FAIRY DUST -
Bucca - Verde
A goblin of the wind, once supposed by Cornish people to foretell shipwrecks. It is also a sprite fabled to live in the tin mines.
'Penzance boys up in a tree,
Looking as wisht as wisht can be;
Newlyn buckas as strong as oak,
Knocking them down at every poke.'
Cliodhna - Amarelo
The Irish goddess of beauty. She later became a fairy queen in the area of Carraig Cliodhna in County Cork.
Dana O'Shee - Rosa
In Irish folklore, they are small, graceful creatures. The Dana O'Shee live in a realm of eternal beauty and remain eternally young as nobles from the age of chivalry with their own king and queen and royal household. They wear beautiful clothes enriched with precious jewels. They love music, dancing and hunting and can often be seen riding in a procession, led by the king and queen. But even these lovely creatures can be treacherous, and some people say they come from the realm of the dead. A person enchanted by their beauty or music is forever lost.
Gwragedd Annwn - Branco
(Pronounced "Gwrageth anoon";). They are Welsh water faeries, beautiful Lake Maidens who occasionally take mortals to be their husbands. One legend has it that they live in a sunken city in one of the many lakes in Wales. People claim to have seen towers under water and heard the chiming of bells.
FAIRY LEGACY
Cerridwen
(Kerridwin) The Welsh Triple Goddess. Her cauldron was the Celtic symbol for prosperity and rebirth, and she herself is the Mother Goddess, famous for nurturing her children. Her totem animal, the white sow, represents the moon as well as Kerridwin's crone/transformatrix aspect.
The great bard Taliesin (often thought to be Merlin), born of the goddess according to a favorite Celtic regeneration myth, attributed his magic talents to her. She can be equated with Greek Demeter, Anatolian Diana of Ephesus, and Kali, all goddesses who both give and take away. The Goddess of Death and Regeneration and keeper of the cauldron of inspiration; her totem was the pig.
One day she asked Gwion to stir the cauldron, which contained boiling hot herbs; he accidentally burnt his fingers and put them in his mouth, taking in some of the mixture and instantly becoming brilliant. Angry that he had disobeyed her and took the gift she had been preparing for her own son, she chased him all over, both of them transforming themselves into various creatures: she became a greyhound and he became a hare; then a hawk and a bird; and finally she became a hen and he a seed of grain, which she ate. He grew inside of her for 9 months and she gave birth to Taliesin, who became the greatest poet of Wales. When the boy Gwion inadvertently tastes the brew instead, she pursues him in a transformation hunt which is a thinly glossed description of an initiatory rebirth.
Titania
Titania is a character in William Shakespeare's play A Midsummer Night's Dream. In the play, she is the queen of the fairies. Due to Shakespeare's influence, later fiction has often used the name "Titania" for fairy queen characters.
In traditional folklore, the fairy queen has no name. Shakespeare took the name "Titania" from Ovid's Metamorphoses, where it is an appellation given to the daughters of Titans.[1]
Shakespeare's Titania is a very proud creature and as much of a force to contend with as her husband Oberon. She and Oberon are engaged in a marital quarrel over which of them should have the keeping of an Indian changeling boy. This quarrel is the engine that drives the mix ups and confusion of the other characters in the play. Due to an enchantment cast by Oberon's servant Puck, Titania magically falls in love with a "rude mechanical" (a labourer), Nick Bottom the weaver, has been given the head of a donkey by Puck, who feels it is better suited to his character. It has been argued that this incident is an inversion of the Circe story.[2] In this case the tables are turned on the character, and rather than the sorceress turning her lovers into animals, she is made to love a donkey after Bottom has been transformed.
Ilmatar
The name Ilmatar is derived from the Finnish word ilma, meaning "air," and the suffix -tar, denoting a female spirit. Thus, her name literally means "female air spirit." In the Kalevala she was also occasionally called Luonnotar, which means "female spirit of nature" (Finnish luonto, "nature").[2]
She was impregnated by the sea and wind and thus became the mother of Väinämöinen.
Baba Yaga
In Slavic folklore, Baba Yaga is a supernatural being (or one of a trio of sisters of the same name) who appears as a deformed and/or ferocious-looking woman. Baba Yaga flies around in a mortar, wields a pestle, and dwells deep in the forest in a hut usually described as standing on chicken legs (or sometimes a single chicken leg).[1] Baba Yaga may help or hinder those that encounter or seek her out. She sometimes plays a maternal role, and also has associations with forest wildlife. According to Vladimir Propp's folktale morphology, Baba Yaga commonly appears as either a donor or villain, or may be altogether ambiguous.
Andreas Johns identifies Baba Yaga as "one of the most memorable and distinctive figures in eastern European folklore," and observes that she is "enigmatic" and often exhibits "striking ambiguity."[2] Johns summarizes Baba Yaga as a "a many-faceted figure, capable of inspiring researchers to see her as a Cloud, Moon, Death, Winter, Snake, Bird, Pelican or Earth Goddess, totemic matriarchal ancestress, female initiator, phallic mother, or archetypal image".[3]
Scatha
(Scathach) ('"shadowed") The Irish/Scottish "Lady of Shadows", the lady "of the Shadowy Isle". She is a warrior, also associated with smithcraft and oracular wisdom. She dwells in Albannach (Scotland), on (most tales agree) the Isle of Skye (Scaith) A great warrior Goddess whose name means "she who strikes fear", Scatha was also called "the shadowy one". She taught many of the legendary Celtic heroes all their skills, including battlefield magic. They traveled great distances to study with her; to learn strategy and martial arts. During their stay of a year and a day, she taught them fierce battle cries and terrifying leaps and bounds, making them undefeatable in combat. Upon completion of their studies, the students would return to their people to do great deeds. Scatha is best known as the tutor of Cuchulainn in the arts of both love and war in the Táin Bó Cualgne.
Morríghan
The Morrígan ("phantom queen") or Mórrígan ("great queen"), also written as Morrígu or in the plural as Morrígna, and spelled Morríghan or Mór-ríoghain in Modern Irish, is a figure from Irish mythology who appears to have been considered a goddess, although she is not explicitly referred to as such in the texts.
The Morrígan is a goddess of battle, strife, and sovereignty. She sometimes appears in the form of a crow, flying above the warriors, and in the Ulster Cycle she also takes the forms of an eel, a wolf and a cow. She is generally considered a war deity comparable with the Germanic Valkyries, although her association with a cow may also suggest a role connected with wealth and the land.
She is often depicted as a trio of goddesses, all sisters.[1][2][3] Although membership of the triad varies, the most common combinations are Badb, Macha and Nemain,[4] or Badb, Macha and Anand; Anand is also given as an alternate name for Morrigu.[5] Other accounts name Fea, and others.[4]
Samodivas (Bulgarian: Самодиви) or samovilas (Bulgarian: Самовили) are woodland fairies found in South-Slavic folklore and mythology. In Romania they are known as Iele.
Selkies
Male selkies are described as being very handsome in their human form, and having great seductive powers over human women. They typically seek those who are dissatisfied with their life, such as married women waiting for their fishermen husbands. If a woman wishes to make contact with a selkie male, she must shed seven tears into the sea. If a man steals a female selkie's skin she is in his power and is forced to become his wife. Female selkies are said to make excellent wives, but because their true home is the sea, they will often be seen gazing longingly at the ocean. If she finds her skin she will immediately return to her true home, and sometimes to her selkie husband, in the sea. Sometimes, a selkie maiden is taken as a wife by a human man and she has several children by him. In these stories, it is one of her children who discovers her sealskin (often unwitting of its significance) and she soon returns to the sea. The selkie woman usually avoids seeing her human husband again but is sometimes shown visiting her children and playing with them in the waves.
Favor não usarem esses textos como fonte de qualquer coisa XD isso foi só uma coletânea de parágrafos soltos sobre as fadas e bruxas. Provavelmente tem bobagens no meio da coisa toda.
