As Prof. Dale Townsend has observed, the concept of the Gothic has had an association with fairies from its inception; even before Walpole’s 1764 Castle of Otranto (considered the first Gothic novel), eighteenth-century poetics talked of ‘the fairy kind of writing’ which, for Addison, ‘raise a pleasing kind of Horrour in the Mind of the Reader’ and ‘and favour those secret Terrours and Apprehensions to which the Mind of Man is naturally subject’. Johnson, in his Preface to Shakespeare (1765), talks of ‘the loves of Theseus and Hippolyta combined with the Gothic mythology of fairies’. ‘Horror’ and ‘terror’ are key terms of affect in Gothic criticism; Townsend urges us, however, to move away from this dichotomy. While we are certainly interested in the darker aspects of fairies and the fear they may induce, this conference also welcomes attention to that aspect of Gothic that invokes wonder and enchantment.