as much as I love to imagine (and write fic of) a charming Gwen/Morgana love affair, alas I fear my interpretation of the canon is that they never did anything beyond a bit of teenage kissing because, although Morgana was fanatically in love, Gwen either did not reciprocate at all or ultimately ended things because she preferred boys. so it goes
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if there's one bit of fanlore I disagree with the most, it would have to be the idea that Merlin never went back to Camelot after the Battle of Camlann. There's just no way that's what happened. Why on earth would he just like, never want to see Gaius and Gwen ever again? He's a super extroverted person. It's actually one of the most tragic things about him; he loves people, and that makes it even sadder that he has to lie to them all the time and can't be known the way he wants to be.
More to the point, he is not the type to isolate himself due to grief. We know this because we've seen him lose people he cares about. When Will died, he sought comfort from Arthur and from Hunith. When Freya died, he sought comfort from Gaius. When Balinor died, well, Arthur wasn't exactly all that comforting (and to be fair to Arthur, he had no idea who Balinor was to Merlin, and also they were still smack in the middle of a major crisis where Arthur was pretty sure he was facing down his own death) but the point is that Merlin was still wearing his heart on his sleeve in that situation, even though he couldn't tell the whole truth about what had happened. (And at the very end of that episode we see him hugging Gaius. You just know they stayed up the rest of that night talking about Balinor.) There's no way his response to losing the most important person in the world to him, in a situation where he no longer has to keep any secrets and it's safe and socially acceptable for him to mourn openly, would be to... become a lake hermit? That would require him to have a complete personality transplant.
Also, Merlin is resilient and has a strong sense of duty. Even if he and Gwen weren't friends, he wouldn't just abandon her and Camelot. He would keep on going, the same way he's always done.
(But they are friends. So they're going to cry in each other's arms, and then they're going to pick themselves up and go and sit right down at the round table and do their duty for Camelot.)
Itâs all Gwen can do to keep from stumbling over her own feet. Morganaâs hand is warm and insistent in hers, tugging her along, trippingly down the stone steps at a pace that surely canât be proper for a lady, and whether itâs to the ends of the earth or just the other side of the castleâ Gwen will follow. Of course she will.
Sheâs tempted to revise that opinion when they run headlong into a solid wall of chainmail and disapproval.Â
Sir Leon squints down at them.
âLeon!â Gwen squeaks out. âEhm, that is, Sir Leon! Sorry sir! We didnât mean to run into you.â
âAnd just what did you mean to do?â The corner of Leonâs mouth is twitching upward, though heâs trying to look stern. Itâs been only half a year since he was made knight, half a year since he came to Camelotâs citadel, and Gwenâs family alongside him. Perhaps heâs still learning his new position, the same way Gwen is still learning hers. No doubt thatâs why heâs been assigned this unenviable nighttime guard post at⌠well, wherever they are, anyway.
âTo go to the library, of course.â Morgana cuts in smoothly, all charm. Impossibly sophisticated, even at just sixteen. She shoots Gwen a sly smile. âIâm teaching Gwen some poetry.âÂ
âPoetry, my lady?â Leonâs faux-serious face has evaporated; now he just looks bemused. âAt this time of night?â
Morgana is the very picture of wide-eyed innocence. âOh, yes. Iâm ever so behind in my Greek lessons. It was Geoffreyâs idea, that I ought to do more recitation, in order to improve, you see. And, well, nighttime is the only time Gwen is free of her duties.â
âWellâŚâ Leon doesnât seem entirely convinced, but he relents at last. âAll right then, my lady. But if you wake Lord Geoffrey, on your own heads be it. He falls asleep at his desk more nights than not.â He stands aside, though, in spite of the admonition, and then Morgana is skipping through the library door with Gwen at her heels.Â
Gwenâs been here only once before, and then only briefly, sent to fetch Morgana from some lesson or another that had run late. Tonight she has time to take it all in, to marvel at the long, prim rows of books nestled on their stately oak shelves. Seeing it all now, she canât fathom why she hasnât found some time to come here sooner. She does know her letters, and her sums as well, after all. A businessman must know how to keep his ledger, and Father had made sure to teach her alongside Elyan, in painstaking lessons in the waning hours of the evening, after the rest of the dayâs work was done. Even now, it feels right that books should be something to behold by candlelight.
Morgana is skimming her long, elegant fingers lightly along the spines of the books as she floats down the aisle. Gwenâs breath hitches at the sight. From this angle, her lady is shrouded almost in darkness. Perhaps itâs only the libraryâs mystique that makes her seem, even as just a silhouette, to move with mesmerising grace. Gwen doesnât think it is.
Morganaâs finger catches on the spine of a slim volume bound in a rich reddish brown. âFound it,â she whispers.
âItâs beautiful,â says Gwen. She canât read the title, for evidently Morgana was telling at least a bit of the truth; itâs in Greek.
Morgana looks slightly surprised at the response. She glances down at the book, then up again with a shy smile. âIt matches your eyes.â
Utterly disarmed, Gwen follows Morgana to the table in the alcove at the far end of the library. Thereâs no sound but the whisper of silk as they cross the room, nothing to drown out the loud thudding of her own heartbeat in her ears. Surely Morgana can hear it?
âI want to read you something,â says Morgana once theyâre settled in the little nook, snug and secret. âItâs my favorite poem. I think⌠I think youâll like it. I hope youâll like it.â The pages of the book seem so fragile. Gwen hardly dares to breathe, afraid to tear the delicate pages that Morgana handles so expertly, or perhaps afraid to shatter the scene unfolding around her. She had thought sheâd seen every side of Morgana, in the months sheâs been her maidservant; seen her in every conceivable mood and setting, in company and alone, from dawn till nightfall and even, sometimes, in the hours when all the castle sleeps, when she wakes screaming and seeks a comforting touchâ but never before like this. Never before, this look in her ladyâs eyes like she canât tear them away from Gwenâs.
âHere it is,â says Morgana, âare you ready?â and then she begins to readâ
Even if she could understand the language, Gwen thinks, sheâs not sure sheâd have been able to focus on the poem, not when itâs Morgana reading, Morganaâs painted lips speaking the wine-dark words; but she wants to know, needs to know what is is thatâs so captured her ladyâs imagination, so she asks: âWill you tell it to me in your words?â Her voice comes out thick with something, something sheâs almost but not quite able to name. âTranslate it, I mean.â
And Morgana does.Â
âSome say knightsââ here she falters, just for a moment, but then finds her footing and continuesâ âand some say soldiers, and some say a fleet of ships is the most beautiful sight on all the black earth.â She closes the book, slipping one slender finger between the pages, and looks up at Gwen. âBut I say itâs the one you love.â
The one you love. Gwenâs heart beats out the words. The one you love.
âIâve never seen a fleet of ships.â Gwen bites her lip; that didnât come out right, had sounded more romantic in her head. She lays one hand across the book and strokes Morganaâs thumb with her own, trying to summon the words that will give voice to the great swell of emotion inside her. âBut as for the other things⌠Iâd say so too. Er, that is.â She catches herself fidgeting and wills her body to stillness. With a sudden surge of daring, she lifts a hand to Morganaâs face. âThat is to say, you donât have to worry about knights or soldiers.â The tips of her fingers are just brushing a strand of hair, and she catches it and twines it gently around one finger, wanting to bind the two of them close. âMy love is far more beautiful.â
Morgana dips her head to brush the lightest of kisses to Gwenâs palm before looking back up, eyes brimming.
I wish we had gotten more Gwen & Leon interactions on the show and more glimpses into their shared backstory, given that they canonically kinda grew up together. Did they ever play together as children, and did it become weird once they started to become more aware of social class, when Gwen started working in service and Leon began training for his future knighthood? Or were they always kept in completely separate spheres? Where were Leon's family's lands, and when did the two of them move to Camelot's capital city? And for that matter, why did Gwen's family move at all? Were they friendly during the early seasons of the show when Gwen was a lady's maid and Leon was a knight? What was their dynamic like after Gwen became queen and their relative social positions were reversed?
I'm probably thinking too much about what was realistically a throwaway tidbit on the show that the writers (as per ushe) didn't really think through the implications of. But whatever. Would have been interesting.
It's actually kind of weird to me that the Merlin writers never explicitly stated that Mordred was Morgause's son. Personally I feel that it was kind of implied by Morgana's there's a bond between us line in s01e08, and by the fact that being the son of a high priestess would explain a lot of things about Mordred that are otherwise unexplained, such as how he's able to recognize Emrys on sight (something most druids are not able to do, unless they are especially powerful or high-ranking) and why he has such powerful instinctive magic even as a child (something we don't see in anyone else other than Merlin).
I was going to say that maybe they never addressed it because they wanted to stay 3027361038391 miles away from the Arthurian incest plotline, except that doesn't really track because in the first place, Arthur is not his father on the show, and in the second place, Arthur and Morgause are not related on the show. And in the third place, they clearly aren't all that afraid of incest considering that they spent most of s1 sort of implying that Arthur and Morgana are meant to have an arranged marriage eventually, before totally backtracking on that idea. What was up with that, anyway?
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Even Emrys, a practiced liar, canât help his momentary look of alarm. And yes, all right, perhaps thatâs just a bit why Mordred said it. The wretched disguise, the ridiculous flirting was the last straw; he canât bear seeing a figure of prophecy reduced to this. Surely Emrys will understand: Mordred is doing this for him.
Yes, and for himself too. Itâs too risky for Mordred, but His Majesty will forgive sorcery, if itâs Emrys. Well. If itâs Merlin.
But Mordredâs play doesnât work. Emrys lies, and the King believes him. Just as always.
Something's off. Morgana knows it, can feel it sparking in the air between them, almost likeâ but no, it couldn't be, there's magic all over this island, that's all it is, and it's not until after she's taken a sip of her wine that she realizes.
Morgause bares her teeth.Â
âHow dare you.â It's all Morgana can do to keep the shaking out of her voice as she glares across the table through the candlelight, the flickering candlelight casting flickering shadows across her sister's face. âHow dare you. Do you still not trust me, after everything? After I nearly died for you andâ and your scheme?â
Apparently unmoved, Morgause simply stares her down. âDo I trust you? You tell me. Are you loyal to me?â
âYes,â Morgana spits out. âThough I can't fathom why, when you're behaving like such a cunt.â
In a flash Morgana is on her feet, nearly tripping over her skirts in her haste, knocking over her goblet; the tainted wine splashes across the table, soaking the nice white tablecloth she had laundered just that morning. By magic, of course, but she had picked the lavender by hand, scattering it into the wash water with their linens, thinking of Morgause who was due back from Ascetir that evening. âYou're unbelievable. I really don't believe you.â
Morgause pulls a frown and rises to her feet as well, trailing her fingers over the deep red stain on the tablecloth. âDear me,â she murmurs. âSo upset.â She's drawn closer, coming around the side of the table, and turns Morgana's face to her with just the graze of a finger on her cheek. Morgana can feel the humid warmth of her breath on her own lips, but she wonât be distracted. Not now. She employs her own distraction: a feather-light fingertip brushes along Morgauseâs collarbone, drags down, lower and lower, between her breasts.
âYou drink it,â she breathes against Morgauseâs jaw. âProve to me that I can trust you too.â
Sheâs not sure whether or not sheâs surprised that Morgause does: pulls back from the touch to stare at Morgana with such intensity that Morgana shivers, tips just a drop of potion onto her finger and brings it to her own lips, darting out just the very tip of her tongue to taste it, never taking her eyes off Morganaâsâ they flash red for the briefest moment before melting back to brown.
Morgana wants to ask about strategy, really she does: something about armies, routes and maps, or the cup of life; but what comes out of her mouth instead, painfully low and earnest, is, âAre you fucking Cenred?â
For a moment, Morgause looks almost hurt. Then itâs gone, swallowed back up by her inscrutable mask.
âYes.â
Itâs not as if the response is unexpected. Still, the admission wrenches a sound out of Morgana, a strangled sob, wild. Would that she could leash the feral thing and drag it back inside her. Clamp it fast inside her mouth, so it can never bite anyone again, least of all Morgause, least of all Morgana.
âYou knew this.â The look on Morgauseâs face is almost like pity. âHeâs nothing. It means nothing. You know this.â
âWell, of course not,â snipes Morgana. She knows itâs childish, but canât bring herself to care just now. Sheâs entitled to it, she thinks. âObviously. I donât know why I would have expected otherwise. Youâre not the type for a summer wedding and, and, and⌠babies. Or whatever,â she finishes lamely, waving a hand in a dismissive gesture. As though she can so easily dismiss the lump in her throat, the one that tastes of lavender buds.
But the air shifts, a shade cooler, suddenly, and a shadow passes over Morgauseâs eyes. No, not a shadow, Morgana realizes with a start, but a flash of red. Morgause grimaces, presses her lips together. Grinds out her next words: âI did. Have one. Once.â
âWhat?!â Morgana splutters.
âRelax,â says Morgause, although itâs through her teeth, and sheâs clearly struggling to keep her own composure. âIt was a long time ago.â After a pause, she grits out, âYou shouldnât have given me a truth potion if you didnât want the truth.â
The lump in Morganaâs throat is gone, completely dissolved by her boiling rage. âHowâ You! I do want the truth! And it was your bloody truth potion!â A jolt startles her; itâs her own hand, smacking the table. âWere you just never going to tell me that Iâve aâ aââ
âA nephew,â Morgause supplies, apparently having regained her own calm. âIt was, oh, fourteen or fifteen years ago, now. His father was a druid, since you seem so keen to know. Iâm not sure who, exactly. I was sent to give a blessing at the Lughnasadh festival, you know how it is. Things got a bit,â she smirks, âheated.â Her face turns thoughtful, and she adds after a moment, âNimueh was furious with me.â
Morgana sags back to sitting. The lump is back, too. âWhat happened?â she whispers, wondering if she ought to reach for Morgauseâs hand. âDid heâ oh gods, was it Utherâ?â
But Morgause looks only faintly annoyed. âWhat? No, of course not. He's alive. I left him with the druids, obviously. I wasn't about to let Nimueh deliver me of a child. She didn't do very well the last time.â She makes a face, half wolfish smile, half grimace. âI went to a druid camp, a different one. It was Beltane, and even their healer was falling over with drink by the end of the night. I left before morning.â
Morgana picks at fraying lace, the edge of the ruined tablecloth. âWhatâs his name?â
âI don't know,â says Morgause in a hard, slow voice, âwhat they named him.â Her chin lifts. The shadows play dangerously across her face. âWhat? Did you think I was going to call him after Gorlois?â
âI donât know what I thought,â says Morgana, honestlyâ she canât be otherwise, can she? She canât seem to help her next question, either. She tells herself that sheâs not being cruel on purpose, that itâs just the potion, loosening her tongue. âHow do you know heâs alive, then? For all you know, he could be dead.â
âI know.â Morgause looks away. âThereâsâ a bond between us. I would feel it. If he died.â
Morgana snuffs out the candles. Above her, Morgauseâs skin is faintly grey, just barely luminous under the half-moon. She rises to her feet to stand behind Morgause, settles her hands on her waist, hooks her chin over one shoulder, and her eyes fall upon the stained tablecloth, the dark wine cooling and setting in. Thereâs an idea floating just at the edge of her thoughts: a bond between us. The impression of a blue cloak, a blue gaze, too intense for one so young.
âPromise meââ The words catch in Morganaâs throat. âPromise you wonâtâ with Cenred. I donât want you to.â
Morgause takes Morganaâs arms to wrap them around her own waist, and Morgana feels that sheâs being posed, like a doll.Â
âAsk me tomorrow,â she whispers. âIâll promise you then.â
oh my god I JUST realized that the inspiration for Uther's purge of magic comes from King Arthur's scheme to get rid of Mordred via shipwrecking all the babies born on May Day in Le Morte
people will really be out here like "people aren't writing enough of XYZ in fanfic" and it will be a person who doesn't even write fanfic lmao. like ok? you're not writing it either though?
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*gets out a big megaphone* sanitizing female characters by removing all moral ambiguity and their ability to make complex choices is not any more feminist than demonizing them. you have to learn to appreciate female characters without finding some way to simplify their personhood into either "evil bitch" or "perfect pure girlboss." it is still dehumanizing to view women as virtuous morally pure angels of light who can do no wrong. thats just bog standard benevolent misogyny.
for @merthurmicrofic prompt "rat" and @merlinmicrofic prompt "starvation"
***
âIn my defence,â Merlin grumbled, bending down to wrench his arrow out of a log, âthat log looked very much like a rabbit.â
Arthur whacked him on the shoulder. âHave you ever managed to kill anything edible? Anything at all?â Then, as an afterthought, he added, âAnything other than a rat.â Merlin, having just opened his mouth to speak, shut it again.
âHilarious,â Arthur groused. âIâm sure you had a right laugh at me.â
Merlin chuckled. âYeah, a bit. But thatâs not why I did it.â
âWell, why did you, then?â Arthur snapped.
âBecause,â said Merlin, âI couldnât let you starve, could I?â
Something had changed in Merlinâs tone. Arthur paused, turning round, and where there had been the brilliant smile, now there was the other look: the wide, solemn eyes, the heart-wrenching sincerity. A long moment passed before Arthur could speak. âNo,â he said at last, softly. âNo, I suppose not.â
Arthur flexed his fingers. The smile was back, just a small one; a small, private thing, just for him. He gripped Merlinâs upper arm and gave his own small smile in return.
âCome on, then,â he said, in the same soft voice. âLetâs catch something better for dinner.â
Modern AU Merlin would not be an academic. Sure he's intelligent and capable, but fundamentally he is completely lacking in ambition. Academia is soul-crushingly competitive. It's a magnet for THE most ambitious people in the world, people who are willing to work long hours for years and years and sacrifice everything else in order to make it. Canon Merlin does all that, but he's doing it because he believes it's his duty to Arthur and Camelot. He's not doing it for the love of the game. This man doesn't have an ambitious bone in his body. He failed upward into the medieval equivalent of middle management and then stayed there for 10 years and was kind of awful at it the whole time. You just know if the magic reveal had happened sooner and Arthur promoted him to some kind of advisor/sorcerer position he would complain about it SO hard. He'd probably be pleased eventually, but that's not the reason he's doing all that.
Also, he's a bit lazy. He's certainly capable of working hard, and often does, either because Arthur requires it of him or because there's a magical problem that only he can solve; but he's also constantly trying to bunk off work whenever he can get away with it, and doing a half-assed job otherwise. It's well established that he's really bad at his job and the only reason he never gets (permanently) fired is because Arthur likes having him around.
I kind of think modern Merlin would be more along the lines of "certifiable math genius who's otherwise a bit of a dumbass; works a regular-ass IT job." Canon Merlin with his instinctive magic is sort of the sorcerer equivalent of the gifted kid (TM) who never really had to study hard. I think he'd be more or less that person in our world too. Maybe he would get a PhD; you can get that far without much work ethic or ambition, if you're intelligent enough. But I really don't think he'd go any further in academia. He just doesn't care enough.
I'm irritated about how the Merlin writers handled Gwen and Lancelot's affair. Partially because they were way too afraid of making Gwen seem less than perfect so instead they just took away her agency by putting her under the spell of an enchanted bracelet rather than having her make her own decision. And also partially because they completely divorced the infidelity storyline from everything that made it important in the source material.
Le Morte d'Arthur is not the one and only source of Arthurian mythology, but it is the best-established version of the story of the Guinevere/Lancelot affair and the schism between Mordred and Arthur, and it's clearly what the writers of Merlin were basing the general outline of their story upon. One of the most noteworthy things about Le Morte d'Arthur as a piece of literature is the way it uses sexual transgressions to mirror the broader moral themes of the story. There are several examples of this:
The rape of Igraine by Uther resulting in the conception of Arthur is the sexual manifestation of force, violence-without-a-cause, which is the reason for the disintegration of the Round Table once the golden age of Camelot is achieved and the knights have no cause toward which to channel their aggression.
The incest between Arthur and Morgause resulting in the conception of Mordred is the sexual manifestation of vice and impiety, which is the reason that the attempt to redirect this aggression toward spiritual pursuits (the quest for the Holy Grail) is a failure.
The adultery of Guinevere and Lancelot is the sexual manifestation of treachery, which is the reason that Mordred takes advantage of the rupture in the court to initiate the civil war that leads to the titular Death of Arthur and the downfall of Camelot.
The writers of Merlin went in a very different direction plot-wise, which is fine and could have been done well, but I think they kind of lost the plot somewhere and wound up with a story that was really thematically muddled. It was thematically muddled in a lot of ways but I think the way they handled Gwen and Lancelot's affair is one of the most egregious examples. The thing is, they abandoned the idea of "sexual wrongs as a mirror for more general wrongs" in two out of three cases, and what they replaced those with actually worked pretty well. Instead of the rape of Igraine, we have the atrocities carried out by Uther in the name of Igraine's memory. And instead of the incestuous conception of Mordred, we have the tragic backstory of Mordred as a victim of those atrocities. That all works.
But in the case of the adultery storyline we have... a cheap trick orchestrated by the established antagonist. It doesn't have any symbolic significance to the narrative, and it's a fairly minor transgression (because it's a one-off, and occurs before Gwen and Arthur are even married (!) as opposed to how in the source material the affair goes on for decades) that's eventually forgiven and plays no role in the ultimate outcome. It really felt to me like the writers kind of said "well we gotta have the affair in there because it's canonical," i.e., it's a big plot point in Le Morte d'Arthur, but then they watered it down as much as possible and shoehorned it back into the story with no literary finesse whatsoever.
To be clear, I don't necessarily think that the adultery plotline needed to play a huge symbolic role in Merlin like it did in the source material. But, if they were going to bother to include it-- which really was not a foregone conclusion given how much other stuff they changed-- they should have given it more relevance to the story arc or at least played it as something more than Morgana's villainous plot of the week. And they most certainly should have let Gwen's decisions drive that subplot instead of treating her as a pawn in her own storyline.
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sorry unpopular opinion alert but sir lancelot was the most boring character. he was actually more interesting to me as a shade than as a living breathing human person which i think sums it up pretty succinctly
Gwen is a fast runner, but not fast enough. Morgana's icy voice through the trees cuts her to the bone. âWhy won't you just go away? Why can't I ever be rid of you?â
Morgana's eyes glow gold, and now Gwenâs ears are growing, back bending, fur sprouting, fingers shrinking and fusing together. But worse still is the sudden, terrible mental clarity, the dumb wisdom of the prey animal against the predator. RUN, it shrieks, echoing off the walls of her empty mind. RUN, it screams.
Her ear twitches: human shouts, hoofbeats, crossbows nocked.