#damosel savage

[tiodolma]

GARETH X LYNETTE ROADTRIP

lynette: i'll make sure you will die and then i will be free of you. gareth: watch me. you will never be free of me until i say so.

[the-evil-clergyman]

How Sir Launcelot slew the knight Sir Peris de Forest Savage that did distress ladies, damosels, and gentlewomen, from The Romance of King Arthur and His Knights of the Round Table by Arthur Rackham (1917)

[merilles]

Gareth and Lynette

(For @queer-ragnelle’s May Day Parade!)

Beaumains and the Damosel Savage! Though he wed her sister Lady Lyonors and she his brother Sir Gaheris, they swore to forever remain friends until death do them part.

[queer-ragnelle]

Feel like malory choose which characters he didnt like and which he did and then went through the motions of doing his retelling but that means stuff like Arthur doing the Mayday Massacre gets like a paragraph and has no influence on the narrative. Malory put a biblical exodus king/herod the great moment in there and then said “dont worry about it :]” meanwhile I literally cannot stop thinking about The Implications

he really did. the largest downside is malory was simplifying the post vulgate, which was already a simplification of the vulgate. so it’s like a horrendous game of telephone & all the depth & nuance is lost.

for example, in the post vulgate, arthur sleeps with morgause when he’s young, before he’s married, & she didn’t realize it was him (it was dark?? medieval logic.) point being that the adultery double standard isn’t a factor, she did not mean to cheat on lot, & arthur was single. that’s a narrative hiccup on malory’s part. furthermore the prophecy of a child born on may day come to destroy the kingdom was vague, so arthur’s intention was to round up the children born around that time, & raise them, until they were old enough to distinguish who was who. lot & morgause were sending baby mordred willingly, thinking this was a good opportunity for their son to be tutored in the high king’s household, only for the ship to crash, & for them to believe their son had died as a result of this summons. but he didn’t, & was raised alongside sagramore, eventually coming to court & learning of his real brothers, the other sons of morgause, that way.

i think the original stories & spins malory included were the best of it, especially gareth beaumains & his adventures with the damosel savage. but much of what he adapted he fumbled, all the motifs are forgotten, characters are inconsistent or hold beliefs which aren’t supported by the narrative itself (ie, mark sucks we hate him! what has he done? shhh don’t worry about that just hate him! team tristan!). kind of a mess!

i recommend the vulgate instead. it’s long. but skipping the history of the grail starting from the story of merlin it gives an in depth explanation of everything at play, all the characters rise to power, & their motivations. then the vulgate proper picks up with baby lancelot. norris j. lacy’s translation is a dream to read with really thorough footnotes to explain any references made or translation nuances.

the PDFs can be read here if you’re so inclined.

[talesfromtheenchantedforest]

ok since most ladies in arthurian literature don’t get names, and Lynete gets TWO, one of which is the iconic Damosel Savage, I propose all the other damosels get names off the list of ship names from the english royal navy, but only, like, the dope ones or the funny ones, not the lame ones.

by this system we could have a Damosel Malice, a Damosel Nimrod, and a Damosel Gay Bruiser, just sayin

[fccdfcrthcught]

In fact having the Norman Chapel as foyer would have made awful good sense to Ricci, who urged starting simple when building memory palaces. He advocated using

a reception hall, a fairly large formal space supported by pillars, as entry way to the memory palace proper, [in which he placed mere four figures (2 warriors, a peasant, a maidservant) at each corner to stand in for specific Chinese ideograms.]

The Norman Chapel does suit very well for this kind of spacious entrance point, since it’s not too differentiated or sectioned off as to encourage placing too many different figures.

I mean Hannibal’s got to converse and flirt with bae here; the foyer should be dramatic, clean, and simple, and NOT like for example, the tangle that is the Dome of the Rock below.

(”Will, where are you?” “Uh, I’m in the crypt I think? Or the apse? I don’t know?!!”) Though admittedly, the Dome of the Rock would have been a great place to construct deeper rooms for mnemonic purposes proper… like such [edit: oh cripes legible image over here]

Ok so before moving on, I’d like to quote Spence’s example of a modern memory palace to give a good feel of how one is supposed to interact and move about this kind of space.

Imagine a medical student facing an examination. The student has in her head a whole memory city, neatly laid out in wards, streets, lanes, houses, containing all the knowledge she has acquired in her schooling; but for this test, her energy is concentrated on the three-story Physiology House in Body Lane, where in separate rooms, the disparate, powerful, evocative images she as been creating in each evening of study are in place—around the walls, between the windows, on chairs, bed, tables. Three questions are fired at her: she must name the bones of the upper limbs, the stages of cell division in meiosis, and the order of nerves passing through the superior orbital tissue in the skull.

Her mind races to the Upper Body Bone Room, at the top of the stairs on the second floor, where in the third position from the door, a Canadian Mountie in a brilliant scarlet jacket sits on his horse with a manacled, distraught, figure tied to the horses crupper. This image brings to her mind the phrase “Some Criminals Have Underestimated Royal Canadian Mounted Police,” the first letter of each word yielding the correct list of scapula, clavicle, humerus, ulna, radius, carpals, metacarpals, and phalanges.

From there is takes her only a fraction of a second to glide to the Cell Room in the basement where, near, the furnace, a magnificent but savagely scarred African warrior is standing, a look of boredom on his face, despite the fact that he grasps with each huge hand the upper arm of a beautiful African girl. She is recalled “Lazy Zulu Pursuing Dark Damosels,” which provides the stages of cell division in meiosis as leptotene, zygotene, pachytene, diplotene, and diakinesis.

And as swiftly the student’s thoughts wing to the top floor of Skull Room where reclining on a bedspread patterned on the stripes and colours of the flag of France, a naked woman reclines, her fist clutching a crumpled stack of dollar bills. “Lazy French Tart Lying Naked In Anticipation” yields the order of nerves in the skull’s upper orbital tissues, the lacrimal, frontal, trochlear, lateral, nasociliary, internal, and abducenes.

Of course, the arcane limericks are not necessary, and I doubt Hannibal ever used such a system, but the point is, ideas should be affixed to evocative images and placed in specific areas in specific rooms in specific buildings, so that in order to retrieve a desired piece of information you merely have to move around a bit and locate said information, or skip the whole running around part, because ideally you would have the whole floor plan mapped inside your brain, and immediately pluck out what’s needed.

It was emphasized that these images should be as striking as possible

We ought, then, to set up images of kind that can adhere longest in the memory. And we shall do so if we establish likeness as striking as possible; if we assign to them exceptional beauty or singular ugliness; if we dress some of them with crowns or purple cloaks, for example, so that the likeness may be more distinct to us; or if we somehow disfigure them, as by introducing one stained with blood or smeared with red paint, so that its form is more striking [to] ensure our remembering them more readily.

Um guess who would be adroit at setting up images of exceptional beauty or horror?

Granted these are Will’s constructions, but I’d like to think Hannibal has similar il mostro, chesapeake ripper murder art objets placed all over his memory palace serving as mnemonic sign posts. (All the more reason Hannigram belong with each other<3 imagine all the grotesquely beautiful statues they can lovingly craft and place in their shared rooms in the memory palace.)

Of course, since setting up new statues or affixing new wards for each new piece of information would be laborious to the extreme, it was advised that those grown familiar with the methodology could

increase the content of given structures by placing ever more images within them. One could introduce articles of furniture into the room, place small decorative objects of gold or jade upon occasional tables. One could also use specific “pictures” to evoke the images, just as Quintilian had urged in the first century A.D., or as Ludovico Dolce had in mind in 1562 when he suggested as an example that certain works of Titian be remembered in all their intricate details by students interested in classical mythology.

You can bet Hannibal would have placed all sorts of furniture, knick-knacks, and paintings to stand in for memory. In fact, his office, with its relative sparseness and the schematic, deliberate way objects are placed therein, could easily be a model of an actual room in his memory palace.

What does the third book on the second aisle of the fourth book shelf on the eastern wall stand for? What information does the blue chair contain??? Beats me, but Hannibal might know.

That one could use paintings for mnemonic devices is interesting; imagine how jam packed to the hilt with information one single painting could be, a quality Hannibal as avid sketcher must have exploited.

Some have commented that the tracing-true-to-life quality of Hannibal’s sketches might have been borne from his lack of empathy and concomitant lack of imagination, but suppose they were deliberate exercises done to commit to memory and schematise possible memory palace buildings or paintings to place therein?

The Memory Palace of Robert Fludd (1574-1637)

Or what about his rather weird habit of inserting real life people into art works? No doubt they had sentimental purposes, but perhaps he also did so because he was just so used to attaching/inserting alien pieces of information to pre-existing buildings or paintings for mnemonic purposes.

So how large was Hannibal’s memory palace & how much information did it contain?

Ricci wrote quite casually in 1595 of running through a list of four to five thousand random Chinese ideograms and then repeating the list in reverse order, while Chinese friends described him as being able to recite volumes of the Chinese classics after scanning them only once. Francesco Panigarola, an older contemporary, was described as being able to roam across hundred thousand memory images, each in its own fixed space.

In Hannibal’s case, factor in his considerable mental resources and all the 48-hour days he seems to have for useless, solipsistic pursuits… and I’m sure he would’ve had more than enough stored away in his memory palace to occupy himself while rotting in BSHCI. To note, how feasible or effective this method is very much debatable; you would need prodigious (possibly eidetic) memory to be able to attempt this in the first place, not to mention A LOT of time spent on constructing and maintaining the palace. In fact, already by Ricci’s time there was pointed criticism against the method.

In the 1530s Cornelius Agrippa wrote that he felt the natural memory of men was dulled by the monstrous images concocted in mnemonic arts; the attempt to overload the mind with infinite pieces of information often “cause madness and frenzy instead of profound and sure memory.”

But if there’s anyone in the world to cling on to monstrous, insane mnemonic devices of bygone days, it would be Hannibal Lecter. And finally, how come Grahamcrackers got to share certain rooms or be able freely show up inside Hanner’s memory palace? How did that actually work?? No idea, I can only say it must’ve been the power of lurve ;)

**All quotes from Jonathan Spence, The Memory Palace of Matteo Ricci.

Hannibal’s Memory Palace

“My palace is vast, even by medieval standards. The foyer is the Norman Chapel in Palermo, severe and beautiful and timeless.” (#302 Primavera)

So in S3 there were several scenes set in Hannibal’s memory palace, usually functioning as a kind of telepathic timey wimey love-theatre for Hannigram, but we never got a good look at its mechanics. I mean god knows what’s actually inside cannibae’s head, but memory palaces do have a long pedigree as mnemonic devices, which means that we can try to guess at how his memory palace actually works.  

Memory palaces are both more prosaic and awe-inspiring than what recent popular representations might have led to think; they’re basically words, concept, or ideas attached to specific images placed in specific locations in mentally constructed buildings, such as pavilions, divans, or palaces. With the help of Jonathan Spence’s book Memory Palace of Matteo Ricci, where he explicates how 16th century Jesuit intellectuals such as Ricci would have conceived of memory palaces, I’m going to try to lay out the makings of a traditional memory palace.

First, you need a building for your memory palace. They could either be

(1) drawn from reality, from buildings one had been in and recalled in memory. (2) totally fictive, products of imagination conjured up in any size or shape. (3) half-real and half-fictive, as in the case of a building one knew well enough and through the back wall of which one broke an imaginary door as a shortcut to new spaces, or in the middle of which one created a mental staircase that would lead one up to higher flowers that had not existed before.

In Hannibal’s case, it’s likely (3) half-real and half-fictive; it would make sense for his (’even by medieval standards’) vast palace to be composed of many different buildings melded, welded, and bleeding into one another. Plus, it’s been already noted that different character have access to different parts of his memory palace; Chilton doesn’t get right of entrance at all, 

Alana gets his office and Will the Norman Chapel, implying that Hannibal’s memory palace does indeed consist of many different buildings, in which case this sequence of Will looking up from Hannibal’s office to find the Norman Chapel 

might be not so much fantasy as a fairly faithful representation of Hannibal’s memory palace, with his office as reception area, the Norman Chapel as foyer leading to additional rooms, among which must have been Lecter Estates hidden way in the back.

Keep reading

[kprciffdw]

Kim Possible: The Extremely Secret Files-Part 20

They arrived on the Planet Damosel. They got out of the ship and looked out at the massive ocean-side city. Ron: "Wow, I have to admit, these alien cities never fail to amaze me."

Rufus popped out of Ron's pocket and had a chance to look out at the city. Rufus: "Whoooooa!" Kim: "I wonder how far Lilo has gotten." Clank: "Or if she and Stitch as well as those other Experiments, or Stitch's cousins as they are referred to, have arrived here." Ratchet: "Let's find that out for ourselves. Come on, the city needs us."

They rushed into the city. As soon as they entered, they met up with Lilo and Stitch. Ratchet: "Hey! Lilo! Stitch!" Lilo: "You guys made it." Kim: "So how have things been going?" Lilo: "Not so good. We were able to handle the city but the Protopets are now wreaking havoc on the railways. Some of Stitch's cousins are handling it now, but we're going to need help with the ones still causing chaos on the streets." Ratchet: "Don't worry, Lilo, we'll take care of it, just send as many of Stitch's cousins as necessary to provide back up for the ones still at the railway." Lilo: "You got it!." Stitch: "Okie-taka! Leave it to me!"

Stitch rushed off, Lilo followed him. Ratchet and the group headed towards the streets. There, the Protopet infestation was devastating. There were civilians being attacked continuously. It was truly a gruesome sight. Ron: "This looks way worse than what we saw on that news broadcast Lilo showed us." Kim: "This is just horrible…we have to do something, you guys." Ratchet: "And we will. Let's go."

They rushed out and fought off many of the Protopets. It was a very tough fight, but they persisted on. What made things even tougher was that the Protopets kept reproducing even more Protopets, making the fight from difficult to overwhelming. They eventually came to a point where the infestation was too much for them to handle. Ratchet: "It's no use, there's just too many of them!"

Kim looked over to see a machine producing more of them. Kim: "And they just keep replicating. What can we do?"

Just then, Ron came up with an idea. Ron: "Hold on, guys. I'm about to do something reckless and perhaps even embarrassing."

Ron grabbed on to the waist area of his pants. Kim, Ratchet and Clank stood by and watched. Ratchet: "Oh, no, he's not doing what I think he's doing, is he?" Kim: "I'm afraid so."

Ron then, after taking off his pants, held them up. Ron: "Hey!"

All of the Protopets stopped and looked directly towards him. Ron waved his pants up and down. Ron: "Fuzzo! Fuzzo! Olay!"

Rufus popped out of his pocket and screeched as he looked out. As the Protopets rushed over towards Ron, Rufus jumped out of the pocket, rushed towards Kim as fast as he could and climbed up on her shoulder. He was quaking in fear as he closed his eyes. Ron continued waving his pants up and down. Ron: "Fuzzo! Fuzzo!"

They continued to approach him, but he kept waving his pants up and down. Ron: "Fuzzo! Fuzzo! Fuzzo! Olay! Fuzzo! Fuzzo!"

Rufus groaned as he covered his eyes with his hand and shook his head. Ratchet: "I feel the same way, Rufus." Clank: "I believe Ron has completely lost it this time." Kim: "He has…but…as crazy as this may sound, he…may be on to something." Ratchet: "Is he really?" Clank: "Hm…actually, she is right. From what I am able to gather from previous events, many creatures have been incomprehensibly drawn to Ron's trousers, which have resulted in numerous embarrassing incidences. I would guess that he is taking advantage of what he had taken from said previous events and is utilizing this to lure these deadly creatures away from everything and everyone around us." Ratchet: "You know what? All of that sounds ridiculous, but…it does make sense, in a way. Still, it barely does anything to take away any factors of how incredibly embarrassing this is." Kim: "Unfortunately, that much is true." Clank: "I…agree…"

The Protopets continued to approach Ron. But as they got close to him, he went from waving his pants to becoming terrified and running away screaming. Ron: "KP! RATCHET! CLANK!" Ratchet: "(sigh) Come on, let's help him out…again."

They rushed over and dealt with the Protopets but they were too late to prevent Ron's pants from being completely ripped to shreds by the savage creatures. Ron: "Oh, why did I think this was a good idea?" Clank: "I would hope that your pants are able to be reassembled after being ripped to shreds unreservedly."

Ron chuckled nervously. Ron: "Uh…probably." Ratchet: "Alright! That's it! I've had enough waiting! Kimberly, ask Wade if he's finished with building those indestructible pants, already."

Kim then pulled out the Kimmunicator. Kim: "Wade?" Wade: "Yeah, Kim? What's up?" Kim: "Uh…we have another situation…with Ron." Wade: "(sigh) What did he do this time?" Kim: "Well…um…you see…the Protopets were unleashed upon an entire populated metropolis, so we came to fend them off and…long story short, Ron did that by taking off his pants and using them to lure the Protopets away from the populace." Ratchet: "And his pants were completely shredded and devoured by the Protopets." Wade: "Whoa, that has got to be the craziest thing that he has ever done!" Ratchet: "Yeah, are those indestructible pants done, yet, because I would really appreciate having them be given to Ron right now!" Wade: "Um…they're…not, not completely, but they're almost there. I just need one piece of material to complete them." Ratchet: "And where do you expect us to find that?" Wade: "Fortunately, it's very close to your location." Clank: "But what about Ron? Will he have to remain without a pair of trousers until you have completed the construction of those indestructible pants?" Wade: "Not to worry, the Pants Regenerator will fully recover his pants from even the tiniest reading of the fabric."

Just then, they heard a massive explosion nearby. Kim: "What was that!?"

Wade checked something on his monitor. Wade: "I'm picking up some major activities from many Experiments; the Protopets and a multitude of other Experiments not otherwise specified." Ratchet: "That must be Stitch and his cousins." Wade: "Wait! Stitch is there with you, in the Bogon Galaxy?" Kim: "Along with Lilo." Wade: "Lilo, too? What are they doing in another galaxy?"

At that moment, they could hear a lot of loud noises from outside the city. Kim: "What's going on over there!?" Ratchet: "I don't know, but we had better get over there and find out. For all we know, they may need us to back them up."

They rushed towards the city exit as fast as they could. Ron's pants were restored as he rushed out with the others.

Directly outside the city, they saw Stitch and his cousins fighting the Protopets on the railways. Lilo stood near them, rooting for Stitch and his cousins. Lilo: "Go, Stitch! Bring down those nasty beasts! Yeah! Go, Ohana!" Ratchet: "Lilo?"

She turned around and noticed the group. Lilo: "Oh! Hey, guys. You're just in time. Stitch and his cousins are just about to finish off the last of those horrible Protopet monsters."

They stood beside her and watched as the fight between both groups of genetically modified creatures continued. They were amazed by the fight as it persisted on. Ratchet: "Whoa, Stitch and those other Experiments of yours really pack quite a punch." Kim: "By the way, we just heard an explosion while we were still in the city. What was that?" Lilo: "That explosion? That was those Protopets blowing up one of the generators on that platform on the water. There's a piece of it over there."

They looked over beside them and saw a large piece of metal sticking out of the wall. The Kimmunicator went off again, she pulled it out. Wade: "Kim, that piece of metal up there; that's the final component I need to complete those indestructible pants! I just need you to scan it and then I'll be able to finally construct those pants."

Kim held the Kimmunicator up and scanned the metal piece, then dropped it back down, turned it around and looked back at the screen. Wade: "OK, got it. Now to build those pants. I'll have them made in no time." Kim: "Great, keep us posted; I can't wait to hear when you've managed to complete them."

She tucked the Kimmunicator away. Ratchet: "Neither can I."

They went back to watching the fight.

Within much time, Stitch and his cousins were able to purge the infestation. They celebrated a battle well fought then returned to Lilo. They celebrated with her as Ratchet and the group stood nearby and watched them. Both groups then stood face to face. Kim: "I have to admit, you've helped us out tremendously." Ratchet: "No kidding. Stitch and his cousins really took down all of those Protopets with ease." Clank: "Oh, I agree. Your Stitch and those other genetically modified Experiments of yours have proven to be most formidable allies in this fight." Lilo: "Mahalo, you guys; we were happy to help. Although, it seems as though this threat has spread to many other planets in this galaxy. We plan to go over to each one and save them from all of this chaos." Clank: "And we shall wish you the best of luck, Miss Lilo." Ratchet: "And while you guys do that, we'll tackle this infestation from the source." Lilo: "And how will you be able to do that?" Ratchet: "Well, we have someone who will be helping us out with that. In fact, she's been trying to put a stop to this from the very beginning." Lilo: "You mean that other girl with the same ears as you? Well, hope you guys succeed in that." Kim: "That's what we intend to do." Lilo: "Well, good luck you guys and see you later." Ratchet: "Uh, before you go, care to mention what Ohana means?" Lilo: "Why, certainly, Ratchet. Ohana means family." Ratchet: "Family…that sounds interesting." Lilo: "Yep and family means nobody gets left behind." Stitch: "Or forgotten."

Ratchet smiled, then looked at Kim as she was also smiling at him. Lilo: "Well, see ya, guys." Stitch: "Ih! Bachooga!"

Lilo, Stitch and Stitch's cousins walked off.

Ratchet and the group went back to the ship and made their way to the next planet.

[queer-ragnelle]

hello!! i am pretty new to tumblr so still finding my way around, and part of my current project was going to be looking into fandom space to see how some of the word of mouth and online space mimics oral storytelling. i am especially looking at villains in arthuriana and fan interpretations and headcanons for this, so any advice of where to look hereabouts would be really lovely!! ty for your time and hope you have a great day!!

Hi anon! Welcome!

Honestly I'm at a bit of a loss where to even begin. The scope of Arthuriana and what constitutes a "villain" is so vast. There are the obvious Black Knights and usurping nephews, but even those characters have more than their fair share of morally gray/nuanced portrayals depending on where you look. Medieval literature in and of itself was varied even before we get into modern interpretations and the far reaching corners of fandom. I think in regards to this, it might help to narrow your scope to specific "villainous" characters—Morgan le Fay, Sir Mordred, False Guinevere, Sir Meleagant, and the mysterious Knights of Green and Red and Black.

There's also the matter of where you intend to make the cut off. What constitutes "canon" character interpretation? Where does "canon" end and fan extrapolation begin? To my mind, personally, anything after the Middle Ages falls into the "modern" category, which would include Alfred Lord Tennyson's The Idylls of The King on our end of the divide. Speaking for myself, I don't devalue any interpretation based solely on the era of it's inception. If Sir Thomas Malory wrote in Le Morte d'Arthur that Sir Gareth married Lyonesse, then it is so. But when Tennyson claims that, no, Sir Gareth married the Savage Damosel Linet, then he is also correct. Each iteration is it's own self-contained world and anything is possible within that framework. So it is for "villains," as well.

But that said, the beauty of Arthuriana is that each new addition to the literary tradition (and I include films, TV shows, video games, comics, and every other conceivable medium) builds on what came before. I don't necessarily enjoy or recommend them all, but there's definitely a connection from one retelling to the next. In John Boorman's Excalibur (1981), Percival is first revealed as a strange boy wandering the forest who happens upon Lancelot sleeping. Percival is captivated by him. He endears himself to the knight by waking him with the smell of meat he hunted and roasted especially for him. From there, he's brought back to Camelot to begin working under Kay in the kitchens and eventually rises to knighthood. When I first saw this, I was elated. "It's just like in The Adventures of Sir Lancelot!" Go back thirty more years. In The Adventures of Sir Lancelot (1956-1957), there's a character named Brian, a kitchen boy. After Lancelot helps end the siege that was threatening the castle Brian worked at, he begins following Lancelot around, and one morning, cooks breakfast for the knight. By the end of the episode, Lancelot has all but adopted him, and enrolls him in lessons to begin his squiredom, and eventually, achieve knighthood. Sound familiar?

Could it be that John Boorman, as a child, watched The Adventures of Sir Lancelot, saw what they did with their Brian/Gareth hybrid, and said, "I like that idea, I think I'll use it for Percival." To me, Boorman drawing on that 50s show for his own work is no different than Tennyson building on what Malory had done, who in his own turn wrote from the Post Vulgate.

Now we come to the present day. Bloggers share these stories. We quote the texts. I stream movies and TV shows every weekend in the Arthurian Theater Server. We make connections from one creation to the next. You can see the web of inspirations all interconnecting. Then we branch off into our own new interpretations based on the foundations of these creations that came before. I don't know how popular an opinion this is, but I think that goes beyond "head canon," because there is no canon. Arthuriana is a continuously flowing font made up of tiny beads of details. The stories can only function with the existence of the others. It's not derivative in the same sense as one drawing a little too heavily from their favorite childhood fantasy novel. This tradition dates back hundreds of years. We're just continuing it with the technology of our time.

You want to focus on "villains." But I wonder—Is Morgan le Fay's character beholden to a specific source? How do we determine what that is? If one chooses to write Morgan le Fay sympathetically, or even outright benevolent, is she still a "villain?" Is she still Morgan le Fay? Personally, I think we should respect what came before us, and consider how that impacts the new addition we intend to create. Change Morgan too much and she ceases to be recognizable as Morgan, and I'm here to read about Morgan! I think it's important to maintain the same resonance which has kept us interested for so many centuries. And yet the basis for sweeping changes is all around us. Just as Morgan plotted to kill Arthur and seize his throne, she also rode by his side in the boat to Avalon, where he sleeps still. The range of possibilities is vast beyond imagination. So go wild and get creative, I'm not your mom.

I don't know if that answers your questions or not lol. You're welcome to send me another ask or a private message if you want to talk more.

I also open up this question to my followers for a larger sample size—What do you guys think?

Thanks for the ask and have a great day!