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The upcoming issue of The Philalethes, the quarterly journal of the Philalethes Society, was emailed to members last week as a PDF in advance of the print version. As usual, there are many interesting points within.
I won’t take you page by page, but if you, like me, are curious about “The Fairy Elves Song,” as printed in Cole’s Constitutions of 1728, then W. Bro. Nathan St. Pierre, of Lodge of Nine Muses 1776 in Washington, has what you seek—and then some.
In his “Whilst We Enchant All Ears with Musick of the Spheres: The Esoteric Significance of ‘The New Fairies: Or, The Fellow-Craft’s Song,’” St. Pierre takes us back several centuries to gain an appreciation of the Masonic dinner song. Maybe you know Matthew Birkhead, but there is much more to early eighteenth century Masonic music than what appears in Anderson’s Constitutions.
A few bars of St. Pierre:
Fairies are complex preternatural creatures appearing in poetry, trial documents, popular pamphlet stories, and demonologies across northern Europe in the early modern period. While often associated with Celtic beliefs and folklore, fairies also appear in Germanic, Nordic, and Eastern European tales. They are sometimes used interchangeably with ‘elves’ and are related to creatures such as goblins, hobgoblins, ouphs, and urchins. Fairies could be seen as magical helpers in healing and finding lost goods or as familiar spirits of witches. The reclassification of fairies as demonic entities became more common after the 1563 Witchcraft Act. Shakespeare’s fairies, particularly in A Midsummer Night’s Dream, exhibit these characteristics, operating both benign and malevolent magic and interacting authoritatively with the human world.
Elves are creatures similar to fairies, or interchangeable with them, forming part of a wider realm of northern European preternatural beings. In Old English, an ælf was a spirit associated with a particular environment or element, such as water. Elves could cause sickness in humans and animals, leading to the need for charms to ward them off.
And:
The first time “The New Fairies: Or, The Fellow-Craft’s Song” is presented in its entirety is in A Curious Collection of The Most Celebrated Songs in Honour of Masonry, published for Benjamin Creake in collaboration with Benjamin Cole. In that publication, the song is indicated, “as sung at the Lodge in Carmarthen South-Wales.” This very likely refers to the constitution of Naggshead and Starr Lodge in Carmarthen, South Wales on the 9th of June in 1726. The pillar officers installed that day were Master, Emanuel Bowen; and Wardens, Edward Oakley and Rice Davis. Brother Oakley would soon take this song to London where it would capture the attention of the Masonic world.
Edward Oakley, initially recorded in 1721, was actively involved in the foundation and operation of Masonic lodges both in Carmarthen and London. By 1724 or 1725, he co-founded the Naggshead and Starr Lodge in Carmarthen and served as its Senior Warden in 1726. He later became a prominent member of the Three Compasses Lodge in Silver Street, London, where he served as Senior Warden in 1725 and as Master. On December 31, 1728, Oakley delivered a significant speech outlining the qualifications and duties of Masonic members, emphasizing the importance of spreading architectural knowledge through lectures and books. This speech was published in Benjamin Cole’s edition of The Ancient Constitutions of the Free and Accepted Masons (1728), thus reaching a wide audience.
Much more information and context awaits you in this deep paper, but I zeroed in on what attracted me.
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