberg

Portrait of W. Y. Evans-Wentz W. Y. Evans-Wentz The Fairy-Faith in Celtic Countries

The Celtic Otherworld is like that hidden realm of subjectivity lying just beyond the horizon of mortal existence, which we cannot behold when we would, save with the mystic vision of the Irish seer. Thus in the legend of Bran’s friends, who sat over dinner at Harlech with the Head of Bran for seven years, three curious birds acted as musicians, the Three Birds of Rhiannon, which were said to sing the dead back to life and the living into death;—but the birds were not in Harlech, they were out over the sea in the atmosphere of Rhiannon’s realm in the bosom of Cardigan Bay.
Source: Gutenberg

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