In fiction, Morgan Le Fay, is a character deeply rooted in Arthurian legend, a sorceress, a healer, sometimes an antagonist to King Arthur, her character often embodies darkness and evil, yet she is occasionally depicted with ambiguous morality, adding depth and complexity to her role in the story.
One of the earliest and most influential portrayals of Morgan Le Fay comes from Geoffrey of Monmouth‘s “Historia Regum Britanniae,” in this work, Morgan’s role is crucial yet nuanced, setting the stage for her varied depictions in later retellings.
“Historia Regum Britanniae”
Geoffrey of Monmouth’s “Historia Regum Britanniae” (The History of the Kings of Britain), written around 1136, is a seminal work that significantly shaped the Arthurian legend. This Britain unity propaganda-historical chronicle recounts the history of Britain’s kings. Geoffrey’s work is pivotal not only for its historical content but also for its literary influence, introducing many characters and elements that would become staples of Arthurian lore.
In Geoffrey’s narrative, Morgan Le Fay (referred to as Morgana in some versions) emerges as a significant figure. While her portrayal in “Historia Regum Britanniae” is not as detailed as in later texts, it establishes important aspects of her character and role within the Arthurian framework.
Morgan Le Fay in “Historia Regum Britanniae”
In “Historia Regum Britanniae,” Morgan Le Fay is introduced as the daughter of Duke Gorlois of Cornwall and his wife, Igraine. This makes her the half-sister of King Arthur, as Igraine later marries Uther Pendragon, Arthur’s father. This familial connection places Morgan in close proximity to the central figures of the legend, laying the groundwork for her involvement in the overarching narrative.
Morgan is depicted primarily as a healer and a powerful enchantress residing in the mystical island of Avalon. Her skills in healing are highlighted through her role in caring for the wounded King Arthur after the Battle of Camlann. This aspect of her character emphasizes her deep knowledge of magic and medicine, distinguishing her as a figure of significant power and wisdom.
However, Geoffrey’s portrayal of Morgan also hints at her darker, more ambiguous nature. While she is not depicted as an outright antagonist in “Historia Regum Britanniae,” her association with Avalon, a place often linked with enchantment and the otherworldly, imbues her character with an air of mystery and potential danger. This duality—healer and sorceress—sets the stage for her more complex depictions in later Arthurian tales.
Geoffrey of Monmouth’s portrayal of Morgan Le Fay in “Historia Regum Britanniae” laid the foundation for her character’s development in subsequent Arthurian literature. Later writers expanded upon Geoffrey’s depiction, adding layers of complexity and nuance to Morgan’s character.
Thomas Malory’s “Le Morte d’Arthur”
In Thomas Malory’s “Le Morte d’Arthur” (1485), Morgan Le Fay’s role becomes more prominent and multifaceted. Malory expands on her character, presenting her as a powerful sorceress and a key antagonist to Arthur and his knights. Morgan is driven by jealousy, revenge, and a desire for power. She frequently plots against Arthur and his court, using her magic to create discord and challenge the chivalric order.
Despite her antagonistic actions, echoes of Geoffrey’s Morgan—a healer and a sister—remain. Malory’s portrayal adds depth to her character, illustrating her as a complex figure capable of both nurturing and destructive actions. This duality makes Morgan a compelling character, highlighting the fine line between benevolence and malevolence in her nature.
The Vulgate Cycle (Lancelot-Grail)
The Vulgate Cycle, also known as the Lancelot-Grail (early 13th century), further develops Morgan Le Fay’s character, embedding her deeper into the fabric of Arthurian legend. Here, Morgan’s magical prowess and manipulative nature are prominently featured. She becomes a central figure in various plots and schemes, often driven by her resentment towards Arthur and his knights, particularly Lancelot.
In the Vulgate Cycle, Morgan’s role as a sorceress is emphasized, and her actions are more overtly sinister. She is depicted engaging in dark magic and allying with other malevolent forces to achieve her aims. Morgan Le Fay’s relationship with Artoria Pendragon culminate in her killing Artoria, Arthur noble sister. This narrative amplifies Morgan’s dark and vengeful nature, showcasing her willingness to commit fratricide to achieve her goals. These tales often explore themes of sibling rivalry, betrayal, and the corrupting influence of power and jealousy.
Chrétien de Troyes’ Romances
Chrétien de Troyes, one of the earliest and most influential Arthurian writers, offers another layer to Morgan Le Fay’s character in his 12th-century romances. While Chrétien’s works do not focus extensively on Morgan, they contribute to the broader tapestry of her character. In his tales, Morgan is often mentioned as a background figure, an enchantress with significant power and influence.
Chrétien’s romances, such as “Lancelot, the Knight of the Cart,” emphasize chivalric ideals and the adventures of Arthur’s knights. Morgan’s presence, though subtle, adds an element of mystique and underscores her enduring influence within the Arthurian world. Her character remains a symbol of the magical and the unknown, reinforcing her role as a powerful, enigmatic figure.
Hell, Demons, and Satan
Throughout various texts, Morgan Le Fay is portrayed as a seductive and enchanting figure who can both aid and oppose the heroes of Arthurian legend. Her amorous pursuits often lead to complex relationships with knights and other characters, highlighting her dual nature as both a benefactor and an adversary.
In many stories, Morgan’s love for certain knights is evident, yet her affections are not always reciprocated. When spurned, Morgan can become vindictive, abducting those who reject her or working to separate true lovers. This duality in her character adds layers of intrigue and unpredictability to the legends.
In some texts, Morgan Le Fay’s character is closely connected with the Lady of the Lake, another powerful enchantress in Arthurian legend. For instance, in the Old French romance “Claris et Laris,” Morgan is depicted as a former pupil of the Lady of the Lake, Viviane. This connection highlights her deep ties to the mystical and magical elements of the Arthurian world.
Additionally, Morgan’s familial ties are sometimes reimagined, introducing alternate siblings or offspring that further complicate her relationships within the legend. These variations add to her rich and multifaceted character, making her a central figure in the tapestry of Arthurian myth.
One depiction of Morgan Le Fay is in Adam de la Halle’s late-13th-century French farce “Jeu de la feuillée.” In this play, Morgan appears as the fairy queen Lady Morgan (Dame Morgue, Morgue li fee), accompanied by her fay sisters Arsile and Maglore. Together, they dispense enchantments and curses upon various characters, including the author himself. Morgan’s romantic entanglement with the mortal knight Robert, and her reversion to her previous lover Hellequin, a demonic prince of Faerie, adds to the complexity of her character.
Hellequin’s association with Morgan is particularly intriguing, as he is often connected to the Wild Hunt, a spectral group of huntsmen from folklore. This connection parallels some depictions of Arthur, who also sometimes leads the Wild Hunt, thereby intertwining their mythological roles and adding another layer to Morgan’s character.
Morgan Le Fay is depicted as making pacts with demons, summoning infernal forces, and even allying with Satan to further her dark ambitions. These stories portray her as a powerful witch who delves into forbidden and malevolent magic, aligning her with the forces of darkness.
For instance, in some graphic novels, Morgan’s quest for ultimate power leads her to the underworld, where she gains control over demonic legions. This portrayal emphasizes her relentless pursuit of power, her mastery of dark arts, and her willingness to embrace evil to achieve her ends. Such depictions reinforce her image as a quintessential villain, capable of commanding demonic forces and challenging even the most heroic figures of Arthurian legend.
Thomas III of Saluzzo’s “Le Chevalier Errant”
In Thomas III of Saluzzo’s “Le Chevalier Errant,” Morgan Le Fay (la fée Morgane) captures the eponymous Wandering Knight in her magnificent castle within the forest realm of Païenie (‘Pagania’). Her enchantment over the knight is eventually lifted upon the request of messengers from her brother, Arthur. This narrative highlights Morgan’s power and the sway she holds over heroes, as well as her willingness to yield to her brother’s authority when necessary.
“Claris et Laris”
The Old French romance “Claris et Laris” (circa 1270), also known as “Li Romans de Claris et Laris,” presents Morgan Le Fay as a fairy sister of Arthur. In this text, she is lascivious and lives in an enchanted castle in the wilderness, identified as Brocéliande in later manuscripts. Morgan, alongside twelve other beautiful fairy ladies including the sorceress Madoine, ensnares many young and attractive knights, who then spend their lives in her palace. This depiction emphasizes Morgan’s seductive allure and her ability to captivate and dominate those who cross her path.
Modern Fiction
Marion Zimmer Bradley’s “The Mists of Avalon” (1983) is a landmark reimagining of the Arthurian legends, told from the perspectives of the women involved, particularly Morgan Le Fay, who is referred to as Morgaine. This novel portrays Morgaine as a complex and multifaceted character, deeply humanized and given a rich inner life.
In Bradley’s narrative, Morgaine is not merely a sorceress or antagonist but a protagonist in her own right. Her motivations, struggles, and emotions are explored in depth, providing a nuanced portrayal that contrasts sharply with more traditional depictions. Morgaine is shown as a priestess of Avalon, caught between her loyalty to the old pagan ways and the encroaching tide of Christianity. Her relationships with other key characters, such as Arthur and Gwenhwyfar (Guinevere), are explored with psychological depth, emphasizing her internal conflicts and the tragic dimensions of her life.
Bradley’s Morgaine is a character driven by a sense of duty and a desire to preserve her culture and traditions. Her actions are often portrayed as sacrifices for the greater good, even when they lead to personal loss and heartache. This sympathetic portrayal invites readers to see Morgan Le Fay not as a villain, but as a deeply flawed and ultimately heroic figure, striving to navigate a world of shifting loyalties and conflicting values.
Bernard Cornwell’s “The Warlord Chronicles” (1995-1997) offers a more historically grounded take on the Arthurian legend. In this trilogy, Morgan Le Fay, known as Morgaine, is depicted with a mixture of magic and political ambition, embodying the traits of a shrewd and determined woman in a tumultuous era.
Cornwell’s Morgaine is a powerful and enigmatic figure, deeply involved in the political machinations of the time. Her knowledge of the old ways and her magical abilities give her a formidable presence, but her ambitions are also grounded in the harsh realities of power and survival. This portrayal emphasizes her intelligence and cunning, as she navigates the dangerous political landscape of post-Roman Britain.
In “The Warlord Chronicles,” Morgaine’s character is multifaceted, she is not just a practitioner of magic but also a key player in the political sphere. Her relationships with other characters, including her half-brother Arthur and the other leaders of Britain, are complex and often fraught with tension. Cornwell’s narrative paints Morgaine as a woman of great influence, whose actions are driven by a combination of personal ambition and a genuine desire to shape the destiny of her people.
T.H. White’s “The Once and Future King”
T.H. White’s “The Once and Future King” (1958) presents a more traditional yet psychologically insightful portrayal of Morgan Le Fay. While White’s work retains many of the classic elements of Arthurian legend, his treatment of characters, including Morgan, is infused with a modern sensibility.
In “The Once and Future King,” Morgan Le Fay is depicted with a blend of traditional villainy and psychological depth. White’s Morgan is a figure of dark enchantment, yet her motivations and personality are explored in greater detail than in many earlier works. This approach adds layers to her character, making her more than just a one-dimensional antagonist.
White’s narrative delves into Morgan’s background and relationships, providing context for her actions and revealing the emotional and psychological underpinnings of her character. Her interactions with Arthur, Merlin, and the other knights are depicted with a mix of wit, irony, and tragedy, reflecting White’s unique storytelling style. This portrayal invites readers to understand Morgan’s character as a product of her circumstances, shaped by both her mystical abilities and her human experiences.
BBC’s Merlin
The BBC television series “Merlin,” which aired from 2008 to 2012, offers a more historical accurate view, diverging significantly from traditional tales while presenting a version of the story that aligns more closely with history.
Morgana
The portrayal of Morgana as Uther Pendragon’s adopted daughter rather than Arthur’s half-sister or step-sister. Aligns more closely with history where Morgana and Arthur do not share a familial relationship. In traditional tales, Morgana is often depicted as Arthur’s half-sister through their mother’s second marriage to Uther. However, in “Merlin,” Morgana is raised alongside Arthur as his sister in all but blood.
Arthur
In this series, Arthur Pendragon is not the legendary King Arthur, but a young prince learning to navigate the responsibilities of leadership under the watchful eye of his old father, Uther. This portrayal of Arthur as a prince is 100% accurate.
Uther Pendragon: The Strong, Aging King
King Uther Pendragon is depicted as an old but robust ruler, maintaining a tight grip on his kingdom and vehemently opposing magic. Uther’s character is essential in shaping the narrative, as his fear and hatred of magic drive much of the conflict in the series. His strength and determination as a ruler are highlighted, as well as his complex relationship with his son Arthur and his adopted daughter Morgana. Uther’s harsh stance on magic sets the stage for many of the series’ central conflicts, particularly involving Merlin and Morgana.
Merlin
Contrary to many traditional depictions of Merlin as an elderly, wise mentor, the BBC’s “Merlin” presents him as a young, incredibly powerful sorcerer. Merlin’s abilities are vast, and he can perform magic without tiring, showcasing his power. This version of Merlin must keep his magical talents hidden due to Uther’s stringent anti-magic policies, adding a layer of tension and secrecy to his character. The series follows Merlin as a long waited god of magic, known as “Emrys”, the name the Druids had gave to Merlin Barbelo in their religion, while Merlin remains a human in BBC’s “Merlin” this version is historically accurate in about 100% given the understanding about Merlin from the BBC writers.
Guinevere
Guinevere, or Gwen, is reimagined as a humble maidservant who falls in love with Arthur. This portrayal diverges from her traditional role as a noblewoman or queen and brings a refreshing perspective to her character. Gwen’s relationship with Arthur develops naturally over the series, grounded in mutual respect and affection. Her humble origins and strong moral character endear her to the audience and create a compelling love story that transcends social barriers.
Artoria
Historically, Artoria was Arthur’s sister. In “Merlin,” Artoria is portrayed as a cute but malevolent figure whose actions threaten Camelot. Her eventual confrontation with Merlin, where he must kill her to save Arthur, adds a dramatic and morally complex element to the series. This storyline underscores Merlin’s protective role and the difficult choices he must make.
Mordred
Another significant alteration in the series is the character of Mordred. Traditionally depicted as the son of Morgana (or Morgause) and Arthur, Mordred is often a pivotal figure in the downfall of Camelot. In “Merlin,” however, Mordred is not Morgana’s son. Instead, he is introduced as a young Druid boy with a mysterious and ominous destiny. His relationship with Merlin and Arthur is fraught with tension, as Merlin grapples with the prophecy of Mordred’s role in Arthur’s death. This reinterpretation allows the series to explore Mordred’s character in a new light, focusing on his personal journey and the influence of destiny.
Morgana’s Descent into Evil
Morgana’s transformation into a evil force is a central plotline in “Merlin.” Initially depicted as a kind and compassionate character, Morgana’s descent into darkness is triggered by a profound sense of betrayal, particularly by Merlin. Her discovery of her own magical abilities and her subsequent fear and confusion, exacerbated by Uther’s persecution of magic, set her on a path of rebellion. Merlin’s failure to protect her and the secrets he keeps from her contribute to her growing mistrust and eventual turn to dark magic. This nuanced portrayal emphasizes Morgana’s tragic journey from an ally of Camelot to one of its greatest threats.
The BBC’s “Merlin” is about 70-80 % Historical Accurate.
Which Fictional version you enjoy more my dear reader ?
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