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A fairy is a spirit (supernatural being) found in the legends, folklore, and mythology of many cultures. They are generally humanoid in form, though of a higher, spiritual nature and so possessed of preternatural abilities. They are often depicted with wings and an ethereal glow, lithe and beautiful. They are also regarded as aloof, ephemeral, mercurial, puerile and whimsical, among other qualities that place them outside of a human scope and have a tendency to make them associated or confused with other mythological creatures.
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The words fay and faerie came to English from French and, ultimately, Latin. (The increasing use of "fey" for "fay" is due to a confusion with "fey", a word derived from Old English and meaning "doomed to die" and related meanings. It has no historical connection with Old French fée or English fay, and is not a plural form of the latter.) The Latin root fata, meaning fate in the sense of one of the Parcae, is an indication that fays have abilities associated with knowledge (foresight) and manipulation (luck, blessing, cursing) of fate, both of which are qualities of faeries in myth.
Fata influenced modern Italian's fata and Spanish's hada, both of which mean fay, and the Old French fée, which gained the meaning "enchanter." By adding the ending -rie, we get féerie, meaning a "state of fée" or "enchantment." This also befits fays, who are known for casting illusions and altering emotions, particularly so as to make themselves alluring, frightening, or unseen.
Modern English inherited the two terms "fay" and "fairy," along with all the associations attached to them. Since the subjects of the words are somewhat alien and ethereal, the terms are often used interchangeably and have well established spellings which are sometimes varied for effect by authors. Common ones include the following:
Other spellings are rarer but do exist.
There is, however, a slight distinction between the two. Properly, "fay" is a noun referring to a specific race of otherworldly beings exercising mystical abilities (either the elves [or equivalent thereof] in mythology or their insect-winged, floral descendents in English folklore), while "faerie" is an adjective meaning "of, like, or associated with fays, their otherworldly home, their activities, and their produced goods and effects." Thus, a leprechaun and a ring of mushrooms are both faerie things (a fairy leprechaun and a fairy ring.)
The question of a faerie "nature" has been the topic of many a myth or scholarly paper for a very long time. This is partially due to the fact that, by being supernatural and chaotic entities, they are difficult to pin down as being anything in particular and partially due to the fact that humans have yet to answer completely what constitutes the racial ethos of humanity. Consequently, faerie runs amok with creatures that are completely unrelated save that they are mythologic in origin. There is a central archetypal figure behind most of the stories described as a tall, delicate, radiant being of humanoid aspect. Such beings are most often called "the shining ones."
William Shakespeare's play A Midsummer Night's Dream deals extensively with the subject of fairy-folk and their interaction with a group of amateur theatrical players. This work details the spell cast by the mischievous fairy Puck (at the behest of the fairy-king Oberon) on Oberon's wife Titania, who falls in love with the first mortal she casts eyes upon, the unfortunate Bottom, whom Puck has transmogrified into having a donkey's head.
William S. Gilbert liked fairies and wrote several plays about them. The best is the Gilbert and Sullivan operetta Iolanthe which deals with a conflict between fairies and the House of Lords and, among other issues, touches on some of the practical consequences of fairy/human marriages and cross-breeding in a humorous manner.
In his Fairy Folk Tales of Ireland (1892), W. B. Yeats coined the expression "trooping fairies" to refer to those fairies who liked to travel together in groups. This is in contrast to the solitary fairies, such as the banshee, leprechaun, or pooka. Typically Yeat's trooping fairies are compared to the elves of English lore.
Fairies figure prominently in most of Neil Gaiman's works, primarily The Books of Magic and Sandman.
Tad Williams's book War of the Flowers deals extensively with passing over into a modern realm of fairies.
Isaac Asimov includes a short story about fairies in his collection of fantasy tales,Magic. Fairies are imagined to be sentient insectoids, and the lepidoptera forms the ones most often associated with the term, though the protagonist fairy is of the beetle line!
George MacDonald's book Phantastes.
Raymond E. Feist's book, Faerie Tale, is about a small family in modern age meeting up with some of the more darker aspects of fairies, as well as the Fairie Realm itself
The Susanna Clarke novel Jonathan Strange & Mr Norrell is about a pair of rival magicians who make use of and are subsequently used by "the gentleman with the thistle-down hair" also known as the fairy king of "Lost-Hope".
In the Artemis Fowl series, by Eoin Colfer, Fairies are highly technologically advanced, peaceful beings who live underground, unbeknownst to humans.
Artists such as Brian Froud, Alan Lee, Myrea Pettit, Ida Rentoul Outhwaite. Cicely Mary Barker, Amy Brown and Peg Maltby have all created beautiful illustrations of fairies.
Conversely, the Victorian painter Richard Dadd was responsible for some paintings of fairy-folk with an altogether more sinister and malign nature. Another notable Victorian painter of fairies was the artist and illustrator Arthur Rackham. Interest in fairy themed art in Britain enjoyed a brief rennaissance following the Cottingley fairies photographs, and a number of artists turned to painting fairy themes.
A fairly common practice in debate (especialy concering the supernatural) is to state the the oponent's views are akin to beliving in fairies etc.