document_title: Theater in the United States

question_text: when was the first theatre built in america and where was it

text: Theater in the United States

text: Early history[edit]

text:
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text: Before the first English colony was established in 1607, there were Spanish dramas and Native American tribes that performed theatrical events.[1]

text: Although a theater was built in Williamsburg, Virginia in 1716, and the original Dock Street Theatre opened in Charleston, South Carolina in 1736, the birth of professional theater in America may have begun when Lewis Hallam arrived with his theatrical company in Williamsburg in 1752.[2] Lewis and his brother William, who arrived in 1754, were the first to organize a complete company of actors in Europe and bring them to the colonies. They brought a repertoire of plays popular in London at the time, including Hamlet, Othello, The Recruiting Officer, and Richard III. The Merchant of Venice was their first performance, shown initially on September 15, 1752.[3] Encountering opposition from religious organizations, Hallam and his company left for Jamaica in 1754 or 1755.[citation needed] Soon after, Lewis Hallam, Jr., founded the American Company, opened a theater in New York, and presented the first professionally mounted American play—The Prince of Parthia, by Thomas Godfrey—in 1767.[4]

text: In the 18th century, laws forbidding the performance of plays were passed in Massachusetts in 1750, in Pennsylvania in 1759, and in Rhode Island in 1761, and plays were banned in most states during the American Revolutionary War at the urging of the Continental Congress.[3] In 1794, president of Yale College, Timothy Dwight IV, in his "Essay on the Stage", declared that "to indulge a taste for playgoing means nothing more or less than the loss of that most valuable treasure: the immortal soul."[citation needed]

text: In spite of such laws, however, a few writers tried their hand at playwriting. Most likely, the first plays written in America were by European-born authors—we know of original plays being written by Spaniards, Frenchmen and Englishmen dating back as early as 1567—although no plays were printed in America until Robert Hunter's Androboros in 1714. Still, in the early years, most of the plays produced came from Europe; only with Godfrey's The Prince of Parthia in 1767 do we get a professionally produced play written by an American, although it was a last-minute substitute for Thomas Forrest's comic opera The Disappointment; or, The Force of Credulity, and although the first play to treat American themes seriously, Ponteach; or, the Savages of America by Robert Rogers, had been published in London a year earlier.[5] 'Cato', a play about revolution, was performed for George Washington and his troops at Valley Forge in the winter of 1777–1778.

text: The Revolutionary period was a boost for dramatists, for whom the political debates were fertile ground for both satire, as seen in the works of Mercy Otis Warren and Colonel Robert Munford, and for plays about heroism, as in the works of Hugh Henry Brackenridge. The post-war period saw the birth of American social comedy in Royall Tyler's The Contrast, which established a much-imitated version of the "Yankee" character, here named "Jonathan". But there were no professional dramatists until William Dunlap, whose work as playwright, translator, manager and theater historian has earned him the title of "Father of American Drama"; in addition to translating the plays of August von Kotzebue and French melodramas, Dunlap wrote plays in a variety of styles, of which André and The Father; or, American Shandyism are his best.[5]

text: The 19th century[edit]

text: Pre-war theater[edit]

text: At 825 Walnut Street in Philadelphia, Pennsylvania, is the Walnut Street Theatre, or, "The Walnut." Founded in 1809 by the Circus of Pepin and Breschard, "The Walnut" is the oldest theater in America. The Walnut's first theatrical production, The Rivals, was staged in 1812. In attendance were President Thomas Jefferson and the Marquis de Lafayette.[6]

text: Provincial theaters frequently lacked heat and minimal theatrical property ("props") and scenery. Apace with the country's westward expansion, some entrepreneurs operated floating theaters on barges or riverboats that would travel from town to town. A large town could afford a long "run"—or period of time during which a touring company would stage consecutive multiple performances—of a production, and in 1841, a single play was shown in New York City for an unprecedented three weeks.[citation needed]

text: William Shakespeare's works were commonly performed. American plays of the period were mostly melodramas, a famous example of which was Uncle Tom's Cabin, adapted by George Aiken, from the novel of the same name by Harriet Beecher Stowe.

text: In 1821, William Henry Brown established the African Grove Theatre in New York City. It was the third attempt to have an African-American theater, but this was the most successful of them all. The company put on not only Shakespeare, but also staged the first play written by an African-American, The Drama of King Shotaway. The theater was shut down in 1823.[7] African-American theater was relatively dormant, except for the 1858 play The Escape; or, A Leap for Freedom by William Wells Brown, who was an ex-slave. African-American works would not be regarded again until the 1920s Harlem Renaissance.[7]

text: A popular form of theater during this time was the minstrel show, which featured white (and sometimes, especially after the Civil War, black) actors dressed in "blackface (painting one's face, etc. with dark makeup to imitate the coloring of an African or African American)." The players entertained the audience using comic skits, parodies of popular plays and musicals, and general buffoonery and slapstick comedy, all with heavy utilization of racial stereotyping and racist themes.[citation needed]

text: Throughout the 19th century, theater culture was associated with hedonism and even violence, and actors (especially women), were looked upon as little better than prostitutes. Jessie Bond wrote that by the middle of the 19th century, "The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute".[8] On April 15, 1865, less than a week after the end of the United States Civil War, Abraham Lincoln, while watching a play at Ford's Theater in Washington, D.C., was assassinated by a nationally popular stage-actor of the period, John Wilkes Booth.

text: Victorian burlesque, a form of bawdy comic theater mocking high art and culture, was imported from England about 1860 and in America became a form of farce in which females in male roles mocked the politics and culture of the day. Criticized for its sexuality and outspokenness, this form of entertainment was hounded off the "legitimate stage" and found itself relegated to saloons and barrooms.[citation needed] The female producers, such as Lydia Thompson were replaced by their male counterparts, who toned down the politics and played up the sexuality, until the burlesque shows eventually became little more than pretty girls in skimpy clothing singing songs, while male comedians told raunchy jokes.

text: The drama of the pre-war period tended to be a derivative in form, imitating European melodramas and romantic tragedies, but native in content, appealing to popular nationalism by dramatizing current events and portraying American heroism. But playwrights were limited by a set of factors, including the need for plays to be profitable, the middle-brow tastes of American theater-goers, and the lack of copyright protection and compensation for playwrights. During this time, the best strategy for a dramatist was to become an actor and/or a manager, after the model of John Howard Payne, Dion Boucicault and John Brougham. This period saw the popularity of certain native character types, especially the "Yankee", the "Negro" and the "Indian", exemplified by the characters of Jonathan, Sambo and Metamora. Meanwhile, increased immigration brought a number of plays about the Irish and Germans, which often dovetailed with concerns over temperance and Roman Catholic. This period also saw plays about American expansion to the West (including plays about Mormonism) and about women's rights. Among the best plays of the period are James Nelson Barker's Superstition; or, the Fanatic Father, Anna Cora Mowatt's Fashion; or, Life in New York, Nathaniel Bannister's Putnam, the Iron Son of '76, Dion Boucicault's The Octoroon; or, Life in Louisiana, and Cornelius Mathews's Witchcraft; or, the Martyrs of Salem. At the same time, America had created new dramatic forms in the Tom Shows, the showboat theater and the minstrel show.[5]

text: Post-war theater[edit]

text: In the postbellum North, theater flourished as a post-war boom allowed longer and more-frequent productions. The advent of American rail transport allowed production companies, its actors, and large, elaborate sets to travel easily between towns, which made permanent theaters in small towns feasible. The invention and practical application of electric lighting also led to changes to and improvements of scenery styles and the designing of theater interiors and seating areas.

text: In 1896, Charles Frohman, Al Hayman, Abe Erlanger, Mark Klaw, Samuel F. Flenderson, and J. Fred Zimmerman, Sr. formed the Theatrical Syndicate, which established systemized booking networks throughout the United States, and created a management monopoly that controlled every aspect of contracts and bookings until the turn of the 20th century, when the Shubert brothers founded rival agency, The Shubert Organization.

text: For playwrights, the period after the War brought more financial reward and aesthetic respect (including professional criticism) than was available earlier. In terms of form, spectacles, melodramas and farces remained popular, but poetic drama and romanticism almost died out completely due to the new emphasis upon realism, which was adopted by serious drama, melodrama and comedy alike. This realism was not quite the European realism of Ibsen's Ghosts, but a combination of scenic realism (e.g., the "Belasco Method") with a less romantic view of life that accompanied the cultural turmoil of the period. The most ambitious effort towards realism during this period came from James Herne, who was influenced by the ideas of Ibsen, Hardy and Zola regarding realism, truth, and literary quality; his most important achievement, Margaret Fleming, enacts the principles he expounded in his essay "Art for Truth's Sake in the Drama". Although Fleming did not appeal to audiences—critics and audiences felt it dwelt too much on unseemly topics and included improper scenes, such as Margaret nursing her husband's bastard child onstage—other forms of dramatic realism were becoming more popular in melodrama (e.g., Augustin Daly's Under the Gaslight) and in local color plays (Bronson Howard's Shenandoah). Other key dramatists during this period are David Belasco, Steele MacKaye, William Dean Howells, Dion Boucicault, and Clyde Fitch.[5]

text: The 20th century[edit]

text: Vaudeville was common in the late 19th and early 20th century, and is notable for heavily influencing early film, radio, and television productions in the country. (This was born from an earlier American practice of having singers and novelty acts perform between acts in a standard play.) George Burns was a very long-lived American comedian who started out in the vaudeville community, but went on to enjoy a career running until the 1990s.

text: Some vaudeville theaters built between about 1900 and 1920 managed to survive as well, though many went through periods of alternate use, most often as movie theaters until the second half of the century saw many urban populations decline and multiplexes built in the suburbs. Since that time, a number have been restored to original or nearly-original condition and attract new audiences nearly one hundred years later.

text: By the beginning of the 20th century, legitimate 1752 (non-vaudeville) theater had become decidedly more sophisticated in the United States, as it had in Europe. The stars of this era, such as Ethel Barrymore and John Barrymore, were often seen as even more important than the show itself. The advance of motion pictures also led to many changes in theater. The popularity of musicals may have been due in part to the fact the early films had no sound, and could thus not compete, until The Jazz Singer of 1927, which combined both talking and music in a moving picture. More complex and sophisticated dramas bloomed in this time period, and acting styles became more subdued. Even by 1915, actors were being lured away from theater and to the silver screen, and vaudeville was beginning to face stiff competition.

text: While revues consisting of mostly unconnected songs, sketches, comedy routines, and dancing girls (Ziegfeld girls) dominated for the first 20 years of the 20th century, musical theater would eventually develop beyond this. One of the first major steps was Show Boat, with music by Jerome Kern and lyrics by Oscar Hammerstein. It featured songs and non-musical scenes which were integrated to develop the show's plot. The next great step forward was Oklahoma!, with lyrics by Hammerstein and music by Richard Rodgers. Its "dream ballets" used dance to carry forward the plot and develop the characters.

text: Amateur performing groups have always had a place alongside professional acting companies. The Amateur Comedy Club, Inc. was founded in New York City on April 18, 1884. It was organized by seven gentlemen who broke away from the Madison Square Dramatic Organization, a socially prominent company presided over by Mrs. James Brown Potter and David Belasco. The ACC staged its first performance on February 13, 1885. It has performed continuously ever since, making it the oldest, continuously performing theatrical society in the United States. Prominent New Yorkers who have been members of the ACC include Theodore, Frederick and John Steinway of the piano manufacturing family; Gordon Grant, the marine artist; Christopher La Farge, the architect; Van H. Cartmell, the publisher; Albert Sterner, the painter; and Edward Fales Coward, the theater critic and playwright. Elsie De Wolfe, Lady Mendl, later famous as the world's first professional interior decorator, acted in Club productions in the early years of the 20th Century, as did Hope Williams, and Julie Harris in the 1940s.

text: Early 20th century theater was dominated by the Barrymores—Ethel Barrymore, John Barrymore, and Lionel Barrymore. Other greats included Laurette Taylor, Jeanne Eagels, and Eva Le Gallienne. The massive social change that went on during the Great Depression also had an effect on theater in the United States. Plays took on social roles, identifying with immigrants and the unemployed. The Federal Theatre Project, a New Deal program set up by Franklin D. Roosevelt, helped to promote theater and provide jobs for actors. The program staged many elaborate and controversial plays such as It Can't Happen Here by Sinclair Lewis and The Cradle Will Rock by Marc Blitzstein. By contrast, the legendary producer Brock Pemberton (founder of the Tony Awards) was among those who felt that it was more than ever a time for comic entertainment, in order to provide an escape from the prevailing harsh social conditions: typical of his productions was Lawrence Riley's comedy Personal Appearance (1934), whose success on Broadway (501 performances) vindicated Pemberton.

text: The years between the World Wars were years of extremes. Eugene O'Neill's plays were the high point for serious dramatic plays leading up to the outbreak of war in Europe. Beyond the Horizon (1920), for which he won his first Pulitzer Prize; he later won Pulitzers for Anna Christie (1922) and Strange Interlude (1928) as well as the Nobel Prize in Literature. Alfred Lunt and Lynn Fontanne remained a popular acting couple in the 1930s.

text: 1940 proved to be a pivotal year for African-American theater. Frederick O'Neal and Abram Hill founded ANT, or the American Negro Theater, the most renowned African-American theater group of the 1940s. Their stage was small and located in the basement of a library in Harlem, and most of the shows were attended and written by African-Americans. Some shows include Theodore Browne's Natural Man (1941), Abram Hill's Walk Hard (1944), and Owen Dodson's Garden of Time (1945). Many famous actors received their training at ANT, including Harry Belafonte, Sidney Poitier, Alice and Alvin Childress, Osceola Archer, Ruby Dee, Earle Hyman, Hilda Simms, among many others.[9]

text: Mid-20th century theater saw a wealth of Great Leading Ladies, including Helen Hayes, Katherine Cornell, Tallulah Bankhead, Judith Anderson, and Ruth Gordon. Musical theater saw stars such as Ethel Merman, Beatrice Lillie, Mary Martin, and Gertrude Lawrence.

text: Post World War II theater[edit]

text: After World War II, American theater came into its own. Several American playwrights, such as Arthur Miller and Tennessee Williams, became world-renowned.

text: In the 1950s and 1960s, experimentation in the Arts spread into theater as well, with plays such as Hair including nudity and drug culture references. Musicals remained popular as well, and musicals such as West Side Story and A Chorus Line broke previous records. At the same time, shows like Stephen Sondheim's Company began to deconstruct the musical form as it has been practiced through the mid-century, moving away from traditional plot and realistic external settings to explore the central character's inner state; his Follies relied on pastiches of the Ziegfeld Follies-styled revue; his Pacific Overtures used Japanese kabuki theatrical practices; and Merrily We Roll Along told its story backwards. Similarly, Bob Fosse's production of Chicago returned the musical to its vaudeville origins.

text: Facts and figures of the post-war theater

text: The post-war American theater audiences and box offices constantly diminished, due to the undeclared "offensive" of television and radio upon the classical, legitimate theater. According to James F. Reilly, executive director of the League of New York Theatres, between 1930 and 1951 the number of legitimate theaters in New York City dwindled from 68 to 30. Besides of that, the admissions tax, has been a burden on the theater since 1918. It was never relaxed ever since, and was doubled in 1943.[10] Total seating capacity of thirty most renown legitimate theaters amounted 35,697 seats in 1951. Since 1937 in New York City alone, 14 former legitimate theaters with a normal seating capacity of 16,955, have been taken over for either radio broadcasts or television performances.[11]

text: In the late 1990s and 2000s, American theater began to borrow from cinema and operas. For instance, Julie Taymor, director of The Lion King directed Die Zauberflöte at the Metropolitan Opera. Also, Broadway musicals were developed around Disney's Mary Poppins, Tarzan, The Little Mermaid, and the one that started it all, Beauty and the Beast, which may have contributed to Times Square's revitalization in the 1990s. Also, Mel Brooks's The Producers and Young Frankenstein are based on his hit films.

text: Drama[edit]

text: This section needs expansion with: coverage of the late 1990s and more information about the mid-century periods. You can help by adding to it. (July 2010)

text: The early years of the 20th century, before World War I, continued to see realism as the main development in drama. But starting around 1900, there was a revival of poetic drama in the States, corresponding to a similar revival in Europe (e.g. Yeats, Maeterlinck and Hauptmann). The most notable example of this trend was the "Biblical trilogy" of William Vaughn Moody, which also illustrate the rise of religious-themed drama during the same years, as seen in the 1899 production of Ben-Hur and two 1901 adaptations of Quo Vadis. Moody, however, is best known for two prose plays, The Great Divide (1906, later adapted into three film versions) and The Faith Healer (1909), which together point the way to modern American drama in their emphasis on the emotional conflicts that lie at the heart of contemporary social conflicts. Other key playwrights from this period (in addition to continued work by Howells and Fitch) include Edward Sheldon, Charles Rann Kennedy and one of the most successful women playwrights in American drama, Rachel Crothers, whose interest in women's issues can be seen in such plays as He and She (1911).[5]

text: During the period between the World Wars, American drama came to maturity, thanks in large part to the works of Eugene O'Neill and of the Provincetown Players. O'Neill's experiments with theatrical form and his combination of Naturalist and Expressionist techniques inspired other playwrights to use greater freedom in their works, whether expanding the techniques of Realism, as in Susan Glaspell's Trifles, or borrowing more heavily from German Expressionism (e.g., Elmer Rice's The Adding Machine), Other distinct movements during this period include folk-drama/regionalism (Paul Green's Pulitzer-winning In Abraham's Bosom), "pageant" drama (Green's The Lost Colony, about the mysterious Roanoke Colony), and even a return to poetic drama (Maxwell Anderson's Winterset). At the same time, the economic crisis of the Great Depression led to the growth of protest drama, as seen in the Federal Theatre Project's Living Newspaper productions and in the works of Clifford Odets (e.g., Waiting for Lefty) and of moralist drama, as in Lillian Hellman's The Little Foxes and The Children's Hour. Other key figures of this era include George S. Kaufman, George Kelly, Langston Hughes, S. N. Behrman, Sidney Howard, Robert E. Sherwood, and a set of playwrights who followed O'Neill's path of philosophical searching, Philip Barry, Thornton Wilder (Our Town) and William Saroyan (The Time of Your Life). Theater criticism kept pace with the drama, such as in the work of George Jean Nathan and in the numerous books and journals on American theater that were published during this time.[5]

text: The stature that American drama had achieved between the Wars was cemented during the post-World War II generation, with the final works of O'Neill and his generation being joined by such towering figures as Tennessee Williams and Arthur Miller, as well as by the maturation of the musical theatre form. Other key dramatists include William Inge, Arthur Laurents and Paddy Chayefsky in the 1950s, the avant garde movement of Jack Richardson, Arthur Kopit, Jack Gelber and Edward Albee the 1960s, and the maturation of black drama through Lorraine Hansberry, James Baldwin and Amiri Baraka. In the musical theater, important figures include Rodgers and Hammerstein, Lerner and Loewe, Betty Comden and Adolph Green, Richard Adler and Jerry Ross, Frank Loesser, Jule Styne, Jerry Bock, Meredith Willson and Stephen Sondheim.[5]

text: The period beginning in the mid-1960s, with the passing of Civil Rights legislation and its repercussions, came the rise of an "agenda" theater comparable to that of the 1930s. Many of the major playwrights from the mid-century continued to produce new works, but were joined by names like Sam Shepard, Neil Simon, Romulus Linney, David Rabe, Lanford Wilson, David Mamet, and John Guare. Many important dramatists were women, including Beth Henley, Marsha Norman, Wendy Wasserstein, Megan Terry, Paula Vogel and María Irene Fornés. The growth of ethnic pride movements led to more success by dramatists from racial minorities, such as black playwrights Douglas Turner Ward, Adrienne Kennedy, Ed Bullins, Charles Fuller, Suzan-Lori Parks, Ntozake Shange, George C. Wolfe and August Wilson, who created a dramatic history of United States with his cycle of plays, The Pittsburgh Cycle, one for each decade of the 20th century. Asian-American theater is represented in the early 1970s by Frank Chin and achieved international success with David Henry Hwang's M. Butterfly. Latino theater grew from the local activist performances of Luis Valdez's Chicano-focused Teatro Campesino to his more formal plays, such as Zoot Suit, and later to the award-winning work of Cuban Americans Fornés (multiple Obies) and her student Nilo Cruz (Pulitzer), to Puerto Rican playwrights José Rivera and Miguel Piñero, and to the Tony Award-winning musical about Dominicans in New York City, In the Heights. Finally, the rise of the gay rights movement and of the AIDS crisis led to a number of important gay and lesbian dramatists, including Christopher Durang, Holly Hughes, Karen Malpede, Terrence McNally, Larry Kramer, Tony Kushner, whose Angels in America won the Tony Award two years in a row, and composer-playwright Jonathan Larson, whose musical Rent ran for over twelve years.[5]

text: American theater today[edit]

text: Earlier styles of theater such as minstrel shows and Vaudeville acts have disappeared from the landscape, but theater remains a popular American art form. Broadway productions still entertain millions of theater-goers as productions have become more elaborate and expensive. At the same time, theater has also served as a platform for expression, and a venue for identity exploration for under-represented, minority communities, who have formed their own companies and created their own genres of works, notably East West Players, founded in 1965 as the first Asian-American theatre group. Notable contemporary American playwrights include Edward Albee, August Wilson, Tony Kushner, David Henry Hwang, John Guare, and Wendy Wasserstein. Smaller urban theaters have stayed a source of innovation, and regional theaters remain an important part of theater life. Drama is also taught in high schools and colleges, which was not done in previous eras, and many become interested in theater through this.

text: The Faster Times, an online newspaper that ran from 2009 to 2013, featured a weekly column that discussed issues and trends in American theater.[12]

text: HowlRound, an online "commons", features opinions and essays by artists and academics in American Theater today.[13]


document_title: Roanoke Colony

question_text: who financed the roanoke colony with his own money

root

text: Roanoke Colony

text: Background

text: The enterprise was originally financed and organized by Sir Humphrey Gilbert, who drowned in 1583 returning from a voyage to the fishing settlement at St. John's, Newfoundland. Sir Humphrey Gilbert's half-brother Sir Walter Raleigh later gained his brother's charter from the Queen and subsequently executed the details of the charter through his delegates Ralph Lane and Richard Grenville, Raleigh's distant cousin.[1]

tag: p

text: Raleigh's charter

text: On March 25, 1584, Queen Elizabeth I granted Raleigh a charter for the colonization of the area of North America. This charter specified that Raleigh needed to establish a colony in North America, or lose his right to colonization.[2]:9

text: The Queen and Raleigh intended that the venture should provide riches from the New World. The queen's charter said that Raleigh was supposed to "discover, search, find out, and view such remote heathen and barbarous Lands, Countries, and territories ... to have, hold, occupy, and enjoy".[3]

text: The queen's charter also said that Raleigh was supposed to establish a base from which to send privateers on raids against the treasure fleets of Spain.[4]:135 The purpose of these raids was to tell Spain that England was ready for war. The original charter basically told Raleigh to establish a military base to counteract the activities of the Spaniards.[5] Raleigh himself never visited North America, although he led expeditions in 1595 and 1617 to South America's Orinoco River basin in search of the legendary golden city of El Dorado.

text: First voyages to Roanoke Island

text: On April 27, 1584, Raleigh dispatched an expedition led by Philip Amadas and Arthur Barlowe to explore the eastern coast of North America. They arrived on Roanoke Island on July 4[2]:32 and soon established relations with the local natives, the Secotans and Croatoans. Barlowe returned to England with two Croatoans named Manteo and Wanchese, who were able to describe the politics and geography of the area to Raleigh.[2]:44–45 Based on the information given, Raleigh organized a second expedition, to be led by Sir Richard Grenville.

text: Grenville's fleet departed Plymouth on April 9, 1585, with five main ships: Tiger (Grenville's), Roebuck, Red Lion, Elizabeth, and Dorothy. A severe storm off the coast of Portugal separated Tiger from the rest of the fleet.[2]:57 The captains had a contingency plan if they were separated, which was to meet up again in Puerto Rico, and Tiger arrived in the "Baye of Muskito"[6] (Guayanilla Bay) on May 11.

text: While waiting for the other ships, Grenville established relations with the resident Spanish while simultaneously engaging in some privateering against them.[2]:62 He also built a fort. Elizabeth arrived soon after the fort's construction.[7]:91 Grenville eventually tired of waiting for the remaining ships and departed on June 7. The fort was abandoned, and its location remains unknown.

text: Tiger sailed through Ocracoke Inlet on June 26, but it struck a shoal, ruining most of the food supplies.[2]:63 The expedition succeeded in repairing the ship and, in early July, reunited with Roebuck and Dorothy, which had arrived in the Outer Banks with Red Lion some weeks previous. Red Lion had dropped off its passengers and left for Newfoundland for privateering.[2]:64

text: In the New World

text: During the initial exploration of the mainland coast and the native settlements, the Europeans blamed the natives of the village of Aquascogoc for stealing a silver cup. As retaliation, the settlers sacked and burned the village.[2]:72 English writer and courtier Richard Hakluyt's contemporaneous reports also describe this incident. (Hakluyt's reports of the first voyage to Roanoke were compiled from accounts by various financial backers, including Sir Walter Raleigh. Hakluyt himself never traveled to the New World.)[8]

text: Despite this incident and a lack of food, Grenville decided to leave Ralph Lane and 107 men to establish a colony at the north end of Roanoke Island, promising to return in April 1586 with more men and fresh supplies. The group disembarked on August 17, 1585,[9] and built a small fort on the island. There are no surviving renderings of the Roanoke fort, but it was likely similar in structure to the one in Guayanilla Bay. Grenville in the Tiger on only his seventh day of sail captured (after a three-day battle) a rich Spanish galleon, Santa Maria de San Vicente off Bermuda which he took with him as a prize back to England.[10]

text: As April 1586 passed, there was no sign of Grenville's relief fleet. Meanwhile, in June, bad blood resulted from the destruction of the village, and this spurred an attack on the fort by the local Native Americans, which the colonists were able to repel.[11]:5 Soon after the attack, Sir Francis Drake was on his way home from a successful raid in the Caribbean, and he stopped at the colony and offered to take the colonists back to England. Several accepted, including metallurgist Joachim Gans. On this return voyage, the Roanoke colonists introduced tobacco, maize, and potatoes to England.[11]:5 The relief fleet arrived shortly after Drake's departure with the colonists. Finding the colony abandoned, Grenville returned to England with the bulk of his force, leaving behind a small detachment of fifteen men both to maintain an English presence and to protect Raleigh's claim to Roanoke Island.[12]:127

text: Lost Colony

text: In 1587, Raleigh dispatched a new group of 115 colonists to establish a colony on Chesapeake Bay. They were led by John White, an artist and friend of Raleigh who had accompanied the previous expedition to Roanoke, and was appointed governor of the 1587 colony. White and Raleigh named 12 assistants to aid in the settlement. They were ordered to stop at Roanoke to pick up the small contingent left there by Grenville the previous year, but when they arrived on July 22, 1587, they found nothing except a skeleton that may have been the remains of one of the English garrison.[8]

text: When they could find no one,[8] the master pilot Simon Fernandez refused to let the colonists return to the ships, insisting that they establish the new colony on Roanoke.[7]:215 His motives remain unclear, however, and new evidence offered by author Brandon Fullam indicates not only that Fernandez had good reason for his actions, but that the decision to alter the Chesapeake Bay destination had already been agreed to prior to their arrival at Roanoke.[13]

text: White re-established relations with the Croatan and other local tribes, but those with whom Lane had fought previously refused to meet with him. Shortly thereafter, colonist George Howe was killed by a native while searching alone for crabs in Albemarle Sound.[14]:120–23

text: The colonists persuaded Governor White to return to England to explain the colony's desperate situation and ask for help.[14]:120–23 Left behind were about 115 colonists – the remaining men and women who had made the Atlantic crossing plus White's newly born granddaughter Virginia Dare, the first English child born in the Americas.[12]:19

text: White sailed for England in late 1587, although crossing the Atlantic at that time of year was a considerable risk.[15] Plans for a relief fleet were delayed first by the captain's refusal to return during the winter, and then the attack on England of the Spanish Armada and the subsequent Anglo-Spanish War. Every able English ship joined the fight, leaving White without a means to return to Roanoke at the time.[4]:125–26 In the spring of 1588, White managed to acquire two small vessels and sailed for Roanoke; however, his attempt to return was thwarted when the captains of the ships attempted to capture several Spanish ships on the outward-bound voyage (in order to improve their profits). They themselves were captured and their cargo seized. With nothing left to deliver to the colonists, the ships returned to England.[4]:125–26

text: Return to the Lost Colony

text: Because of the continuing war with Spain, White was unable to mount another resupply attempt for an additional three years. He finally gained passage on a privateering expedition organised by John Watts and Walter Raleigh. They agreed to stop off at Roanoke on the way back after raiding the Spanish in the Caribbean. White landed on August 18, 1590, on his granddaughter's third birthday, but found the settlement deserted. His men could not find any trace of the 90 men, 17 women, and 11 children, nor was there any sign of a struggle or battle.[4]:130–33

text: The only clue was the word "CROATOAN" carved into a post of the fence around the village, and the letters C-R-O carved into a nearby tree. All the houses and fortifications had been dismantled, which meant that their departure had not been hurried. Before he had left the colony, White instructed the colonists that, if anything happened to them, they should carve a Maltese cross on a tree nearby, indicating that their absence had been forced. There was no cross, and White took this to mean that they had moved to Croatoan Island (now known as Hatteras Island), but he was unable to conduct a search. A massive storm was forming and his men refused to go any farther; the next day, they left.[4]:130–33

text: Thomas Harriot

text: Born in 1560, Thomas Harriot entered Raleigh's employment in the early 1580s, after graduating from Oxford University. Harriot may have been among the men of Arthur Barlowe's 1584 expedition of the colony. He trained the members of Raleigh's first Roanoke expedition in navigational skills and eventually sailed to Roanoke with the second group of settlers, where his skills as a naturalist became particularly important along with those of painter and settlement leader John White.[16]

text: Between their arrival in Roanoke in April 1585 and the July 1586 departure, Harriot and White both conducted detailed studies of the Roanoke area, with Harriot compiling his samples and notes into several notebooks that did not survive the colony's disappearance. Harriot also wrote descriptions of the surrounding flora and fauna of the area, which survive in his work A Brief and True Report of the New Founde Land of Virginia, written as a report on the colony's progress to the English government on the request of Raleigh. Viewed by modern historians as propaganda for the colony, this work has become vastly important to Roanoke's history due to Harriot's observations on wildlife as well as his depictions of Indian activities at the time of the colony's disappearance.[16]

text: Harriot reports that relations between the Roanoke Indians and the English settlers were mutually calm and prosperous, contradicting other historical evidence that catalogs the bloody struggles between the Roanoke Indians and both of Raleigh's commanders, Sir Richard Grenville and his successor, Ralph Lane. Harriot recounts little to none of these accounts in his report to England and does not mention the disorderly state of the colony under either Grenville's or Lane's tenure, correctly assuming these facts would prevent Roanoke from gaining more settlers. Harriot's text did not reach England, or the English press, until 1588, by which time the fate of the "Lost Colony" was sealed in all but name.[16]

text: Investigations into Roanoke

text: Twelve years went by before Raleigh decided to find out what happened to his colony. Led by Samuel Mace, this 1602 expedition differed from previous voyages in that Raleigh bought his own ship and guaranteed the sailors' wages so that they would not be distracted by privateering. However, Raleigh still hoped to make money from the trip, and Mace's ship landed in the Outer Banks to gather aromatic woods or plants such as sassafras that would generate a decent profit back in England. By the time they could turn their attention to the colonists, the weather had turned bad and they were forced to return without even making it to Roanoke Island. By this time, having been arrested for treason, Raleigh was unable to send any further missions.[4]:134–35

text: There was one final expedition in 1603 led by Bartholomew Gilbert with the intention of finding Roanoke colonists. Their intended destination was Chesapeake Bay, but bad weather forced them to land in an unspecified location near there. The landing team, including Gilbert himself, was killed by a group of Native Americans for unknown reasons on July 29. The remaining crew were forced to return to England empty-handed.[17]

text: Meanwhile, the Spanish had different reasons for wanting to find the colony. Knowing of Raleigh's plans to use Roanoke as a base for privateering, they were hoping to destroy it. Moreover, they had been getting mostly inaccurate reports of activities there, and they imagined the colony to be far more successful than it actually was.[4]:135–37

text: In 1590, they found the remnants of the colony purely by accident, but assumed it was only an outlying base of the main settlement, which they believed was in the Chesapeake Bay area (John White's intended location). But just as the Anglo-Spanish War prevented White from returning in a timely manner, Spanish authorities in the New World could not muster enough support back home for such a venture.[4]:135–37

text: Reports of John Smith and William Strachey

text: Once the Jamestown settlement was established in 1607, efforts were undertaken by the English to acquire information from the Powhatan tribe about Roanoke. The first definitive information concerning the fate of the Lost Colony came from Captain John Smith, leader of the Jamestown Colony from 1608 to 1609. According to chronicler Samuel Purchas, Smith learned from Chief Powhatan that he had personally conducted the slaughter of the Roanoke colonists just prior to the arrival of the Jamestown settlers because they were living with the Chesepians, a tribe living in the eastern portion of the present-day South Hampton Roads sub-region who were related to the Pamlico tribe in Carolina and who refused to merge with the Powhatans.[18]:21–24 This shocking information was reported to England and by the spring of 1609, King James and the Royal Council were convinced that Chief Powhatan was responsible for the slaughter of the Lost Colony.

text: The second source of Chief Powhatan’s involvement was William Strachey, Secretary of the Jamestown colony in 1610–11. Strachey’s The Historie of Travaile Into Virginia Britannia seemed to confirm Smith’s report and provided additional information: the colonists had been living peacefully among a group of natives beyond Powhatan’s domain for more than twenty years when they were massacred. Furthermore, Powhatan himself seemed to have directed the slaughter because of prophecies by his priests that he would be overthrown by people from that area,[19]:101 and he reportedly produced several English-made iron implements to back his claim.[20]

text: The information from these two sources, John Smith and William Strachey, provides the basis for the traditional view that the Lost Colony was slaughtered by Chief Powhatan, and versions of the Powhatan-Lost Colony-slaughter scenario have persisted for more than 400 years. However, no bodies were found and no archaeological evidence has been found to support this claim.[21]

text: Furthermore, recent re-examination of the Smith and Strachey sources advanced by author and researcher Brandon Fullam has suggested that the massacre described by Powhatan was actually of the 15 people left behind by the first Roanoke expedition, leaving the fate of the second colony still unknown.[20][22]

text: Hypotheses about the disappearance

text: Integration with local tribes

text: As per Smith's and Strachey's reports, Dr. David Beers Quinn theorized that the colonists moved north to integrate with the Chesepians that Chief Powhatan claimed to have killed. To make the journey northward, Quinn believed that they used the pinnace and other small boats to transport themselves and their belongings. Naturally, if that were the mode of transportation, the colonists could have gone to live in other locations as well.[21]

text: In her 2000 book Roanoke: Solving the Mystery of the Lost Colony, historian Lee Miller postulated that some of the Lost Colony survivors sought shelter with the Chowanoke, who were attacked by another tribe, identified by the Jamestown Colony as the "Mandoag" (an Algonquian name commonly given to enemy nations). The Mandoag are believed to be either the Tuscarora, an Iroquois-speaking tribe,[23]:45 or the Eno, also known as the Wainoke.[12]:255–56

text: The so-called "Zuniga Map" (named for Pedro de Zúñiga, the Spanish ambassador to England, who had secured a copy and passed it on to Philip III of Spain[24]:112), drawn about 1607 by the Jamestown settler Francis Nelson, also gives credence to this claim. The map states "four men clothed that came from roonock" were living in an Iroquois site on the Neuse. William Strachey wrote that, at the Indian settlements of Peccarecanick and Ochanahoen, there were reportedly two-story houses with stone walls. The Indians supposedly had learned how to build them from the Roanoke settlers.[25]:222 In both cases, as stated above, it is equally possible that these were survivors of Chief Powhatan's attack of the first colonists.[20]

text: There were also reported sightings of European captives at various Indian settlements during the same time period.[12]:250 Strachey wrote in 1612 that four English men, two boys and one girl had been sighted at the Eno settlement of Ritanoc, under the protection of a chief called Eyanoco. Strachey reported that the captives were forced to beat copper and that they had escaped the attack on the other colonists and fled up the Chaonoke river, the present-day Chowan River in Bertie County, North Carolina.[12]:242[25]:222[26]

text: John Lawson wrote in his 1709 work A New Voyage to Carolina that the Croatans living on Hatteras Island used to live on Roanoke Island and claimed to have white ancestors:

text: A farther Confirmation of this we have from the Hatteras Indians, who either then lived on Ronoak-Island, or much frequented it. These tell us, that several of their Ancestors were white People, and could talk in a Book, as we do; the Truth of which is confirm'd by gray Eyes being found frequently amongst these Indians, and no others. They value themselves extremely for their Affinity to the English, and are ready to do them all friendly Offices. It is probable, that this Settlement miscarry'd for want of timely Supplies from England; or thro' the Treachery of the Natives, for we may reasonably suppose that the English were forced to cohabit with them, for Relief and Conversation; and that in process of Time, they conform'd themselves to the Manners of their Indian Relations.[27]

text: From the early 17th century to the middle 18th century, European colonists reported encounters with gray-eyed American Indians who claimed descent from the colonists[12]:257, 263 (although at least one, a story of a Welsh priest who met a Doeg warrior who spoke the Welsh language, is likely to be a hoax).[28]:76 Records from French Huguenots who settled along the Tar River in 1696 tell of meeting Tuscaroras with blond hair and blue eyes not long after their arrival. As Jamestown was the nearest English settlement, and they had no record of being attacked by Tuscarora, the likelihood that the origin of those fair-skinned natives was the Lost Colony is high.[23]:28

text: Fred Willard and Phillip MacMullan believe that the colonists along with the Croatans relocated to villages along the Alligator River in an area known as "Beechland", slightly inland from Roanoke Island. Archeological remains of settlements have been discovered in the area, including coffins with Christian markings on them where there had been no previous record of a grave site, but their hypothesis is mostly based on oral histories and also lacks any definitive evidence.[21]

text: In the late 1880s, North Carolina state legislator Hamilton McMillan discovered that his "redbones" (those of Indian blood) neighbors in Robeson County claimed to have been descended from the Roanoke settlers. He also noticed that many of the words in their language had striking similarities to obsolete English words. Furthermore, many of the family names were identical to those listed in Hakluyt's account of the colony. Thus on February 10, 1885, convinced that these were the descendants of the Lost Colony, he helped to pass the "Croatan bill", that officially designated the population around Robeson county as Croatan.[25]:231–33 Two days later on February 12, 1885, the Fayetteville Observer published an article regarding the Robeson people's origins. This article states:

text: They say that their traditions say that the people we call the Croatan Indians (though they do not recognize that name as that of a tribe, but only a village, and that they were Tuscaroras), were always friendly to the whites; and finding them destitute and despairing of ever receiving aid from England, persuaded them to leave [Roanoke Island], and go to the mainland... They gradually drifted away from their original seats, and at length settled in Robeson, about the center of the county...[29]

text: However, the case was far from settled. A similar legend claims that the now extinct Saponi of Person County, North Carolina, are descended from the English colonists of Roanoke Island. However, no documented evidence exists to link the Saponi to the Roanoke colonists.

text: Other tribes claiming partial descent from surviving Roanoke colonists include the Catawba (who absorbed the Shakori and Eno people), and the Coree and the people who call themselves the Lumbee. Samuel A'Court Ashe was convinced that the colonists had relocated westward to the banks of the Chowan River in Bertie County, and Conway Whittle Sams claimed that after being attacked by Wanchese and Powhatan, the colonists scattered to multiple locations: the Chowan River, and south to the Pamlico and Neuse Rivers.[25]:233

text: Other theories

text: Spanish

text: Another theory is that the Spanish destroyed the colony. Earlier in the century, the Spanish did destroy evidence of the French colony of Fort Charles in coastal South Carolina and then massacred the inhabitants of Fort Caroline, a French colony near present-day Jacksonville, Florida. However, a Spanish attack is unlikely, as the Spanish were still looking for the location of England's failed colony as late as 1600, ten years after White discovered that the colony was missing.[4]:137

text: Dare Stones

text: From 1937 to 1941, a series of stones were discovered that were claimed to have been written by Eleanor Dare, mother of Virginia Dare. They told of the travelings of the colonists and their ultimate deaths. Most historians believe that they are a fraud, but there are some today who still believe at least one of the stones to be genuine.[30]

text: Virginia Pars Map

text: In May 2011, Brent Lane of the First Colony Foundation was studying the Virginia Pars Map, which was made by John White during his 1585 visit to Roanoke Island, and noticed two patches where the map had been corrected. The patches are made of paper contemporaneous with that of the map. Lane asked researchers at the British Museum in London, where the map has been kept since 1866, what might be under the patches, sparking a research investigation. On May 3, 2012, at Wilson Library of the University of North Carolina at Chapel Hill, members of the Foundation and representatives of the museum announced the discovery of "a large, square-shaped symbol with oddly shaped corners." This symbol, presumed to represent a fort, is visible when the map is viewed on a light box.[31] Some scholars speculate that the colonists relocated to that location, on what is now called Salmon Creek in the Bertie County community of Merry Hill. The Scotch Hall Preserve golf course community was planned on the site, but it has not been fully developed.[32]

text: The discovery of new information on the map led to more study of artifacts previously found, as well as additional digs in 2012 and 2014.[33]

text: Archaeological evidence

text: In 1993, Hurricane Emily caused numerous relics to appear, and David Phelps of East Carolina University later began digging in the area and found evidence the settlers lived with the native people.[34]

text: In 1998, East Carolina University organized "The Croatoan Project", an archaeological investigation into the events at Roanoke. The excavation team sent to Hatteras Island uncovered what they believed to be a 10 karat (42%) gold 16th-century English signet ring, gun flints, and two copper farthings (produced sometime in the 1670s) at the site of the ancient Croatoan capital, 50 miles (80 km) from the old Roanoke Colony. Genealogists were able to trace the lion crest on the signet ring to the Kendall coat of arms, and concluded that the ring most likely belonged to one Master Kendall who is recorded as having lived in the Roanoke Colony from 1585 to 1586. If this is the case, the ring represents the first material connection between the Roanoke colonists and the Native Americans on Hatteras Island.[35][36][37][38] However, archaeologist David Phelps did not have the ring tested, and Charles Ewen, who continued Phelps' work after Phelps retired, had the ring tested and found the ring was brass. Ewen announced his findings in April 2017. Mark Horton of the University of Bristol said he was not convinced that this news proved the ring did not date to the 16th century.[39]

text: It is also believed that the reason for the extreme deficiency in archaeological evidence is due to shoreline erosion. Since all that was found was a rustic looking fort on the north shore, and this location is well-documented and backed up, it is believed that the settlement must have been nearby. The northern shore, between 1851 and 1970, lost 928 feet because of erosion. If in the years leading up to and following the brief life of the settlement at Roanoke, shoreline erosion was following the same trend, it is likely the site of the dwellings is underwater, along with any artifacts or signs of life.[40] Archaeological investigations continue to find tantalizing clues and funding is being sought to continue recent excavations.[41]

text: Climate factors

text: In 1998, a team led by climatologist David W. Stahle, of the University of Arkansas and archaeologist Dennis B. Blanton of the College of William and Mary used tree ring cores from 800-year-old bald cypresses taken from the Roanoke Island area of North Carolina and the Jamestown area of Virginia to reconstruct precipitation and temperature chronologies.

text: The researchers concluded that the settlers of the Lost Colony landed at Roanoke Island in the summer of the worst growing-season drought in 800 years. "This drought persisted for 3 years, from 1587 to 1589, and is the driest 3-year episode in the entire 800-year reconstruction," the team reported in the journal Science. A map shows that "the Lost Colony drought affected the entire southeastern United States but was particularly severe in the Tidewater region near Roanoke [Island]." The authors suggested that the Croatan who were shot and killed by the colonists may have been scavenging the abandoned village for food as a result of the drought.[42][43]

text: Lost Colony of Roanoke DNA Project

text: The Lost Colony of Roanoke DNA Project was founded in 2007 by a group led by Roberta Estes, who owns a private DNA-testing company, in order to solve the mystery of the Lost Colony using historical records, migration patterns, oral histories and DNA testing. The project used Y chromosome, Mitochondrial DNA and Autosomal DNA.[44] As of 2016[update], they have not yet been able to positively identify any descendants of the colony.


document_title: List of Rainbow Magic books

question_text: rainbow magic fairies how many books are there

text: List of Rainbow Magic books

text: Over 200 Rainbow Magic books have been published since 2003. Each series includes 4 or 7 books focused on a central theme.[1][2]

text:
The Rainbow Fairies (1–7)

Ruby the Red Fairy
Amber the Orange Fairy
Saffron the Yellow Fairy (US name: Sunny the Yellow Fairy)
Fern the Green Fairy
Sky the Blue Fairy
Izzy the Indigo Fairy (US name: Inky the Indigo Fairy)
Heather the Violet Fairy

The Weather Fairies (8–14)

Crystal the Snow Fairy
Abigail the Breeze Fairy
Pearl the Cloud Fairy
Goldie the Sunshine Fairy
Evie the Mist Fairy
Storm the Lightning Fairy
Hayley the Rain Fairy

The Party Fairies (15–21)

Cherry the Cake Fairy
Melodie the Music Fairy
Grace the Glitter Fairy
Honey the Sweet Fairy (US name: Honey the Candy Fairy)
Polly the Party Fun Fairy
Phoebe the Fashion Fairy
Jasmine the Present Fairy

The Jewel Fairies (22–28)

India the Moonstone Fairy
Scarlett the Garnet Fairy
Emily the Emerald Fairy
Chloe the Topaz Fairy
Amy the Amethyst Fairy
Sophie the Sapphire Fairy
Lucy the Diamond Fairy

The Pet Keeper Fairies (29–35) (US title: The Pet Fairies)

Katie the Kitten Fairy
Bella the Bunny Fairy
Georgia the Guinea Pig Fairy
Lauren the Puppy Fairy
Harriet the Hamster Fairy
Molly the Goldfish Fairy
Penny the Pony Fairy

The Fun Day Fairies (36–42)

Megan the Monday Fairy
Tallulah the Tuesday Fairy (US name: Tara the Tuesday Fairy)
Willow the Wednesday Fairy
Thea the Thursday Fairy
Freya the Friday Fairy (US name: Felicity the Friday Fairy)
Sienna the Saturday Fairy
Sarah the Sunday Fairy

The Petal Fairies (43–49)

Tia the Tulip Fairy
Pippa the Poppy Fairy
Louise the Lily Fairy
Charlie the Sunflower Fairy (US Name: Charlotte the Sunflower Fairy)
Olivia the Orchid Fairy
Danielle the Daisy Fairy
Ella the Rose Fairy

The Dance Fairies (50–56)

Bethany the Ballet Fairy
Jade the Disco Fairy
Rebecca the Rock 'n' Roll Fairy
Tasha the Tap Dance Fairy
Jessica the Jazz Fairy
Saskia the Salsa Fairy (US name: Serena the Salsa Fairy)
Imogen the Ice Dance Fairy (US name: Isabelle the Ice Dance Fairy)

The Sporty Fairies (57–63) (US title: The Sports Fairies)

Helena the Horseriding Fairy (US name: Helena the Horse-riding Fairy)
Francesca the Football Fairy (US name: Stacey the Soccer Fairy)
Zoe the Skating Fairy
Naomi the Netball Fairy (US name: Brittany the Basketball Fairy)
Samantha the Swimming Fairy
Alice the Tennis Fairy
Gemma the Gymnastics Fairy

The Music Fairies (64–70)

Poppy the Piano Fairy
Ellie the Guitar Fairy
Fiona the Flute Fairy
Danni the Drum Fairy
Maya the Harp Fairy
Victoria the Violin Fairy
Sadie the Saxophone Fairy

The Magical Animal Fairies (71–77)

Ashley the Dragon Fairy
Lara the Black Cat Fairy
Erin the Firebird Fairy (US name: Erin the Phoenix Fairy)
Rihanna the Seahorse Fairy
Sophia the Snow Swan Fairy
Leona the Unicorn Fairy
Caitlin the Ice Bear Fairy

The Green Fairies (78–84) (US title: The Earth Fairies)

Nicole the Beach Fairy
Isabella the Air Fairy
Edie the Garden Fairy
Coral the Reef Fairy
Lily the Rainforest Fairy
Milly the River Fairy
Carrie the Snow Cap Fairy

The Ocean Fairies (85–91)

Ally the Dolphin Fairy
Amelie the Seal Fairy
Pia the Penguin Fairy
Tess the Sea Turtle Fairy
Stephanie the Starfish Fairy
Whitney the Whale Fairy
Courtney the Clownfish Fairy

The Twilight Fairies (92–98) (US title: The Night Fairies)

Ava the Sunset Fairy
Lexi the Firefly Fairy
Zara the Starlight Fairy
Morgan the Midnight Fairy
Yasmin the Night Owl Fairy (US name: Nia the Night Owl Fairy)
Maisie the Moonbeam Fairy (US name: Anna the Moonbeam Fairy)
Sabrina the Sweet Dreams Fairy

The Showtime Fairies (99–105)

Madison the Magic Show Fairy
Leah the Theatre Fairy (100th Book)
Alesha the Acrobat Fairy
Darcey the Dance Diva Fairy
Amelia the Singing Fairy
Isla the Ice Star Fairy
Taylor the Talent Show Fairy

The Princess Fairies (106–112)

Honor the Happy Days Fairy (US name: Hope the Happiness Fairy)
Demi the Dressing-up Fairy (US name: Cassidy the Costume Fairy)
Anya the Cuddly Creatures Fairy
Elisa the Adventure Fairy (US name: Elisa the Royal Adventure Fairy)
Lizzie the Sweet Treats Fairy
Maddie the Playtime Fairy (US name: Maddie the Fun and Games Fairy)
Eva the Enchanted Ball Fairy

The Popstar Fairies (113–119) (U.S title: The Superstar Fairies)

Jessie the Lyrics Fairy
Adele the Singing Coach Fairy (US name: Adele the Voice Fairy)
Vanessa the Dance Steps Fairy (US name: Vanessa the Choreography Fairy)
Miley the Stylist Fairy
Frankie the Makeup Fairy
Rochelle the Star-spotter Fairy (US name: Alyssa the Star Spotter Fairy)
Una the Concert Fairy (US name: Cassie the Concert Fairy)

The Fashion Fairies (120–126)

Miranda the Beauty Fairy
Claudia the Accessories Fairy
Tyra the Dress Designer Fairy (U.S name: Tyra the Designer Fairy)
Alexa the Fashion Reporter Fairy
Matilda the Hairstylist Fairy (US name: Jennifer the Hairstylist Fairy)
Brooke the Photographer Fairy
Lola the Fashion Show Fairy

The Sweet Fairies (127–133) (US title: The Sugar & Spice Fairies)

Lottie the Lollipop Fairy (US name: Lisa the Lollipop Fairy)
Esme the Ice Cream Fairy
Coco the Cupcake Fairy
Clara the Chocolate Fairy
Madeleine the Cookie Fairy (US name: Madeline the Cookie Fairy)
Layla the Candyfloss Fairy (US name: Layla the Cotton Candy Fairy)
Nina the Birthday Cake Fairy

The Baby Animal Rescue Fairies (134–140)

Mae the Panda Fairy
Kitty the Tiger Fairy
Mara the Meerkat Fairy
Savannah the Zebra Fairy
Kimberley the Koala Fairy
Rosie the Honey Bear Fairy
Anna the Arctic Fox Fairy (US name: Nora the Arctic Fox Fairy)

The Magical Crafts Fairies (141–147)

Kayla the Pottery Fairy
Annabelle the Writing Fairy
Zadie the Sewing Fairy
Josie the Jewelry-Making Fairy (US name: Josie the Jewelry Fairy)
Violet the Painting Fairy
Libby the Story-Writing Fairy (US name: Libby the Writing Fairy)
Roxie the Baking Fairy

The School Days Fairies (148–151)

Marissa The Science Fairy
Alison The Art Fairy
Lydia the Reading Fairy
Kathryn the PE Fairy (US name: Kathryn the Gym Fairy)

The Fairytale Fairies (152–155)

Julia the Sleeping Beauty Fairy
Eleanor the Snow White Fairy
Faith the Cinderella Fairy
Rita the Frog Princess Fairy (US only)
Gwen the Beauty and the Beast Fairy (US only)
Aisha the Princess and the Pea Fairy (US only)
Lacey the Little Mermaid Fairy

The Helping Fairies (156–159)

Martha the Doctor Fairy
Ariana the Firefighter Fairy
Perrie the Paramedic Fairy
Lulu the Lifeguard Fairy

The Storybook Fairies (160–163)

Elle the Thumbelina Fairy
Rosalie the Rapunzel Fairy
Mariana the Goldilocks Fairy
Ruth the Red Riding Hood Fairy

The Friendship Fairies (164–167)

Esther the Kindness Fairy
Mary the Sharing Fairy
Mimi the Laughter Fairy
Clare the Caring Fairy

The Baby Farm Animal Fairies (168–171) (US title: The Farm Animals Fairies)

Debbie the Duckling Fairy
Elodie the Lamb Fairy
Penelope the Foal Fairy
Billie the Baby Goat Fairy

The Candy Land Fairies (172–175) (US title: The Candy Fairies)

Monica the Marshmallow Fairy
Gabby the Bubblegum Fairy
Lisa the Jellybean Fairy (US name: Franny the Jellybean Fairy)
Shelley the Sherbet Fairy (US name: Shira the Sugar Fairy)

The Funfair Fairies (176–179)

Rae the Rollercoaster Fairy
Fatima the Face-Painting Fairy
Paloma the Dodgems Fairy
Bobbi the Bouncy Castle Fairy

The Endangered Animals Fairies (180–183)

Etta the Elephant Fairy
Priya the Polar Bear Fairy
Chelsea the Chimpanzee Fairy
Selma the Snow Leopard Fairy

The Discovery Fairies (184–187)

Aisha the Astronaut Fairy
Orla the Inventor Fairy
Hazel the Detective Fairy
Elsie the Engineer Fairy

Special Edition Fairies ('3 books in 1' edition)

Holly the Christmas Fairy
Summer the Holiday Fairy (US name: Joy the Summer Vacation Fairy)
Stella the Star Fairy
Kylie the Carnival Fairy
Paige the Pantomime Fairy (US name: Paige the Christmas Play Fairy)
Flora the Fancy Dress Fairy (US name: Flora the Dress-Up Fairy)
Chrissie the Wish Fairy
Shannon the Ocean Fairy
Gabriella the Snow Kingdom Fairy
Mia the Bridesmaid Fairy
Trixie the Halloween Fairy
Destiny the Pop Star Fairy (US name: Destiny the Rock Star Fairy)
Juliet the Valentine Fairy
Belle the Birthday Fairy
Cheryl the Christmas Tree Fairy
Florence the Friendship Fairy
Emma the Easter Fairy
Selena the Sleepover Fairy
Natalie the Christmas Stocking Fairy
Keira the Film Star Fairy (US name: Keira the Movie Star Fairy)
Olympia the Games Fairy
Tamara the Tooth Fairy (US name: Brianna the Tooth Fairy)
Angelica the Angel Fairy
Jennifer the Babysitter Fairy (US name: Bailey the Babysitter Fairy)
Lindsay the Luck Fairy (US only)
Nicki the Holiday Camp Fairy (US name: Cara the Camp Fairy)
Carly the Schoolfriend Fairy (US name: Carly the School Fairy)
Robyn the Christmas Party Fairy
Autumn the Falling Leaves Fairy (US only)
Addison the April Fool's Day Fairy (US only)
Lila and Myla the Twins Fairies
Tilly the Teacher Fairy
Giselle The Christmas Ballet Fairy
Heidi The Vet Fairy
Chelsea the Congratulations Fairy (US only)
Daisy The Festival Fairy
Catherine the Fashion Princess Fairy
Alyssa the Snow Queen Fairy (US name: Alicia the Snow Queen Fairy)
Becky the Best Friend Fairy
Blossom the Flower Girl Fairy (US only)
Melissa the Sports Fairy
Fizz the Fireworks Fairy (US name: Skyler the Fireworks Fairy)
Elsa the Mistletoe Fairy
Susie the Sister Fairy
Carmen the Cheerleading Fairy (US only)
Sianne the Butterfly Fairy
Samira the Superhero Fairy
Christina the Winter Wonderland Fairy (US name: Michelle the Winter Wonderland Fairy)
Maria the Mother's Day Fairy
Ellen the Explorer Fairy
Cara the Coding Fairy
Evelyn the Mermicorn Fairy
Kat the Jungle Fairy
Ivy the Worry Fairy
Padma the Pirate Fairy
Camilla the Christmas Present Fairy

One-offs

Hannah the Happy Ever After Fairy
Kate the Royal Wedding Fairy
Elizabeth the Jubilee Fairy
Alexandra the Royal Baby Fairy
Georgie The Royal Prince Fairy
Luna the Loom Band Fairy
Frances the Royal Family Fairy
Charlotte the Baby Princess Fairy
Tiana the Toy Fairy
Tiana the Toy Fairy in The Land of Sweets
Meghan the Wedding Sparkle Fairy

Other Books

The Complete Book of Fairies
My Big Book of Fairies
Yearly Annual Books (Discontinued in 2016)
Early Reader Books

tag: table

text: Daisy Meadows had also started a book series Magic Animal Friends that was released on 3 July 2014 with four books, the series carried on until 3 May 2018. The List were as follows: [3]

text:
Series 1

Lucy Longwhiskers Gets Lost
Molly Twinkletail Runs Away
Ellie Featherbill All Alone
Bella Tabbypaw In Trouble

Series 2

Sophie Flufftail's Brave Plan
Emily Prickleback's Clever Idea
Ruby Fuzzybrush's Star Dance
Rosie Gigglepip's Lucky Escape

Series 3

Olivia Nibblesqueak's Messy Mischief
Evie Scruffypup's Big Surprise
Chloe Slipperslide's Secret
Grace Woollyhop's Musical Mystery

Series 4

Hannah Honeypaw's Forgetful Day
Freya Snufflenose's Lost Laugh
Lottie Littlestripe's Midnight Plan
Matilda Fluffywing Helps Out

Series 5

Katie Prettywhiskers To The Rescue
Phoebe Paddlefoot Makes A Splash
Millie Picklesnout's Wild Ride
Amy Snowycoat's Daring Dive

Series 6

Pippa Hoppytail's Rocky Road
Lola Fluffywhiskers Pops Up
Emma Littleleap Takes a Chance
Sarah Scramblepaw's Big Step

Series 7

Charlotte Waggytail Learns A Lesson
Layla Brighteye Keeps A Lookout
Ava Fluffyface's Special Day
Ella Snugglepaw's Big Cuddle

Series 8

Jasmine Whizzpaws To The Rescue (Other name: Jasmine Whizzpaws’ Rescue Race)
Daisy Tappytoes Dares to Dance
Polly Bobblehop Makes a Mess
Imogen Scribblewhiskers’ Perfect Picture

Specials

Poppy Muddlepup's Daring Rescue
Amelia Sparklepaw's Party Problem
Mia Floppyear's Snowy Adventure
Maisie Dappletrot Saves The Day
Holly Santapaws Saves Christmas
Anna Fluffyfoot Goes For Gold
Isla Waddlewing Breaks The Ice
Bertie Bigroar Finds his Voice

One-Offs

Lucy Longwhiskers Finds A Friend (2015 World Book Day Special)

Other Books

Magic Animal Friends Story Treasury
Early Reader Books