Delphi Complete Works of Sir Arthur Conan Doyle (Illustrated) (1479 page)
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Authors: SIR ARTHUR CONAN DOYLE
a quaint, old-world village in Yorkshire, found the house, and was cordially received. Mrs. C. and her daughter I. (the girl as shown playing with the gnome) were both at home to meet me, and Mr. G, the father, came in shortly afterwards.
Several of the objections raised by the professionals were disposed of almost at once, as, a half-hour after reaching the house, I was exploring a charming little valley, directly at the rear, with a stream of water running through, where the children had been accustomed to see and play with the fairies. I found the bank behind which the child, with her shoes and stockings off, is shown as standing; toad-stools exactly as in the photograph were about in plenty, quite as big and hearty-looking. And the girl’s hand? Well, she laughingly made me promise not to say much about it, it is so very long! I stood on the spots shown and easily identified every feature. Then, in course of eliciting all that one could learn about the affair, I gathered the following, which, for the sake of conciseness, I set out below: Camera used: “The Midg” quarter-plate. Plates: Imperial Rapid.
Fairies photo: July 1917. Day brilliantly hot and sunny. About 3 p. m. Distance:
Gnome photo: September 1917. Day bright, but not as above. About 4 o’clock. Distance:
I. was sixteen years old; her cousin A. was ten years. Other photographs were attempted but proved partial failures, and plates were not kept.
Colouring
: The palest of green, pink, mauve. Much more in the wings than in the bodies, which are very pale to white. The gnome is described as seeming to be in black tights, reddish-brown jersey, and red pointed cap. He was swinging his pipes, holding them in his left hand and was just stepping up on to I.’s knee when A. snapped him.
A., the visiting cousin, went away soon after, and I. says they must be together to “take photographs.” Fortunately they will meet in a few weeks’ time, and they promise me to try to get some more. I. added she would very much like to send me one of a fairy flying.
Mr. C.’s testimony was clear and decisive. His daughter had pleaded to be allowed to use the camera. At first he demurred, but ultimately, after dinner one Saturday, he put just one plate in the Midg and gave it to the girls. They returned in less than an hour and begged him to develop the plate as I. had “taken a photograph.” He did so, with, to him, the bewildering result shown in the print of the fairies!
Mrs. C. says she remembers quite well that the girls were only away from the house a short time before they brought the camera back.
Extraordinary and amazing as these photographs may appear, I am now quite convinced of their entire genuineness, as indeed would everyone else be who had the same evidence of transparent honesty and simplicity that I had. I am adding nothing by way of explanations or theories of my own, though the need for two people, preferably children, is fairly obvious for photography, in order to assist in the strengthening of the etheric bodies. Beyond this I prefer to leave the above statement as a plain, unvarnished narrative of my connection with the incidents.
I need only add that no attempt appears ever to have been made by the family to make these photographs public, and whatever has been done in that direction locally has not been pressed by any of them, nor has there been any money payment in connection with them.
EDWARD L. GARDNER.
I may add as a footnote to Mr. Gardner’s report that the girl informed him in conversation that she had no power of any sort over the actions of the fairies, and that the way to “‘tice them,” as she called it, was to sit passively with her mind quietly turned in that direction; then, when faint stirrings or movements in the distance heralded their presence, to beckon towards them and show that they were welcome. It was Iris who pointed out the pipes of the gnome, which we had both taken as being the markings of the moth-like under-wing. She added that if there was not too much rustling in the wood it was possible to hear the very faint and high sound of the pipes. To the objections of photographers that the fairy figures show quite different shadows to those of the human our answer is that ectoplasm, as the etheric protoplasm has been named, has a faint luminosity of its own, which would largely modify shadows.
To the very clear and, as I think, entirely convincing report of Mr. Gardner’s, let me add the exact words which Mr. Snelling, the expert photographer, allows us to use. Mr. Snelling has shown great strength of mind, and rendered signal service to psychic study, by taking a strong line, and putting his professional reputation as an expert upon the scales. He has had a varied connection of over thirty years with the Autotype Company and Illingworth’s large photographic factory, and has himself turned out some beautiful work of every kind of natural and artificial studio studies. He laughs at the idea that any expert in England could deceive him with a faked photograph. “These two negatives,” he says, “are entirely genuine, unfaked photographs of single exposure, open-air work, show movement in the fairy figures, and there is no trace whatever of studio work involving card or paper models, dark backgrounds, painted figures, etc. In my opinion, they are both straight untouched pictures.”
A second independent opinion is equally clear as to the genuine character of the photographs, founded upon a large experience of practical photography.
There is our case, fortified by pictures of the places which the unhappy critic has declared to be theatrical properties. How well we know that type of critic in all our, psychic work, though it is not always possible to at once show his absurdity to other people.
I will now make a few comments upon the two pictures, which I have studied long and earnestly with a high-power lens.
One fact of interest is this presence of a double pipe — the very sort which the ancients associated with fauns and naiads — in each picture. But if pipes, why not everything else? Does it not suggest a complete range of utensils and instruments for their own life? Their clothing is substantial enough. It seems to me that with fuller knowledge and with fresh means of vision these people are destined to become just as solid and real as the Eskimos. There is an ornamental rim to the pipe of the elves which shows that the graces of art are not unknown among them. And what joy is in the complete abandon of their little graceful figures as they let themselves go in the dance! They may have their shadows and trials as we have, but at least there is a great gladness manifest in this demonstration of their life.
A second general observation is that the elves are a compound of the human and the butterfly, while the gnome has more of the moth. This may be merely the result of under-exposure of the negative and dullness of the weather. Perhaps the little gnome is really of the same tribe, but represents an elderly male, while the elves are romping young women. Most observers of fairy life have reported, however, that there are separate species, varying very much in size, appearance, and locality — the wood fairy, the water fairy, the fairy of the plains, etc.
Can these be thought-forms? The fact that they are so like our conventional idea of fairies is in favour of the idea. But if they move rapidly, have musical instruments, and so forth, then it is impossible to talk of “thought-forms,” a term which suggests something vague and intangible. In a sense we are all thought-forms, since we can only be perceived through the senses, but these little figures would seem to have an objective reality, as we have ourselves, even if their vibrations should prove to be such that it takes either psychic power or a sensitive plate to record them. If they are conventional it may be that fairies have really been seen in every generation, and so some correct description of them has been retained.
There is one point of Mr. Gardner’s investigation which should be mentioned. It had come to our knowledge that Iris could draw, and had actually at one time done some designs for a jeweller. This naturally demanded caution, though the girl’s own frank nature is, I understand, a sufficient guarantee for those who know her. Mr. Gardner, however, tested her powers of drawing, and found that, while she could do landscapes cleverly, the fairy figures which she had attempted in imitation of those she had seen were entirely uninspired, and bore no possible resemblance to those in the photograph. Another point which may be commended to the careful critic with a strong lens is that the apparent pencilled face at the side of the figure on the right is really only the edge of her hair, and not, as might appear, a drawn profile.
I must confess that after months of thought I am unable to get the true bearings of this event. One or two consequences are obvious. The experiences of children will be taken more seriously. Cameras will be forthcoming. Other well-authenticated cases will come along. These little folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar. The thought of them, even when unseen, will add a charm to every brook and valley and give romantic interest to every country walk. The recognition of their existence will jolt the material twentieth-century mind out of its heavy ruts in the mud, and will make it admit that there is a glamour and a mystery to life. Having discovered this, the world will not find it so difficult to accept that spiritual message supported by physical facts which has already been so convincingly put before it. All this I see, but there may be much more. When Columbus knelt in prayer upon the edge of America, what prophetic eye saw all that a new continent might do to affect the destinies of the world? We also seem to be on the edge of a new continent, separated not by oceans but by subtle and surmountable psychic conditions. I look at the prospect with awe. May those little creatures suffer from the contact and some Las Casas bewail their ruin! If so, it would be an evil day when the world defined their existence. But there is a guiding hand in the affairs of man, and we can but trust and follow.
RECEPTION OF THE FIRST PHOTOGRAPH
S
Though I was out of England at the time, I was able, even in Australia, to realise that the appearance of the first photographs in the
Strand Magazine
had caused very great interest. The press comments were as a rule cautious but not unsympathetic. The old cry of “Fake! “ was less conspicuous than I had expected, but for some years the press has been slowly widening its views upon psychic matters, and is not so inclined as of old to attribute every new manifestation to fraud. Some of the Yorkshire papers had made elaborate inquiries, and I am told that photographers for a considerable radius from the house were cross-questioned to find if they were accomplices.
Truth
, which is obsessed by the idea that the whole spiritualistic movement and everything connected with it is one huge, senseless conspiracy to deceive, concocted by knaves and accepted by fools, had the usual contemptuous and contemptible articles, which ended by a prayer to, Elsie that she should finish her fun and let the public know how it really was done. The best of the critical attacks was in the
Westminster Gazette
, who sent a special commissioner to unravel the mystery, and published the result on January 12, 1921. By kind permission I reproduce the article:
DO FAIRIES EXIST?
INVESTIGATION IN A YORKSHIRE VALLEY
COTTINGLEY’S MYSTERY
STORY OF THE GIRL WHO TOOK THE SNAPSHOT
The publication of photographs of fairies — or, to be more explicit, one photograph of fairies and another of a gnome — playing round children has aroused considerable interest, not only in Yorkshire, where the beings are said to exist, but throughout the country. The story, mysterious as it was when first told, became even more enigmatical by reason of the fact that Sir A. Conan Doyle made use of fictitious names in his narrative in the
Strand Magazine
in order, as he says, to prevent the lives of the people concerned being interrupted by callers and correspondence. That he has failed to do. I am afraid Sir Conan does not know Yorkshire people, particularly those of the dales, because any attempt to hide identity immediately arouses their suspicions, if it does not go so far as to condemn the writer for his lack of frankness.
It is not surprising, therefore, that his story is accepted with reserve. Each person to whom I spoke of the subject during my brief sojourn in Yorkshire dismissed the matter curtly as being untrue. It has been the principal topic of conversation for weeks, mainly because identity had been discovered.
My mission to Yorkshire was to secure evidence, if possible, which would prove or disprove the claim that fairies existed. I frankly confess that I failed. The particular fairyland is a picturesque little spot off the beaten track, two or three miles from Bingley. Here is a small village called Cottingley, almost hidden in a break in the upland, through which tumbles a tiny stream, known as Cottingley Beck, on its way to the Aire, less than a mile away. The “heroine” of Sir Conan Doyle’s story is Miss Elsie Wright,
1
who resides with her parents at 31 Lynwood Terrace. The little stream runs past the back of the house, and the photographs were taken not more than a hundred yards away. When Miss Wright made the acquaintance of the fairies she was accompanied by her cousin, Frances Griffiths, who resides at Dean Road, Scarborough.
One photograph, taken by Miss Wright in the summer of 1917, when she was sixteen, shows her cousin, then a child of ten, with a group of four fairies dancing in the air before her, and in the other, taken some months afterwards, Elsie, seated on the grass, has a quaint gnome dancing beside her.
There are certain facts which stand out clearly and which none of the evidence I was able to obtain could shake. No other people have seen the fairies, though everybody in the little village knew of their alleged existence; when Elsie took the photograph she was unacquainted with the use of a camera, and succeeded at the first attempt; the girls did not invite a third person to see the wonderful visitors, and no attempt was made to make the discovery public.
First I interviewed Mrs. Wright, who, without hesitation, narrated the whole of the circumstances without adding any comment. The girls, she said, would spend the whole of the day in the narrow valley, even taking their lunch with them, though they were within a stone’s throw of the house. Elsie was not robust, and did not work during the summer months, so that she could derive as much benefit as possible from playing in the open. She had often talked about seeing the fairies, but her parents considered it was nothing more than childish fancy, and let it pass. Mr. Wright came into possession of a small camera in 1917, and one Saturday afternoon yielded to the persistent entreaties of his daughter and allowed her to take it out. He placed one plate in position, and explained to her how to take a “snap.” The children went away in high glee and returned in less than an hour, requesting Mr. Wright to develop the plate. While this was being done Elsie noticed that the fairies were beginning to show, and exclaimed in an excited tone to her cousin, “Oh, Frances, the fairies are on the plate!” The second photograph was equally successful, and a few prints from each plate were given to friends as curiosities about a year ago. They evidently attracted little notice until one was shown to some of the delegates at a Theosophical Congress in Harrogate last summer.
Mrs. Wright certainly gave me the impression that she had no desire to keep anything back, and answered my questions quite frankly. She told me that Elsie had always been a truthful girl, and there were
ELSIE SEATED ON THE BANK ON WHICH THE FAIRIES WERE DANCING IN 1917 (PHOTO 1920)
THE FALL OF WATER JUST ABOVE THE SITE OF LAST PHOTOGRAPH
C. FRANCES AND THE LEAPING FAIRY
Photograph taken by Elsie in August, 1920. “Cameo” camera. Distance,
neighbours who accepted the story of the fairies simply on the strength of their knowledge of her. I asked about Elsie’s career, and her mother said that after she left school she worked a few months for a photographer in Manningham Lane, Bradford, but did not care for running errands most of the day. The only other work she did there was “spotting.” Neither occupation was likely to teach a fourteen-year-old girl how to “fake” a plate. From there she went to a jeweller’s shop, but her stay there was not prolonged. For many months immediately prior to taking the first photograph she was at home and did not associate with anyone who possessed a camera.
At that time her father knew little of photography, “only what he had picked up by dodging about with the camera,” as he put it, and any suggestion that he had faked the plate must be dismissed.
When he came home from the neighbouring mill, and was told the nature of my errand, he said he was “fed up” with the whole business, and had nothing else to tell. However, he detailed the story I had already heard from his wife, agreeing in every particular, and Elsie’s account, given to me in Bradford, added nothing. Thus I had the information from the three members of the family at different times, and without variation. The parents confessed they had some difficulty in accepting the photographs as genuine and even questioned the girls as to how they faked them. The children persisted in their story, and denied any act of dishonesty. Then they “let it go at that.” Even now their belief in the existence of the fairies is merely an acceptance of the statements of their daughter and her cousin.
I ascertained that Elsie was described by her late schoolmaster as being “dreamy,” and her mother said that anything imaginative appealed to her. As to whether she could have drawn the fairies when she was sixteen I am doubtful. Lately she has taken up water-colour drawing, and her work, which I carefully examined, does not reveal that ability in a marked degree, though she possesses a remarkable knowledge of colour for an untrained artist.
Sir A. Conan Doyle says that at first he was not convinced that the fairies were not thought-forms conjured up by the imagination or expectation of the seers. Mr. E. L. Gardner, a member of the Executive Committee of the Theosophical Society, who made an investigation on the spot and also interviewed all the members of the family, records his opinion that the photographs are genuine.
Later in the day I went to Bradford, and at Sharpe’s Christmas Card Manufactory saw Miss Wright. She was working in an upper room, and at first refused to see me, sending a message to the effect that she did not desire to be interviewed. A second request was successful, and she appeared at a small counter at the entrance to the works.
She is a tall, slim girl, with a wealth of auburn hair, through which a narrow gold band, circling her head, was entwined.
Like her parents, she just said she had nothing to say about the photographs, and, singularly enough, used the same expression as her father and mother—”I am ‘fed up’ with the thing.”
She gradually became communicative, and told me how she came to take the first photograph.
Asked where the fairies came from, she replied that she did not know.
“Did you see them come?” I asked; and on receiving an affirmative reply, suggested that she must have noticed where they came from.
Miss Wright hesitated, and laughingly answered, “I can’t say.” She was equally at a loss to explain where they went after dancing near her, and was embarrassed when I pressed for a fuller explanation. Two or three questions went unanswered, and my suggestion that they must have “simply vanished into the air” drew the monosyllabic reply, “Yes.” They did not speak to her, she said, nor did she speak to them.
When she had been with her cousin she had often seen them before. They were only kiddies when they first saw them, she remarked, and did not tell anybody.
