Articles Jasmine's View by William Green

Jasmine from "Small Worlds" clearly had reason to wish to leave her life as a human. A reclusive child like her typically would have imaginary friends. Imaginary friends seem to understand a child like this better than any human could, resulting in a feeling of security which the humans around the child could not create for her.

In Jasmine's case, however, REAL non-human friends filled the same role in her life which would normally be filled by imaginary friends in most other reclusive children’s' lives.

One of the worst experiences a child can have is the threat of being taken by a paedophile. The Faeries saved her from a paedophile, who was, of course, human.

Jasmine's stepfather said to her "No wonder your dad left when you were a baby, he must have seen what was coming". He denied her access to the "forest" by fencing over her access to it. After he hit her, later in the episode, the Faeries saved her from him by going so far as to kill him! He was also human.

Some kids at school would pick on Jasmine-the Faeries saved her from them by way of a wind storm. These girls were also human.

Jasmine laughed after every incident in which the Faeries dealt out consequences to humans who had wronged her, making her devalue humans to some degree. When the Faeries prompted Jasmine to "come away" for good, this gave Jasmine the opportunity to escape what she disliked about her life as a human. She could be superior to a human.

Articles Come Away, O human child! by W.B. Yeats

Come away, O human child!

By W.B. Yeats

Where dips the rocky highland

Of Sleuth Wood in the lake,

There lies a leafy island

Where flapping herons wake

The drowsy water rats;

There we've hid our faery vats,

Full of berrys

And of reddest stolen cherries.

Come away, O human child!

To the waters and the wild

With a faery, hand in hand.

For the world's more full of weeping than you can understand.

Where the wave of moonlight glosses

The dim gray sands with light,

Far off by furthest Rosses

We foot it all the night,

Weaving olden dances

Mingling hands and mingling glances

Till the moon has taken flight;

To and fro we leap

And chase the frothy bubbles,

While the world is full of troubles

And anxious in its sleep.

Come away, O human child!

To the waters and the wild

With a faery, hand in hand,

For the world's more full of weeping than you can understand.

Where the wandering water gushes

From the hills above Glen-Car,

In pools among the rushes

That scarce could bathe a star,

We seek for slumbering trout

And whispering in their ears

Give them unquiet dreams;

Leaning softly out

From ferns that drop their tears

Over the young streams.

Come away, O human child!

To the waters and the wild

With a faery, hand in hand,

For the world's more full of weeping than you can understand.

Away with us he's going,

The bright, but solemn eyed -

He'll hear no more the lowing

Of the calves on the warm hillside

Or the kettle on the hob

Sing peace into his breast,

Or see the brown mice bob

Round and round the oatmeal chest

For he comes, the human child

To the waters and the wild

With a faery, hand in hand

From a world more full of weeping than he can understand

The poem was written in 1886 and was based on Irish legend concerning faeries beguiling a child to come away with them.

The Stolen Child is written by William Butler Yeats, and was published in 1889 in The Wanderings of Oisin and Other Poems

During the episode ‘Small Worlds’ only part of the poem was used, and seem to fit the faeries persona, to lure away the child to the safety of the faerie kingdom.