Josephine Smiley
12/4/2013
Morgan le Fay: Magic, Mysticism,
and Misogyny
In the legends of King
Arthur, the character known as Morgan le Fay is quite a
well-known one. However,
she is also quite misunderstood, especially by modern
audiences. When
most people think of Morgan le Fay, they think of an evil
sorceress who is Hell-bent on destroying Camelot and killing
King Arthur. This
stereotype is supported by modern depictions of her character. Marvel Comics and DC
Comics have both portrayed her as a villainess: she is called
Morgan le Fay in the Marvel universe, and Morgaine le Fey in
the DC universe, and in both of those settings she fights
against the heroes, among them the Justice League and the
Avengers. In the
BBC's television series, "Merlin," she is an evil sorceress
called Morgana who plots to destroy Camelot, although here she
is more of a sympathetic villain than an outright
megalomaniac. Aside
from these, there are several more modern examples of Morgan
le Fay as an evil witch.
This villainous characterization is not based, as one
might expect, on literary fact.
Instead, it happened gradually over time, her character
changing with each new author who wrote about her, to the
point where she hardly resembles her original self anymore. The true character
of Morgan develops much further than the evil witch
stereotype, revealing a positive, even caring, nature as well
as possible divine origins.
In order to truly
understand Morgan le Fay as a character, it is necessary to
examine her evolution. Over
the course of the Arthurian legends, Morgan underwent a
transition from good to evil.
How and when this transition happened, and why exactly
it occurred, are questions which could be answered with a
thorough examination of the original texts in which Morgan
appears. In her
first appearance, written by Geoffrey of Monmouth, she is a
very good character, constructive and helpful, and does not
resemble in any way the evil witch of modern media. However, the typical
modern image of her is that of a destructive megalomaniac
sorceress. Her
origins do not hint at evil in the slightest, so the modern
image of her must be something which developed over time. An analysis of her
role in the Arthurian legends from Geoffrey to Malory may help
shed some light on this confusing transition.
The
Evolution of Morgan
The first mention of Morgan le Fay in the Arthurian
tales, in Geoffrey of Monmouth's Vita Merlini, paints
a very kind picture of her.
Here she is called Morgen, and she is a powerful lady
of Avalon, which Geoffrey calls "the island of apples" or "the
Fortunate Isle." She
is a healer, and a leader, and the mystical isle of apples is
alive and fertile under her reign. Geoffrey describes
the island thus:
The island of apples which
men call "The Fortunate Isle" gets its name from the fact that
it produces all things of itself; the fields there have no
need of the ploughs of the farmers and all cultivation is
lacking except what nature provides. Of its own accord
it produces grain and grapes, and apple trees grow in its
woods from the close-clipped grass. The ground of its
own accord produces everything instead of merely grass, and
people live there a hundred years or more.
This, along with the name,
paints "the Fortunate Isle" as a good place, even a paradise
of sorts. This is
Geoffrey's picture of the place which will come to be known as
Avalon. In the Vita Merlini as well
as in another of Geoffrey's works, the History of the Kings
of Britain, this is the place where the knights take
Arthur to be healed of his wounds. There is nothing
negative about this place whatsoever. In fact, not only is
it clearly a positive sanctuary, it is also clearly magical,
if people can live there for hundreds of years at a time. It is a bounteous
and fertile land, which apparently grants its residents
inhumanly long lives. If
Morgan is connected to this paradise, then where does the idea
of an evil witch come from?
Geoffrey does not make any assertions or accusations
which could tie her to the dark arts. In fact, this is how
he portrays the woman who will eventually be known as the
infamous Morgan le Fay, and her connection to this magical
place:
There nine sisters rule by
a pleasing set of laws those who come to them from our country. She
who is first of them is more skilled in the healing art, and
excels her sisters in the beauty of her person. Morgen
is her name, and she has learned what useful properties all
the herbs contain, so that she can cure sick bodies. She
also knows an art by which to change her shape, and to cleave
the air on new wings like Daedalus; when she wishes she is at
Brest, Chartres, or Pavia, and when she
will she slips down from the air onto your shores. And
men say that she has taught mathematics to her sisters.
By this image, Morgen seems to
be a learned woman, who is kind and helpful. She knows magic, but
she uses it to heal, not to harm. The detailed
description of how fertile the land is shows that she is
clearly a capable ruler, and she has not allowed the land to
fall to ruin. She
is constructive, sharing her knowledge with her sisters,
instead of hoarding it and using it for selfish purposes as
modern Morgan would be more apt to do. Further evidence of
Morgen's good nature is given later in the Vita:
Thither after the battle of
Camlan we took the wounded Arthur, guided by Barinthus to whom the waters and the stars of heaven
were well known. With him steering the ship we arrived
there with the prince, and Morgen received it with fitting
honour, and in her chamber she placed the king on a golden bed
and with her own hand she uncovered his honourable wound and
gazed at it for a long time. At length she said that
health could be restored to him if he stayed with her for a
long time and made use of her healing art. Rejoicing,
therefore, we entrusted the king to her and returning spread
our sails to the favouring winds.
The fact that they chose to take King
Arthur to her when he had been mortally wounded at the Battle
of Camlan is an enormous testament to her healing prowess. They could have
taken him to any number of physicians across Europe, but they
thought the best option would be to take him to Morgen in
Avalon. Furthermore,
she does not try to trick them, curse them, or in any other
way attack them while they are there. Geoffrey's Morgen
genuinely wants to heal King Arthur, and she uses her own
intellect to devise a way to do so. She is gentle, as is
demonstrated by the way she receives him and places him "on a
golden bed," and uncovers his wound "with her own hand." These little
gestures show that she cares about this man, and wants him to
live, which in turn goes to show that Geoffrey of Monmouth did
not think of Morgan le Fay as an evil character.
Even though
Geoffrey's Morgen is clearly good, there is still much unknown
about her origins. Carolyne
Larrington, in her book, King Arthur's Enchantresses:
Morgan and Her Sisters in Arthurian Tradition, points
out that this Morgen is "a fully developed and yet mysterious
figure" (7). This
is an interesting statement, and definitely true: Geoffrey's
Morgen is only present in the story for just one paragraph,
but in that paragraph, the reader gets to know a lot about
her. Geoffrey
discloses her name, her occupation, her domain and the way of
life there, even her family dynamics. However, there is
still much that he leaves unclear about her. Where did she come
from? How did she
come to be the ruler of the Fortunate Isle? Is she human, or is
she something else more supernatural, perhaps a fairy or even
a deity? Geoffrey
does not specify the source of her power. Larrington asserts
that the Lady of the Lake, another powerful and magical female
character in Arthurian literature, is clearly supernatural in
origin, (13) and it is definitely true that Geoffrey's Morgen
greatly resembles the Lady of the Lake in the way she acts and
where she lives. She
and her sisters also resemble the Ancient Greek Muses
(Larrington 8) who were positive magical beings, helping
others instead of hurting them.
What is more, Geoffrey specifies that Morgen is
beautiful, even saying that she "excels her sisters in the
beauty of her person." Larrington
points out that in the Middle Ages, in literature, physical
beauty was a sign of goodness, and ugliness or deformity was a
sign of evil (25). Medieval
authors had the idea that if a character was good, it would
show through and they would be physically beautiful. Similarly, if they
were ugly, that was caused because of contact with demons or
even the Devil, and it was meant to show their evil nature to
the world. The
fact that Geoffrey specifies Morgen's beauty just serves as
even more proof that she is not an evil sorceress or temptress
here. She has no
ulterior motives; she is simply a powerful healer with good
intentions who uses her power to heal the dying king.
It isn't until the
Arthurian Romances of Chretien de Troyes that Morgan le Fay
becomes King Arthur's sister, and here she is still a healer,
not a witch. Just
as in Geoffrey, in Chretien she is mentioned only a handful of
times, but by those few mentions it is clear that she is not
an antagonistic figure. In
Erec and Enide, her
healing powers help Erec when he is wounded: "The King draws a
deep sigh at the sight of [Erec's wounds] and has a plaster
brought which Morgan, his sister, had made. This plaster, which
Morgan had given to Arthur, was of such sovereign virtue that
no wound, whether on a nerve or joint, provided it were
treated with the plaster once a day, could fail to be
completely cured and healed within a week," (55). Clearly, she is
still a beneficent character here. The fact that she
made a healing salve for Arthur to use however he saw fit
shows that she does not hold any grudges against him. In fact, in this
tale, Morgan does not have any reason to distrust or dislike
Arthur at all. She
is his sister, and the significance of that goes far beyond
simple friendship. In
her book, Larrington explains that blood ties, the bonds of
kinship, were very important bonds in medieval times (31), as
well as saying that "when Morgan becomes Arthur's sister, or
half-sister, the course of literary history changes," (29). These are both true
statements. When
Chretien placed Morgan as King Arthur's sister, he drastically
changed her social status from what it was in the Vita Merlini. There she was an
important woman, the leader of a magical and well-renowned
island, and possibly divine, but in the Romances she is a
mortal noblewoman, recognized by other nobles of Europe as a
human being, not as a legend.
While she is no longer the independent leader of a
flourishing kingdom, she is still a renowned and respected
figure. She has a
place at the court of Camelot, and therefore a place in
Arthurian society, and an important one at that. She is human, and a
part of the human world, but she still retains her immense
knowledge of the healing arts that she had in Geoffrey's tale. Furthermore, she
also still has a tie to Avalon.
When Chretien lists Erec and Enide's wedding guests, he
mentions that "Graislemier of Fine Posterne brought twenty
companions, and had with him his brother Guigomar, lord of the
isle of Avalon. Of
the latter we have heard it said that he was a friend of
Morgan the Fay, and such he was in very truth," (26). This does not go
into details about how intimate their friendship is, but the
fact that in later stories she has a lover called Guiomar
suggests that this was probably an intimate relationship. Additionally, even
though her tie to Avalon is now indirect, and she must be
connected to a man in order to have a claim to it, she is
still recognizable as the Morgen mentioned in Geoffrey. She still has potent
healing powers and a tie to the mystical island of apples, and
she is still benevolent, healing because she genuinely cares
and not because she gets anything out of it.
The Vulgate Cycle
details several stories of Morgan le Fay, mostly portraying
her in a more negative way.
This negativity seems to originate in book 40 of the
Story of Merlin, with the story of Morgan's love of Guiomar
(Lacy vol. 1, 354-355). In
this story, Morgan is King Arthur's sister, who lives at
Camelot and knows a bit about magic because she studied with
Merlin. The text
describes her as "a young lady, very cheerful and merry, but
her face was somber; she had a rounded build, not too thin and
not too plump. She
was quite clever and comely in body and features; she stood
straight and was wonderfully pleasing and a good singer. But she was the most
lustful woman in all Great Britain and the lewdest," (354). This description,
while still being slightly positive at parts, is also somewhat
critical of her character as well. A cheerful and merry
young lady who is pleasing and a good singer is certainly not
a negative character, but, while she does still possess these
good traits, the text also takes care to mention that she was
lustful, which is certainly not a good trait, especially not
in a woman in medieval times.
And in this text, Morgan was not only lustful, she was
lustful towards Guiomar, who may be a reference to Chretien's
Guigomar, lord of Avalon.
In this version of the story, Guiomar is Queen
Guinevere's nephew. When
Guinevere found out about this affair, she separated the two
lovers, eliciting an extremely hateful, vengeful reaction from
Morgan (354-355) which continues through until the end of the
tales. Everything
antagonistic that Morgan does beyond this point, especially
within the Vulgate Cycle, can be tied back to this moment. It isn't until these
tales that she becomes negative at all, and here she is
negative because she lost someone close to her. Her actions later in
the Vulgate Cycle are vengeful actions, not just random acts
of violence. Clearly,
by the time the Vulgate Cycle was written, Morgan had already
begun to shift in character from healer to witch, but she was
somewhere in between those two images: capable of anger and
hate, driven by vengeance, but also capable of love, and still
accepted in the inner social circles of Arthurian society.
Although it is not
until the Vulgate Cycle that she is portrayed as outwardly
evil, Morgan's decline actually starts with the works of
Chretien de Troyes. In
Geoffrey, she was independent and powerful, but in Chretien
all the power she still possesses is tied to either her
brother or her lover. She
is no longer an independent woman. This is only her
second appearance in the Arthurian legends, and already her
character has been changed by the misogyny of the medieval
world. In fact,
given her character in these texts so far, the largest reason
for Morgan's decline in goodness is most likely a misogynistic
one. Thelma
Fenster writes in Arthurian Women: A Casebook that
"while the hero proper transcends and yet respects the norms
of the patriarchy, the counter-hero violates them in some way. For the male
Arthurian counter-hero, such violation usually entails
wrongful force; for the female, usually powers of magic,"
(61). This
statement explains a lot about the reasons behind Morgan's
decline. Since
her first appearance in the Arthurian literature, she has
wielded powers of magic.
Medieval authors who read the earlier stories would
have seen that detail and thought it automatically made her a
malicious character, ignoring the fact that she does not do
anyone any harm in her first several appearances. These authors
already thought that no female character could ever be as
strong as a male character without using some kind of
supernatural or demonic force (Fenster 68) and of course, when
a woman does use this kind of force, this automatically makes
her a counter-hero. Maureen
Fries argues that she is a counter-hero even in the Vita Merlini (2),
and points out that Morgan's decline "coincides with the
virulent growth of women-hatred in both religious and lay
society," (4), which proves that the strongly misogynistic
views of medieval male authors had a significant effect on her
later characterization. Fenster
also points out that the female counter-hero in Arthurian
literature is never a maiden (68), which goes along with
Morgan's recent characterization as a "lustful" woman. Clearly then, her
use of magic and her sexual freedom set her apart from the
other female characters in Arthurian literature, and cause
medieval authors to portray her in a negative way.
Many of Morgan's
supposedly malicious actions could be portrayed as less evil
when examined with a modern feminist eye. One of these is the
Valley of No Return episode.
In the Vulgate Cycle, after leaving Camelot, Morgan
places an enchantment on a valley somewhere in the woods of
Britain so that no knight who enters it, if he has ever been
unfaithful to his lady, can ever leave (Lacy 305). The Valley is
described thus:
The valley was broad and
deep and surrounded on all sides by broad, high hills. It was covered with
thick green grass, and right in the middle, a lovely, clear
spring welled up; the metaled highway ran straight from one
end of the valley to the way out at the other. The day when the
duke rode down into the valley, there were as many as two
hundred fifty three knights imprisoned there. The valley was
enclosed and sealed in an extraordinary way, in that the walls
were as sheer as air. As
soon as a knight would come along, he would be let in without
a challenge; but as soon as he was inside, he was powerless to
turn back and could not even find the spot where he had
entered.... There were many knights who were very much at ease
there, and there were also those who suffered greatly. Whoever could bring
his lover in with him, kept her, or kept his squire if he had
one. Still, there
had already been many deaths, some the outcome of great
sorrow, some from long imprisonment, some from another
affliction. The
ladies in the valley, to be freed, did not need to wait for
one of their kind to come along who had never been unfaithful
in love; indeed, they stayed as long as they liked and could
go away at will.... The prison was much more pleasant than
generally thought, for there was no lack of food and drink,
and there were outdoor sports and backgammon and chess; there
were dances and carols all day long and the delights of
fiddles and harps and other instruments. (305-306).
This description is puzzling,
because it is so contradictory.
On the one hand, there is a lovely spring and enjoyable
company and activities, and, as stated, many knights were
"very much at ease there."
On the other hand, the knights are clearly imprisoned
there, and they know it.
The passage states that they were "powerless to turn
back," and there had "been many deaths." These opposing
images make the Valley intriguing. Is it a positive
place, or a negative one?
At first, upon reading that it is a prison, it is
generally assumed that it would be an unpleasant place. However, knights can
live there in comfort and spend time with their ladies, and as
the passage describes, there is no lack of entertainment. In fact, many of
them actually enjoy it there.
Morgan provides everything they need to live, and it is
an easy, relaxed life, a life of comfort. In fact, as
Larrington says, "Morgan's knowledge of magic allows her to
emerge in some narratives as articulating the desires and
frustrations of courtly ladies which they cannot express for
themselves, coercing men into acting in ways that appear
contrary to chivalric norms and that are often detrimental to
their quest for honor," (51) and although Morgan can be very
vengeful and her punishments to false lovers can be especially
cruel, it is not entirely a bad situation (Larrington 53-54). Overall, the Valley
comes across as a positive place. Through her magic,
Morgan creates a safe place where lovers can live together and
not have to worry about being separated by war or anything
else. The fact
that many of the knights as well as the ladies enjoyed
themselves in the Valley also shows that it was not an
entirely negative place at all.
Furthermore, the fact that she is vengeful against
false lovers especially suggests that she is speaking out for
the other women in the tales, a character trait which would be
admirable in modern society.
All this evidence suggests that it is the misogyny of
medieval male authors which paints Morgan as a more maleficent
character therefore, and not any actions of Morgan herself.
After leaving behind the Valley of No Return, Morgan
retreats to a castle in the woods, and it is here where she
performs most of her infamous acts of war against the Round
Table knights. Most
of these are abductions of Sir Lancelot. In the Lancelot
section of the Vulgate Cycle, she kidnaps him several times
over the course of a few years, always using magic to trick or
imprison him (Lacy 307-328).
Lancelot seems to be her favorite target because of his
connection to Guinevere.
On page 311, Lacy explains that it was Lancelot who
"liberated" the knights from the Valley of False Lovers, and
that Morgan correctly guessed that he was in love with Queen
Guinevere. Since
Guinevere is the one who separated her from Guiomar, Morgan
decided to attack Guinevere by attacking Lancelot. She tries sorcery,
trickery, and simple persuasion in her attempts to reveal
Lancelot and Guinevere's love to King Arthur. One of these many
attempts is described in volume 5 of the Vulgate Cycle, in the
chapter "Gawain and His Brothers in Morgan's House," (Lacy
191-192). In this
story, Sir Gawain, Sir Gaherit, and Sir Mordred stumble upon a
room in Morgan's house where Lancelot was once kept prisoner. While he was there,
Lancelot painted his life story on the walls of the cell,
including the tale of his love for Guinevere. Morgan explains the
entire story to them, and also explains that "I've hated [Sir
Lancelot] mortally since I knew it, and I'll hate him as long
as I live, for he couldn't cause me greater grief than by
bringing shame on such a noble man as my brother and by loving
his wife and lying with her," (192). Throughout the
Vulgate cycle, there is no knight she kidnaps as often as she
kidnaps Lancelot, and all of this is in an effort to reveal
his love affair. Therefore,
even her most infamous acts tie back to her hatred of the
queen, and most of her antagonism of Camelot occurs because of
this loathing.
There is one incident in which her hatred seems to be
directed more at King Arthur himself than at Guinevere: the
battle between Arthur and Accolon. This battle is
described in Sir Thomas Malory's le Morte d'Arthur in
great detail (58-66). Morgan
steals Excalibur and gives it to her lover, Accolon, and
convinces him to fight in a battle to the death against a
knight whose death would put Accolon on the throne. This knight was King
Arthur, but Accolon did not know this at the time of the
battle. They
fought, King Arthur was victorious, and right before his death
Accolon explained the whole plot to the king in great detail. Arthur's response,
after learning of his sister's treachery, was to swear
vengeance on Morgan le Fay (62), and to send Accolon's body to
her. "By Arthur's
command his corpse was conveyed to Camelot on a horse litter,
and taken into the presence of Morgan le Fay, to whom the
bearers delivered this message: 'Herewith is a gift from King
Arthur to his sister. He
informs her that he has recovered Excalibur and its sheath and
is aware that she stole it from him," (Malory 63). This incident is the
most vengeful we have seen Morgan act against Arthur directly,
but it is also the most vengeful we have seen Arthur act
against Morgan. Maureen
Fries lists several accounts of treason Morgan commits in this
particular story (12), and these are made all the worse by the
fact that she is the sister of the king. Betrayal of an oath
in medieval times, especially against your own kin, was one of
the worst crimes a person could commit. Clearly, Morgan's
character takes a severe and shocking turn toward evil in this
tale, one which makes no sense given the previous mentions of
her. This is most
likely because by the time Malory wrote le Morte d'Arthur,
the most prevalent image of Morgan le Fay was that of an evil
sorceress, and the image of the benevolent healer had largely
been forgotten.
Despite Morgan's
villainy in the battle of Arthur and Accolon, Malory portrays
her fairly well in later stories, and she becomes a slightly
more sympathetic character once more. For example, after
Arthur's mortal wounding at the Battle of Camlan, Morgan
arrives in a small boat full of ladies and ferries him to
Avalon for healing, placing his head on her lap and saying "My
dear brother, you have stayed too long: I fear that the wound
on your head is already cold," (Malory 524). In the Vulgate
Cycle, it is Morgan who heals him at the end as well: "the
bark landed near King Arthur, and the ladies emerged and went
to the king. Among
them was Morgan the Enchantress, King Arthur's sister, who
went to the king with all the ladies she led and entreated him
to come on board the bark," (Lacy vol. 5, 306). This kindness
contrasts with her treachery and deceit of earlier chapters,
and shows that even after all the antagonism and villainy, she
is still willing to heal her brother when he needs her help. The fact that she
returns once more to the good healer and leader of Avalon that
she was in Geoffrey of Monmouth's Vita Merlini suggests
that she is not an entirely evil character at all, but is
instead a helpful one once more.
As Larrington says, "though she will later be forced to
retreat into the castles she holds in the vast forests of the
Arthurian realm, Morgan's bond with Arthur is never undone and
she always presides over his passing from this world," (29). Larrington also
points out on page 30 that medieval brother-sister
relationships were based on loyalty and protection, but that
there is also an element of sibling rivalry. This is very true:
there is always at least some sibling rivalry between any
siblings. This
could explain Morgan's antagonism toward Arthur, and his
toward her, especially when the Battle of Camlan scene is
taken into effect. It
is certainly true that Morgan attacks Arthur in several ways
throughout the stories, but it is also true that in multiple
versions she is the one who appears at the end to take him to
Avalon. What is
more, she seems to have a good relationship with him when she
is not attacking him. Arthur
is not the one she hates the most at Camelot. Here, then, is
further proof that Morgan le Fay is not a malicious character,
despite what some writers may have thought. Even in tales where
she is the villain, she is still capable of love, and still
willing to heal her brother Arthur after all is said and done.
Morgan
and Guinevere
Most of Morgan's villainy
stems from her hatred of Queen Guinevere, and the desire to
bring shame to Camelot which that hatred causes. However, it is very
likely that there is a more specific cause, one particular
event, which sparked Morgan's hate. The relationship
between Arthur's sister and his Queen was strained from the
very beginning, but, as with all strained relationships, some
event must occur in order to create that "last straw." In the case of the
Arthurian tales, this is most likely Guinevere's antagonism of
Morgan due to her love affair with Guiomar, sometimes spelled
"Guyamor." The
details of this event are explained in the Vulgate Cycle:
"That day, then, the queen caught them in the act; there was
no hiding it. She
came to Guyamor and said that he was as good as dead if the
king learned of the affair, and with pleas and threats she
succeeded in making him give up the young woman. In fact, he did so
easily, since he was hardly so in love with her that he could
not get by without her," (Lacy vol. 2, 311). This is the moment
when Guinevere acts the most antagonistic towards Morgan. What is more, the
reader does not get much insight into Guinevere's motives in
this instance. Lacy
explains that the queen "would gladly have kept Morgan chaste
lest the king be shamed, and Guyamor as well lest the king
punish him, for he would have hated him for such behavior, had
he learned of it," (311) but this excerpt hardly explains
anything. Morgan
is not married at this point in the tale, so her affair with
Guyamor is not an adulterous one. Furthermore, no
explanation is given for why Guinevere thought King Arthur
would have hated Guiomar if he had learned of their love. Since Morgan is the
King's sister in this version of the story, we can assume that
her premarital sex with one of Arthur's knights could be the
source of the shame Guinevere was afraid of, but this isn't
specified. We can
also assume that the strong blood ties and family bonds
present in medieval society (Larrington 31) would have made a
union between King Arthur's sister and Queen Guinevere's
nephew, as Guyamor is in this version of the tale, a social
taboo. However,
this is all speculation.
The fact remains that Guinevere pleaded with and even
threatened her nephew, Sir Guyamor, until he agreed to break
up with Morgan le Fay, and it was this act that caused Morgan
to hate the queen for the rest of her life.
This hatred of Queen
Guinevere directly results in most of Morgan's acts of
antagonism against the Round Table Knights, Lancelot in
particular. In
fact, Lancelot is the one of King Arthur's knights who is
captured most frequently by Morgan le Fay, and all of these
kidnappings occur after the incident at the Valley of No
Return. It was
during this incident that she correctly guessed he was having
an affair with the queen (Lacy vol. 2, 311). Due to her
pre-existing hatred of Queen Guinevere, Morgan decided to
antagonize Lancelot as a way of attacking the queen from afar. After this point in
the tales, she captures him countless times, usually through
magic and trickery, and uses many different methods to get him
to confess his love. This
occurs in more than just the Vulgate Cycle; in le Morte d'Arthur,
"the Tale of Sir Launcelot", Morgan casts a sleeping spell on
Guinevere's lover when she finds him in the forest, and
imprisons him in her castle (Malory 108). Malory even
insinuates that Morgan does this purely to spite Guinevere by
adding this detail: "Sir Launcelot, I know that Queen
Gwynevere loves you, and you her. But now you are my
prisoner, and you will have to choose: either to take one of
us for your paramour or to die miserably in this cell," (109). By specifying that
she knows about his love for the queen, and by listing that
before she says anything else, Morgan is hinting that this is
her main reason for capturing Launcelot: his love for Queen
Guinevere.
"The Tale of Sir Launcelot"
is not the only book in which Morgan captures a Round Table
Knight, nor is Sir Launcelot the only knight she ever
captures. In "the
Book of Sir Tristram of Lyonesse" in Malory's le Morte d'Arthur,
she targets Sir Tristram as well, with an ambush of thirty
knights waiting to kill him (229). However, despite
this fact, Morgan is characterized as a more reasonable woman
in this story, easier to deal with than in the previous
stories. For
example, later in this tale, when Sir Tristram asks for
shelter at Morgan's castle, not knowing whose castle it is,
she captures him and tells him "Sir, tell me your name and I
will release you," (247).
He tells her the truth: that he is Sir Tristram of
Lyonesse, and even though he is one of the knights she was
targeting, she keeps her word and releases him. This action shows
her to be reasonable rather than blinded by vengeance. And in fact, she
proves herself to be very crafty, and devises a way to reveal
Guinevere and Lancelot's love to the world while still keeping
her word to Sir Tristram.
To do this, she gives Tristram a specific shield to
bear at an upcoming tournament: "the device showed three
figures: a king and a queen, and, above them, standing with
one foot on the head of each, a knight," (247). Needless to say, the
king and queen represent Arthur and Guinevere, and the knight
is Sir Lancelot. The
image on the shield is meant to expose Lancelot and
Guinevere's love to the court at Camelot. In this way, Morgan
can still achieve her goal, and she does not have to break her
word. Furthermore,
she heals Sir Alexander later in the tale as well (Malory
286), showing that she is not completely a malicious character
in this story. When
she targets Sir Lancelot, she is driven mostly by vengeance
and her hatred of Guinevere, but when she targets other
knights, although she is still motivated by vengeance and
hatred, they do not cloud her judgment or cause her to do
anything rash. Here,
even though she is portrayed negatively, she is less of an
evil sorceress and more of a villain who can still be reasoned
with, and who still has a moral compass and somewhat of a
concept of honor.
Another instance of Morgan
acting helpful toward Round Table knights, where she has
previously been targeting and antagonizing them, occurs in the
Vulgate Cycle, volume 5.
Sir Gawain, Sir Gaherit, and Sir Mordred are fighting
in the woods, and they are wounded. Morgan shelters them
in her castle and heals the three of them (Lacy 191). While exploring her
castle one day, Sir Mordred discovers a room in which Sir
Lancelot had been kept prisoner sometime previously. As mentioned before,
Lancelot had decorated the walls of this room while he had
been imprisoned there, and anyone who could understand what
the pictures meant would easily be able to decipher that
Lancelot was having an affair with Queen Guinevere. Morgan uses this
room to attempt to prove Lancelot and Guinevere's guilt to the
other knights. After
she explains the meaning behind the images, she tells Sir
Gawain and his brothers, "when you arrive at court, you'll
have to tell all your adventures, and there you'll tell
everything you saw and heard in this room," (192). By making Gawain,
Gaherit, and Mordred promise to tell the court at Camelot the
story they had learned, Morgan could assure herself that
Arthur would finally learn of the affair between one of his
most beloved knights and his queen. In these tales, it
seems as though Morgan's overarching goal throughout the
entire story is to reveal the love affair to the king, which
is not necessarily an evil goal.
It certainly has catastrophic consequences, but that is
more Lancelot's fault than Morgan's. Morgan's design is
just to inform her brother of an injustice which is occurring
in his household; an injustice she cares passionately about
because it involves the woman who wronged her many years
before.
One of Morgan's most
well-known acts of vengeance against Guinevere is the tale
told in the epic poem, Sir
Gawain and the Green Knight. Although Morgan is
not mentioned in the poem until the very end, the poet reveals
at the end that Morgan is behind the entire thing (Tolkien
94-95). She
enchanted Sir Bertilak de Hautdesert and sent him to Camelot
for the purpose of causing uproar in the court and scaring the
queen. Once this
is revealed, several points become clearer than before:
namely, all the unexplainable supernatural occurrences which
happen throughout the poem.
First and foremost, the Green Knight is described as:
The mightiest on middle-earth
in measure of height,
From his gorge to his girdle so
great and so square,
And his loins and his limbs so
long and so huge,
That half a troll on Earth I
trow he was. (Tolkien
23).
This description makes it clear
that he is a giant, much larger than a human man should be
expected to be. The
reason for his enormous size is not explained until the reader
understands that Morgan le Fay is involved. Furthermore, aside
from the Green Knight himself, there are several phenomena
which cannot be fully explained with science, and therefore
must be explained with magic.
For example, on page 42 in Tolkien's translation of the
poem, Sir Gawain comes upon a castle, which seems to appear in
the middle of the woods, right as he was praying for shelter. In fact, this castle
"shimmered and shone through the shining oaks," (42) a
phenomenon which is very supernatural indeed. This too, just like
the Green Knight's unusual size and coloring, is a strange
detail which is not fully explained. Only after Morgan's
influence is revealed do the occurrences make sense. It is assumed that
the readers already know the character of Morgan le Fay, and
therefore know that she is a sorceress capable of enormous
magical feats. Clearly,
Morgan is important to the story of Sir Gawain and the Green
Knight, even though she is only mentioned by name a few
times, and only at the end of the poem. None of the previous
plot points would be possible without her magic. What is more, Morgan
designed the whole plot and put forth so much effort in making
it happen, all in yet another attempt to shame Camelot and
make Guinevere uncomfortable.
Her hatred of the queen goes beyond just attacks on
Lancelot and Arthur, it includes the entirety of Arthur's
court as well, and it seems there is no extent to which she is
not willing to go to get her vengeance.
Although Morgan is not mentioned by name until the end
of the poem, she does appear earlier in the story, when Gawain
first arrives at Sir Bertilak's castle. The physical
description of her in this section, contrasted with that of
Lady Bertilak, provides a very vivid image:
She was fairer in face, in her flesh and her skin
Her proportions, her
complexion, and her port than all others
And more lovely than Guinevere
to Gawain she looked....
Leading her by the hand another
lady was there
Who was older than she, indeed
ancient she seemed,
And held in high honor by all
men about her.
But unlike in their looks those
ladies appeared,
For if the younger was
youthful, yellow was the elder;
With rose-hue the one face was
richly mantled,
Rough wrinkled cheeks rolled on
the other... (Tolkien 48).
The first woman mentioned is
Lady Bertilak, who, as seen by the description, is young and
beautiful. Morgan
is the second woman, the old crone. At first, the
comparison looks like a very unflattering one for Morgan, as
she is much older and more hobbled than the young Lady
Bertilak, but the poet also includes the line "And held in
high honor by all men about her." This line is clearly
a positive statement about the old woman. The reader doesn't
know who she is yet, and although she is old and ugly, she is
held in high honor, which indicates that there must be
something honorable about her.
The men around her admired her for some reason, which
was most likely her incredible magical prowess. This detail proves
that there are some characters within Arthurian literature who
do not fear Morgan and her magic.
In the description of Lady Bertilak right before the
description of Morgan, the poet also includes the line "And
more lovely than Guinevere to Gawain she looked," (Tolkien
48). This
comparison is very important given the conflict between
Guinevere and Morgan which is established in the other tales. Although Lady
Bertilak does not have any relation to Guinevere, nor is she
involved in the feud between Morgan and the queen, she is the
woman who is contrasted with Morgan in this particular scene. The fact that this
woman seems "more lovely than Guinevere" to Sir Gawain is
significant then, because it further emphasizes the degrees of
separation between her and Morgan. The poet uses the
contrasting descriptions of these two ladies to emphasize
their differences, and point out how opposite they are. Furthermore, Lady
Bertilak is the one Gawain notices first and spends the most
time thinking about, but it is Morgan who is the truly
powerful one in the poem, and it is Morgan who the poet is
talking about when he writes that all men around her honored
her. This
contrast not only mirrors the contrast between Morgan and
Guinevere, but it proves that, contrary to popular belief at
the time, beauty is not everything. Morgan is not
beautiful, and yet she is the most powerful of all the female
characters in this poem.
It is clear that Morgan uses a lot of magic in this
poem, and, as discussed before, female magic users in medieval
literature tend to be characterized as evil sorceresses more
often than not. However,
is Morgan really a villain in Sir Gawain and the Green
Knight? Denver
Ewing Baughan writes, "It would be hard to find in all of
English literature a character so obviously the moving cause
of an entire plot and at the same time so misunderstood and
neglected as Morgan le Fay in Sir Gawain and the Green
Knight," (241), a statement which is clearly true given
that her typical characterization is that of a villain, even
when she does not act particularly evil. Additionally, Thelma
Fenster calls her "the agent of Gawain's testing," (78), an
assertion which suggests that she has a more constructive,
guiding role rather than a destructive one. None of the
characters in Sir
Gawain and the Green Knight are demonic in origin
either, as can be shown by the fact that they attend mass
(Tracy 38). So
the characters observe Christian religious practices, but they
also either use magic themselves or are willing to allow
others in their presence to use magic. These facts suggest
that, at least from the points of view of Sir Bertilak and his
court, magic is not a demonic force at all, but it is instead
a force which can be used for constructive, positive goals. Furthermore, in the
Green Chapel Sir Bertilak explains how Morgan allegedly got
her magical knowledge:
Bertilak de Hautdesert
hereabouts I am called,
Who thus have been enchanted
and changed in my hue
By the might of Morgan le Fay
that in my mansion dwelleth,
And by cunning of lore and
crafts well learned.
The magic arts of Merlin she
many hath mastered;
For deeply in dear love she
dealt on a time
With that accomplished clerk,
as at Camelot runs the fame;
And Morgan the Goddess
Is therefore now her name. (Tolkien 94-95).
In this passage, he explains
that Morgan learned about magic from Merlin, a character who
clearly has extensive knowledge about the magical arts, but
who is also generally considered to be a good character. Merlin is not a
villain, and if he is the one who taught Morgan how to use
magic, then her magic should not be considered evil in origin. When the fact that
this whole endeavor is another of her attacks on Guinevere is
taken into account, it begs the question: who is the real
villain here? Morgan
learned her magic from an honorable tutor, well-respected in
Camelot. Guinevere
lied to her husband and threatened her kinsman Sir Guiomar,
forcing him to break up with Morgan. Morgan left the
court, surrounded herself with people who appreciate her and
her gifts, and plotted revenge on the queen. Furthermore, is
Morgan is truly the "agent of Gawain's testing" as Fenster
suggests she is, she is actually helping the court of Camelot
by teaching Gawain a lesson and thereby making him into a
better knight. She
is certainly very kind to him in this tale, letting him go
back to Camelot when she could easily have killed him many
times. In this
poem, then, she manages to attack Guinevere while still being
constructive and helpful to Camelot, and she does not attack
Camelot's knight when she had him in her grasp. This circumstance
suggests that the main problem Morgan has with Camelot is
Guinevere, not Arthur or any of the knights. She is not a
villain, she is simply a woman who has been misunderstood by
medieval male authors and wronged by her society.
The
Supernatural and the Divine
Celtic mythology is rich with fairy lore, and
throughout all of the Celtic countries, there are stories of
fairies, or Fey, inhabiting the hills even to this day. Although some of the
accounts differ, overall they are alike enough that it is easy
to believe they are all talking about the same group of
beings. In fact,
in his book The
Fairy-Faith in Celtic Countries, W. Y. Evans Wentz
discusses the traits of some of these Celtic fairy races. For example, on
pages 200-201 he writes about a race of Fey called the
Morgans, who may very well be part of the origin of Morgan le
Fay. The Morgans
"seemed like anthropomorphosed survivals of ancient
sea-divinities," and were said to have been pagan temptresses
who lure Christian men to their deaths, although these could
be later rumors rather than mythological fact. The Morgans have
demonic origins (201-202) when written about by Christian
scribes, but they are a race of fairy nonetheless. The idea of
water-related supernatural beings being malevolent is also
expressed by an eyewitness Wentz interviewed: "Certain kinds
of the shining beings, whom I call wood beings, have never
affected me with any evil influences I could recognize. But the water
beings, also of the shining tribes, I always dread, because I
felt whenever I came into contact with them a great drowsiness
of mind and, I often thought, an actual drawing away of
vitality," (63). This
idea of the water-related beings as a negative force is
interesting when Geoffrey of Monmouth's Vita Merlini is taken
into account. In
that tale, Morgen is a positive force, a healer, and it is
only later, when she leaves the lake and goes to the woods in
the Vulgate Cycle, that she becomes viewed as a force of evil. However, Wentz talks
about supernatural beings called Morgans who live in the
water, but they are evil, and it is the wood beings that are
good. This could
suggest that Morgan's character was based on the Fey and the
later medieval authors who wrote about her got a few facts
mixed up, or it could suggest that Morgan is purely a human
character who simply has a few similarities to some of the
Celtic fairy races. However,
the evidence that she is connected somehow to the Fey is
overwhelming, which makes any other explanation highly
improbable.
Aside from these watery Morgans, Wentz's account talks
about another race of fairy: the Sidhe. He mentions on pages
27-28 as well as 284-285 that the Sidhe originated from the
Tuatha de Danaan. Wentz
refers to the Tuatha de Danaan as the People of the Goddess
Dana, and Proinsias MacCana writes that they had returned to
Ireland having "become skilled in the arts of druidry and
magic during their sojourn in the northern islands of the
world," (58). It
is of the Sidhe that the Wentz's eyewitness spoke, calling
them the "shining tribes," so clearly these beings can be
either good or bad. Furthermore,
they too have a tie to Arthurian literature: "Death is the
passport to the world of the Sidhe, a world where there is
eternal youth and never-ending joy, as we shall learn when we
study it as the Celtic Otherworld," (Wentz 285). The Otherworld is
also said to be underground, and bodies of water act as a
"transitional zone" between the Otherworld and the world of
the living (Price 53). This
Celtic Otherworld bears a striking similarity to Avalon: it is
a world of youth and joy, and Avalon as described by Geoffrey
is a place of healing and prosperity. This is not only a
connection to Arthurian myth, but a positive one. The world of the
Sidhe, just like Avalon, looks like a paradise, not a torment. So are these beings
malicious at all, or are they beneficent? They are the People
of the Goddess Dana, which does not suggest that they are
evil, and their dwelling place is a fruitful Otherworld of
never-ending joy. This
evidence seems to suggest that they are good creatures, which
have perhaps been portrayed as evil by later authors in the
same way that Morgan was.
Wentz asserts that "the hold of the Tuatha de Danaan on
the Irish mind and spirit was so strong that even Christian
transcribers of texts could not deny their existence as a
non-human race of intelligent beings inhabiting Ireland, even
though they frequently misrepresented them by placing them on
the level of evil demons" (286). Clearly then, they are not
originally an evil race, and clearly no character who is
connected to them is an evil character. It is the
misrepresentation of the magical and the feminine which makes
Morgan into a villain, and not any characteristics of Morgan
herself.
In addition to the diverse kinds of fairies, Celtic
mythology also tells about many different and powerful
deities. The
Celtic triple goddess is one of the most powerful deities of
the ancient world, and has had much influence on the
literature of that time.
According to Marija Gimbutas, this may be due to the
fact that Celtic society felt differently about women than
most other ancient societies.
In her book, Civilization
of the Goddess, she points out that "woman's ability to
give birth and nourish children from her body was deemed
sacred, and revered as the ultimate metaphor for the Divine
Creator," (223). Bill
Price also asserts that "the position of woman in Iron Age
Britain and Ireland appears to have been much more prominent
than in the classical world," (45). There are certainly
many historical examples of this. Price, Gimbutas, and
MacCana all mention the Irish Queen Boudicca, who took up arms
and defended her country from the Romans. The presence of such
strong women in Celtic society would explain why the Celtic
goddess figure is so powerful, but what kind of goddess is
she? She seems to
encompass several very different aspects of life. According to
Gimbutas, the use of images of female body parts along with
other symbols of life, such as water, on ancient vases shows
that the Celtic goddess is a "Nourisher, who maintained and
brought good fortune," (234).
However, the Goddess does not always nourish; sometimes
she brings destruction and chaos. Gimbutas explains
that "in the religion of Old Europe, death and regeneration
are expressed as two independent contiguous aspects of one
deity.... The Great Goddess of the Stone Age embodies both
simultaneously, representing the unbroken continuity of the
one ever-repeating cycle that underlies all manifestations,"
(243). Erich
Neumann also states that "she has three forms: the good, the
terrible, and the good-bad mother.... The third form is that of
the Great Mother who is good-bad and makes possible a union of
positive and negative attributes," (21). Clearly then, this
goddess figure can embody both creative and destructive
forces, and is not a purely malicious or demonic figure at
all.
The reason why characters
connected to the ancient religion are often portrayed as evil
in medieval literature ties back to the European Inquisition. "In spite of extreme
attempts to eradicate her during historic times, especially by
the European Inquisition of the Middle Ages in which virtually
every woman of wisdom and influence was burned, her importance
in life and storytelling did not disappear. The Goddess of Death
and Regeneration was demonized and degraded into the familiar
and highly publicized image of the witch," (Gimbutas 244). After the Norman
Invasion of the British Isles, and after Christianity became
the major religion of the land, anyone who still practiced
magical arts was considered unholy, and the gods they
worshiped were called evil demons. This is one of the
main reasons why sorceresses in medieval literature are
thought of as evil: they were women who wielded power, and
they practiced magic, which tied them to the ancient religion
and damned them in the eyes of the Church. In fact, Christian
scribes in the British Isles edited or omitted the pagan
aspects of traditional folklore (Price 23). They retold the same
stories people knew, but the gods became demons and their
devotees became evil witches or warlocks. The feminine was
negatively demonized in contrast to the masculine (Neumann
50), and Christian values and the ideals of the new
patriarchal structure were emphasized above all others. The fact about the
Goddess is that she is a divine force, indeed capable of
destruction, but also in charge of life. Proinsias MacCana
points out that "the Irish, and indeed the Celtic, goddess is
primarily concerned with the prosperity of the land: its
fertility, its animal life, and (when it is conceived as a
political unit) its security against external forces," (94),
which just proves that she is above all a positive figure, and
one capable of a great power.
There is ample evidence to suggest that Morgan has
supernatural origins, the most obvious of which being the
Celtic fairy world. The
most obvious evidence of this is her name: Morgan le Fay, or
Morgan of the Fairies. As
Lucy Allen Paton points out in her book, Studies in the Fairy
Mythology of Arthurian Romance, "the typical attributes
of a fey are assigned to Morgain [Morgan]. We may safely say
that she is the most important fey portrayed in the romances,
and that she is essentially the Fairy Queen of Arthurian
legend," (8). This
is indeed a safe assertion: Morgan displays many of the
defining characteristics of the Fey throughout the Arthurian
tales. Roger
Loomis says that Celtic fairies have a tendency to kidnap
humans (186-187), which is certainly true of Morgan. As previously
addressed, she kidnaps and imprisons Sir Lancelot several
times over the course of the Vulgate Cycle alone. She also possesses
great magic of many different varieties: the healing power she
demonstrates in the Vita
Merlini as well as in the Arthurian Romances
and le Morte d'Arthur,
spells of imprisonment such as those she casts around the
Valley of No Return in the Vulgate Cycle, the sleep spells she
casts on Sir Lancelot in le Morte d'Arthur,
and the shape-changing power she shows in Sir Gawain and the Green
Knight when she turns Sir Bertilak into a green giant. The Vita Merlini also
mentions that she can change her shape. Furthermore, Morgan
can sometimes be identified with the Lady of the Lake; in
fact, in Geoffrey's Vita,
she is definitely the chief lady in charge of the isle of
Avalon. The Lady
is undeniably a fairy character, queen of Avalon, and a
significant supernatural figure in the Celtic Otherworld. Both Morgan and the
Lady are associated with the water as well, and in Welsh
folktales and in Breton lais, the water fay has a dual nature
as either beautiful and kind or "a hideous and fearsome hag,"
(Loomis 197), which also helps to explain the duality of
Morgan's characterization in the legends. All of these
parallels simply help to illuminate the similarities between
Morgan le Fay and the Celtic fairy race of the same name. Based on this
evidence, she is either a fairy herself, or she has incredibly
strong ties with them.
Another possibility which would explain her ties to the
fairy world and her magical abilities is the idea that Morgan
is a human who has access to magic because she has studied it. As Wentz writes,
"the evidence from each Celtic country shows very clearly that
magic and witchcraft are inseparably blended in the
fairy-faith, and that human beings, i.e. "charmers"... and other
magicians and sorceresses are often enabled through the aid of
fairies to perform the same magical arts as fairies," (Wentz
253). Here she
does not necessarily need to be a fairy herself, but she can
communicate with them and wield their power through
witchcraft. This
would explain the elements of the Arthurian myths which
insinuate that she is human, such as the fact that she is the
sister of King Arthur in the later versions of the legends. It wouldn't make
sense for Arthur's sister to be a Fey, but for her to be a
sorceress who wields the power of the Fey is more believable. Furthermore, magic
and witchcraft can be used for either good or evil, and Morgan
uses it to help the Knights of the Round Table during her time
at the court, as well as to hurt them when she is out for
vengeance. "Morgan
is not only an angry woman, but an angry woman in command of
one of the most powerful weapons known to the medieval mind,"
(Baughan 246). Whether
she is a Fey or simply a human sorceress, she is definitely
powerful, and she definitely wields an ancient magic, one
based more in Celtic paganism than in Christian lore.
Just as there is ample evidence tying Morgan to the
Celtic fairy world, there is also ample evidence that she has
divine origins, especially tied to the Irish battle-goddess,
the Morrigan. She
is one of the Celtic goddesses who embodies female power, and
she always takes a strong role in the myths she appears in. As MacCana states
regarding the Celtic goddesses, "above all there is a
formidable group who have special claim on the title of
goddess of war. Though
often appearing singly these are normally conceived of as a
trio. They
generally comprise the Morrighan [Morrigan]," (86). Whenever she
appears, in any form, she is a crucial character in the story. One of the
well-known works of medieval literature in which the Morrigan
appears is the Tain bo
Cuailnge, otherwise known as the Cattle Raid of Cooley. In the Tain bo Cuailnge, the
Morrigan interacts with the hero, Cuchulainn, on a few
different occasions, often with a prophecy:
As the army crossed the
plain, the Morrigan – the Nightmare Queen – came in the form
of a bird and settled on a standing-stone in Temair Cuailnge,
and chanted these words to the Brown Bull: restless does the
Dark Bull know death-dealing slaughter, secret that the raven
wrings from writhing soldiers, as the Dark One grazes on the
dark green grasses, waving meadows blossoming with necks and
flowers, lowing cattle of the Badb, the groans of battle,
armies ground to dust, the raven struts on corpses, war-clouds
raging over Cuailnge day and night, kith and kin lie down to
join the tribes of dead (Carson 57).
This passage shows that the
Morrigan has the gift of prophecy, and, while it is certainly
ominous, it is not necessarily threatening. In this scene, the
Morrigan is warning the Brown Bull of what could possibly
occur. She is not
saying that she will be the cause of it, she is simply saying
that it will happen. Furthermore,
her relationship with the hero Cuchulainn is complex: "The
Morrigan is at times Cuchulainn's watchful protectress; at
others she is his enemy, seeking to destroy him," (Loomis
197). She is
certainly antagonistic toward him in the chapter entitled
"They Find the Bull." In
this chapter, she comes to Cuchulainn in the form of a woman
and offers herself to him.
When he turns her down, she gets angry and threatens
him (Carson 92). Later
in the chapter, she attacks him in the form of an eel,
followed by that of a she-wolf, followed by a hornless red
heifer (94). This
section demonstrates the Morrigan's ability to change her
shape, and it also demonstrates her vengeance against men who
anger her. The
previous passage demonstrated her shape-changing magic as well
by explaining that she appeared in the form of a raven. As stated
previously, Morgan le Fay also possesses shape-shifting
abilities in some of the Arthurian legends, dating back to
Geoffrey's Vita, and
her tendency to display both positive and negative traits is
well-known. Furthermore,
MacCana further explains the role of the Morrigan in his book,
Celtic Mythology, by
saying that "normally these war-goddesses do not themselves
engage in armed conflict: their weapons are the magic they
command and the very terror which they inspire by their dread
presence," (86). And
aside from that, Morgan usually shows herself to knights along
with two other un-named queens, also enchantresses or fey,
similar to how the Morrigan is a triple goddess and reveals
herself to heroes (Loomis 193).
This shows even more similarities between Morgan le Fay
and the Irish Morrigan. These
parallels are evidence as to Morgan's possible origins in
Celtic mythology.
Morgan also closely resembles a goddess figure in the
epic poem, Sir Gawain
and the Green Knight.
There is certainly a lot of pagan imagery in this work,
first and foremost being the display of the pentacle on
Gawain's shield. The
poem explains how the pentacle is a Christian symbol (Tolkien
38-39) but it is possible that it could represent both
Christianity and Celtic paganism. Larissa Tracy, in
her article "A Knight of God or the Goddess? Rethinking Religious
Syncretism in "Sir Gawain and the Green Knight"," writes:
"Intertwined with the residual elements of Celtic paganism, in
which there are many figures of feminine divinity, the
pentacle may have become a symbol of the pagan goddess, who
occasionally appears in medieval literature as Morgan le Fay,"
(35). Just as the
pentacle can represent the divinity of God, it can also
represent the divinity of the Celtic Mother. Both of these are
strong divine ties, and neither of them are negative. The Christian God is
just as likely to assist Sir Gawain on his quest as the Celtic
Goddess is. And
there are many elements in this story to suggest that this
Goddess is personified in Morgan le Fay. Morgan is introduced
on page 48 in Tolkien's translation, and it is then that the
reader gets a physical description of her: she is an old
woman, ancient and decrepit.
However, "as an old woman, Morgan takes the place of
the crone, one of the manifestations of the Irish goddess
Morrigan," (Tracy 41). In
Celtic mythology, the triple goddess figure takes the forms of
the maiden, the mother, and the crone, the last of which being
the wisest of the three.
Morgan certainly shows her wisdom here through craft
and cunning, designing and then carrying out her latest plot
against Camelot. However,
she is not malicious toward Gawain personally. As discussed before,
the castle appears in the forest just as he was praying for
shelter (Tolkien 42), and, while she could easily have killed
Sir Gawain at the end of the poem, she allows him to leave
unharmed (Tolkien 94-95).
As Tracy explains, "Morgan, as a goddess, is ultimately
responsible for the challenge and the quest," (41), which
makes sense in this regard.
After all, Morgan is the one who set up the entire plot
of the poem, and it is her magic which allows each detail to
occur. Furthermore,
Sir Gawain learns a valuable lesson over the course of this
poem, and returns to Camelot a better man than when he left. This further
suggests that Morgan's influence here is not malicious, but
constructive. The
pentacle, the Green Knight, and Morgan are "magical, but not
malevolent motifs, products of a society that embraced
elements of a pagan past and reinterpreted them along its own
religious lines.... The pagan supernatural elements in Sir
Gawain and the Green Knight coexist with Christianity," (Tracy
38). Clearly,
"Morgan the Goddess" (Tolkien 95) is the driving force behind
this poem, and a helpful agent to Gawain in the same way that
the Morrigan is often a helpful agent to Cuchulainn. Here she has divine
origins, but, like her supposed fairy origins, they do not
make her evil, they simply make her a very powerful and
independent woman who is capable of both creation and
destruction.
It is possible that the character of Morgan le Fay
descends from both the Celtic fairies and the Celtic
goddesses. Roger
Loomis explains that "the fays of medieval romance and of
modern European folklore are descended from the goddesses of
pre-Christian era," (200).
Therefore, it is conceivable that Morgan could have
elements of both. Paton
adds to this by saying: "we will suppose that the Irish
battle-goddess, the Morrigan, became in the conception of the
Celtic people more and more a fay; when traditions about her
reached Wales, where the meaning of her name was felt and her
traits recognized as in a large measure those of a fay, she
was regarded as the great fairy queen," (162-163). So Morgan le Fay
originated as the Morrigan of Irish mythology, and as her
story was passed down orally to different people of different
nations, her character changed from that of a powerful goddess
to that of a still very powerful supernatural being. It is most likely
that she was still regarded as more of a fairy than a human by
the time Geoffrey of Monmouth wrote about her, as she is a
mystical healer and protectress of Avalon, and still very
fairylike in that work. Then
Chretien de Troyes humanized her and greatly lessened her
power, beginning her descent from good to evil. Over time, other
authors adopted her character, humanized her more and more,
and eventually demonized her as well, and thus she became the
evil witch most audiences know today.
The character of Morgan le Fay is an intriguing and highly disputed one. Although she is certainly well-known among modern audiences, she is incredibly misunderstood by them. Most modern genres portray her as a villain, and now she is generally assumed to be an evil sorceress. However, readers of the original Arthurian myths know that this is not the true Morgan le Fay. Examine the chronology of the original tales, and it is clear that her character began as a positive force, a healer and a leader, and was then demonized and darkened over the course of several years and several different interpretations. The main reason for this decline is a misogynistic one: medieval male authors saw a female character who wielded a lot of power and decided to portray her as a force of evil instead of good. However, even in the later stories where she is made out to be a villain, Morgan le Fay is a sympathetic character. Her actions are fueled by a desire for revenge against Guinevere, and no matter how many times she attacks Camelot, she always returns at the end of the tales to heal Arthur and ferry him to Avalon, suggesting that she really does care about her brother after all. Furthermore, Morgan's character does not derive from demons, but rather from a goddess: Ireland's Morrigan. Over time, tales of her spread across several lands and were altered with each telling. The goddess became a fairy, and the fairy became a sorceress. Later, the good sorceress would become an evil witch, developing the healer into the villainous character who is so well-known today.
Works Cited
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Carson,
Ciaran. The Tain bo Cuailnge. New York, NY: the
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Chretien
de Troyes. Arthurian Romances. London, England: The
Chaucer Press, 1975.
DC
Comics. "Morgaine le Fey (Character)." Comic Vine. CBS
Interactive, Inc., 2013.
Fenster, Thelma S. Arthurian Women: A
Casebook. New York, NY [u.a.]: Garland, 1996.
Loomis,
Roger S. "Morgan la Fee and the Celtic Goddesses." Speculum.
20.2 (1945): 183-203.
Malory, Thomas. Le
Morte d'Arthur. New York, NY: Signet Classics, 1962.
Marvel Comics. "Morgan
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Neumann,
Erich. The Great Mother. Princeton, NJ: Princeton
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Price, Bill. Celtic
Myths. Harpenden, England: Pocket Essentials, 2008.
Tolkien,
J.R.R. Sir
Gawain and the Green Knight. New York, NY: Ballantine
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