English folktales of the early modern period typically portray elves as small, elusive people with mischievous personalities (see illustration). They are not evil but might annoy humans or interfere in their affairs. They are sometimes said to be invisible. In this tradition, elves became more or less synonymous with the fairies that originated from native British mythology, for example, the Welsh Ellyll (plural Ellyllon) and Y Dynon Bach Tg.However, in Elizabethan England, Shakespeare imagined elves as little people. He apparently considered elves and fairies to be the same race. In Henry IV, Part 1, i. 4, he has Falstaff call Prince Henry, "you starveling, you elfskin!", and in his Midsummer Night's Dream, his elves are almost as small as insects. On the other hand, Edmund Spenser applies elf to full-sized beings in The Faerie Queene.Christopher Paolini's Eragon also features elves of a Nordic persuasion.
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The Harry Potter book series by J. K. Rowling features house-elves that resemble brownies or goblins more than modern high-fantasy elves. Rather like the elves in The Shoemaker & the Elves, Rowling's house-elves are released from servitude when they are given clothes.Modern fantasy literature has revived the elves as a race distinct from fairies. Fantasy elves are different from Norse elves, but are more akin to that older mythology and to the Irish sdhe than to folktale elves.Elf-shot was the name use for found neolithic flint arrow-heads, imagined as created and used by the elvish folk, and sudden paralysis was sometimes attributed to elf-stroke.The influence of Shakespeare and Michael Drayton made the use of elf and fairy for very small beings the norm. In Victorian literature, elves usually appeared in illustrations as tiny men and women with pointed ears and stocking caps. There were exceptions, such as the full-sized elves who appear in Lord Dunsany's The King of Elfland's Daughter.
