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THE ELIZABETHAN FAIRIES

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4 INTRODUCTION<br />

of the existence, in the 16th century, of two conceptions<br />

of fairyland, that of folk tradition and that created by<br />

Shakespeare.<br />

The view advanced by Scott was elaborated by Nathan<br />

Drake in his " Dissertation on the Fairy Mythology, and<br />

on the Modifications which it received from the Genius<br />

of Shakespeare published in I 8 I 7. He pointed out the<br />

existence in England of the fairies of popular tradition<br />

and the recurring characteristics of the " Fairy Mythol-<br />

ogy of England " from Gervase of Tilbury to William<br />

Warner.'" He made a study of the fairy mythology of<br />

Shakespeare, basing his work upon four plays, A Mid-<br />

summer Night's Dream, Romeo and Juliet, Merry Wives<br />

of Windsor, and The Tempest, and emphasized the origi-<br />

nality of Shakespeare in the " delineation of this tribe of<br />

spirits." l5 He augmented the history of Robin Good-<br />

fellow with many new references, and called attention to<br />

the changes wrought upon him by Shakespeare.16 He<br />

noted the influence of the fairy mythology of Shakespeare<br />

upon the subsequent poets of the 16th and 17th century.17<br />

l3 Shakespeare and His Times, Paris, 1838, pp. 488-511.<br />

l4 Ibid., p. 502.<br />

lvbid., pp. 502-508. Cf. p. 503:<br />

" Of the originality of Shakespeare in the delineation of this tribe<br />

of spirits, or Fairies, nothing more is required in proof, than a com-<br />

bination or grouping of the principal features; a picture which, when<br />

contrasted with the Scandick system and that which had been built<br />

upon it in England and Scotland previous to his own time, will suffi-<br />

ciently show with what grace, amenity, and beauty, and with what an<br />

exuberant store of novel imagery, he has decorated these phantoms of<br />

the Gothic mythology."<br />

la Ibid., pp. 508-51 I.<br />

Ibid., p. 511: " It is, in short, to his picture of the fairy world,<br />

that we are indebted for the 'Nymphidia' of Drayton; the 'Robin<br />

Goodfellow ' of Jonson; the miniatures of Fletcher and Browne; the<br />

full-length portraits of Herrick; the sly allusions of Corbet, and the<br />

spirited and picturesque sketches of Milton."

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