The End of Elfintown — Key Ideas to Explore
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The End of Elfintown — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 8,506 words, 37 min estimated reading time, and 2 detected text sections.
The text analysis averages about 30.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Fairy poetry,” connecting these edition facts with the source record’s subject description.
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- Source metadata20 pts
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Read the Text
owworm-lamps burned dim, And slurred the dew at rose-bud’s rim; The kingcup’s gold looked dull to him, And cowslip’s gawds of amber.
Hence, on his discontents to brood, He sat one eve in sorry mood, While whispering Elves around him stood, And said ’twas strange, ’twas pity; When, sudden, light as leaf on spray, He leaped and laughed: “By Flowers o’ May, Mine Elves,” quoth he, “our own essay Shall build as fair a city.”
And eagerly at morrow’s light He hasted forth to choose a site, Whereon should now be reared aright Strong walls and storeys stately. He found it soon: an earth-plot bare Beyond an elm’s droop; six yards square; No sod, no moss, no weed, throve there, Which pleased King Oberon greatly.
“For thro’ those streets,” said he, “was seen No blade of grass, or glint of green, But pavements ferly smooth and clean; Small fear of footsteps tripping.” Not far away a brook bobbed by: “From thence,” he said, “we may supply Our waterworks; and soothly I Grow weary of dew-drop sipping.”
Then hied him home amain, and shook His drowsy Fays from every nook, And bade them follow with him, and look Where splendour should be springing; And ere the earliest star blinked down Upon that earth-patch bare and brown, The first white pebble of Elfintown He laid ’mid cheers loud-ringing.
And now, indeed, industrious days Be risen upon the land of Fays, Where every liege his Lord obeys, And toils beside his neighbour. They plied them late, they plied them soon, In dew of dawn, thro’ drowth of noon, Nay, oft the wan light of a moon Swam in to lamp their labour.
No more round Faery-ring they swept In mazy measures ere they slept; But, silent, to his lair each crept, Limb wearied, sinews aching. No more they couched in campion’s cell, Or slumbered soft in lily-bell; Prone on the ground they flung pell-mell, Brief rest from task-work taking.
Some kneaded stubborn clay for bricks,
With shells’ jagged splints some sawed at sticks, Some delved the soil with brier-thorn picks To helves of flax-haulm fitted; On business more than one can name From dawn to dusk they went and came; None durst his share refuse for shame, Nor would with sloth be twitted.
And brutish things, that creep and crawl Stingless and strong, they did enthrall To burdens bear, and pull and haul, Along the highways goaded; There might ye see the Beetle black Come lumbering down the dusty track, With pebble-blocks piled on his back, Or mossy twig-beams loaded.
And oft they ponderous weights would heap On slow-paced Slugs, who, half-asleep, For many a tedious yard must creep, Their drivers by them trudging; Even nimbler Ants they made submit To bridle and curb of cobweb knit, Unruly teams, that plunged and bit, Against the yoke sore grudging.
Thus, sped by toil of serf and Fay, The work lagged nowise; day by day New mansions rose in rich array Beside the paven causey; Their like was ne’er in Elfland known, Some built of brick, and some of stone, And roofed with mica slabs that shone, And glazed with gnat-wings gauzy.
But, fairest amongst all these descried, Stood in the middle edified The Palace where the King should bide, Well worthy a royal master; Of whitest graile its walls, or stained With delicate streaks like marble veined, From brook-bank quarries drawn, fine-grained, And pure as alabaster.
I dare not say how many a line It towered aloft, nor words are mine To tell what fancies Faery-fine Did hall and chamber garnish, All carpeted with hand-spun moss, Or laurel-leaf tight strained across, That flooring made of smoother gloss Than e’er had wax or varnish.
With couch, and stool, and cushion strown Of ash-bud’s silk or thistle’s down; Their rugs, fluffed fells of field-mice brown, For tiger’s skin and panther’s. Their curtains came from spider-looms, Their walls were hung with moths’ soft plumes; Much gold-dust glittered thro’ the rooms, From stamens brushed and anthers.
A midge-flight from the Palace gate, (Scroll-work of skeleton beech-leaf) straight A Fane they reared that matched in state
Famed Athens or Eleusis; Such beauty frieze and cornice lent, Entablature and pediment; In double row tall columns went Around it, as their use is.
Each from one slab of rush’s pith Hewn, like majestic monolith, The architrave to prop, therewith The massy roof upholding. Indoors ’twas all adusk and chill; No Fay but felt a solemn thrill To pace its cloistered twilight still Mysterious glooms enfolding.
Jane Barlow's The End of Elfintown (1894) opens with a stanza invoking a lost tradition: the poet wishes a predecessor 'had writ in gold, as I in lead, / For men to learn why Fays be fled.' This self-deprecating frame—gold versus lead—signals a poem that treats its fairy matter with both earnestness and a wry awareness of its own limitations. The narrative is cast in ballad stanzas, with a regular rhyme scheme and a meter that often dips into anapests, lending a sing-song quality that suits the tale of Oberon's enchantment and the Elves' doomed building project.
The Spell of the Crystal Mere
The poem's inciting event is a vision: the Bad Brown Witch shows Oberon a 'wondrous Town' in the 'mirroring crystal of her mere.' Barlow emphasizes the scale distortion necessary for fairy perception: the city is 'shrunk, I trow, to seemly size / For straiter range of Elfin eyes.' This detail—that the vision is scaled down—establishes a central tension between the human world's grandeur and the Elves' miniature realm. Oberon becomes obsessed, finding his woodland home inadequate: 'the glowworm-lamps burned dim,' 'the kingcup's gold looked dull.' The diction here is deliberately domestic—'chamber,' 'lamps,' 'gawds'—contrasting with the epic ambition of building a city. The Witch's magic works not through overt force but through a kind of aesthetic dissatisfaction, a restlessness with the familiar.
Building and Its Discontents
Once Oberon decides to build, the poem shifts to cataloging the labor. The Elves construct 'strong walls and storeys stately' on a bare earth-plot 'six yards square'—a comically small foundation for a city, yet treated with epic gravity. Barlow's verse dwells on the physical details: 'No blade of grass, or glint of green, / But pavements ferly smooth and clean.' The word 'ferly' (meaning 'wondrous') hints at the Elves' pride, but the narrative soon undercuts it. The building is revealed as 'drudgery vile' exacted from the Elfin race. Oberon later admits, 'Yon cumbrous heaps of stones and stocks / Seem filled for me with flouts and mocks.' The poem thus critiques the vanity of grand projects built on compelled labor, even as it maintains a light, almost whimsical tone through its meter and fairy-tale vocabulary.
The King's Awakening and the Command to Destroy
The climax occurs when Oberon, freed from the witch's spell by a 'night-sent sign,' addresses his subjects. Barlow renders this scene with a striking shift in register: the king speaks in grave, measured lines, his earlier enthusiasm replaced by remorse. He commands the Elves to 'lay this cursëd city waste; / Let wall be breached, and site erased.' The alliteration and imperative verbs convey his urgency. Yet the poem complicates this moment: the Elves rejoice, but Oberon remains 'of mien deject,' and he reveals a further secret—the vision has also shown that the Elves must leave their homeland entirely. The phrase 'a prison whose doors unclose not' redefines their entire existence. Barlow thus transforms a simple fairy tale into a meditation on displacement and the cost of ambition, all within the constraints of ballad form.
Diction, Voice, and the Fairy Scale
Throughout the poem, Barlow's diction oscillates between archaisms ('wot,' 'trow,' 'ferly,' 'gramarie') and more colloquial touches ('By Flowers o' May,' 'quoth he'). This mix creates a voice that feels both learned and playful. The fairy perspective is maintained through scale: a 'restive Earwig' stamps its foot, a 'gaunt-limbed Gnat' sits on a roof-ridge. These details ground the epic events in a miniature world. The poem also uses direct address and exclamations ('Ah, who but I, your chosen chief?') to heighten emotional impact. Barlow avoids sentimentality by undercutting pathos with physical comedy—the Earwig's tether, the Gnat's twirling legs. This technique keeps the narrative from becoming ponderous, allowing the serious themes of obsession, labor, and exile to emerge naturally from the fairy framework.
Readers should attend to how Barlow balances the poem's two registers: the mock-heroic treatment of fairy construction and the genuine melancholy of its conclusion. The ballad stanzas, with their recurring rhymes and rhythmic variations, reward reading aloud. Laurence Housman's illustrations, though not included here, would have complemented the text's blend of whimsy and gravity. This edition preserves the original 1894 text, allowing modern readers to encounter a Victorian fairy poem that questions the very desires it dramatizes.
I kept thinking about how The End of Elfintown lets a whole world fade without anger, just quiet departure. That same tender ache lives in The Fairy Green — Background and Themes, where loss feels less like ruin and more like a held breath. Some stories stay because they teach us how gently things can end.
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