Morgan le Fay

Morgan
Matter of Britain character
Morgan le Fay by Frederick Sandys, 1864
First appearance	Vita Merlini by Geoffrey of Monmouth
Based on	Possibly Modron, the Morrígan, Circe, Medea, Niamh, others
In-universe information
Species	Human, fairy or goddess (depending on the source)
Gender	Female
Occupation	Enchantress, queen
Family	Her sisters (Vita Merlini) or King Arthur's family Le Morte d'Arthur: Igraine and Gorlois (parents), Morgause and Elaine (sisters), Uther Pendragon (stepfather), Arthur Pendragon (half-brother)
Spouse	Nentres or Urien
Significant other	Various, including Accolon, Guiomar, Lancelot, Merlin, Ogier the Dane, Sebile
Children	Various or none (Ywain in Le Morte d'Arthur)
Home	Avalon, Broceliande, Camelot, Kingdom of Gorre [fr], Tintagel Castle

Morgan le Fay (/ˈmɔːrɡən lə ˈfeɪ/; Welsh and Cornish: Morgen; with le Fay being garbled French la Fée, thus meaning 'Morgan the Fairy'), alternatively known as Morgan[n]a, Morgain[a/e], Morgant[e], Morg[a]ne, Morgayn[e], Morgein[e], and Morgue[in] among other names and spellings, is a powerful and ambiguous enchantress from the legend of King Arthur, in which most often she and he are siblings. Early appearances of Morgan in Arthurian literature do not elaborate her character beyond her role as a goddess, a fay, a witch, or a sorceress, generally benevolent and connected to Arthur as his magical saviour and protector. Her prominence increased as the legend of Arthur developed over time, as did her moral ambivalence, and in some texts there is an evolutionary transformation of her to an antagonist, particularly as portrayed in cyclical prose such as the Lancelot-Grail and the Post-Vulgate Cycle. A significant aspect in many of Morgan's medieval and later iterations is the unpredictable duality of her nature, with potential for both good and evil.

Her character may have originated from Welsh mythology as well as from other ancient and medieval myths and historical figures. The earliest documented account, by Geoffrey of Monmouth in Vita Merlini (written c. 1150) refers to Morgan in association with the Isle of Apples (Avalon), to which Arthur was carried after having been fatally wounded at the Battle of Camlann, as the leader of the nine magical sisters unrelated to Arthur. Therein, and in the early chivalric romances by Chrétien de Troyes and others, Morgan's chief role is that of a great healer. Several of numerous and often unnamed fairy-mistress and maiden-temptress characters found through the Arthurian romance genre may also be considered as appearances of Morgan in her different aspects.

Romance authors of the late 12th century established Morgan as Arthur's supernatural elder sister. In the 13th-century prose cycles – and the later works based on them, including the influential Le Morte d'Arthur – she is usually described as the youngest daughter of Arthur's mother Igraine and her first husband Gorlois. Arthur, son of Igraine and Uther Pendragon, is thus Morgan's half-brother, and her full sisters include Mordred's mother, the Queen of Orkney. The young Morgan unhappily marries Urien, with whom she has a son, Yvain. She becomes an apprentice of Merlin, and a capricious and vindictive adversary of some knights of the Round Table, all the while harbouring a special hatred for Arthur's wife Guinevere. In this tradition, she is also sexually active and even predatory, taking numerous lovers that may include Merlin and Accolon, with an unrequited love for Lancelot. In some variants, including in the popular retelling by Malory, Morgan is the greatest enemy of Arthur, scheming to usurp his throne and indirectly becoming an instrument of his death. However, she eventually reconciles with Arthur, retaining her original role of taking him on his final journey to Avalon.

Many other medieval and Renaissance works feature continuations of her evolutionary tale from the aftermath of Camlann as she becomes the immortal queen of Avalon in both Arthurian and non-Arthurian stories, sometimes alongside Arthur. After a period of being largely absent from contemporary culture, Morgan's character again rose to prominence in the 20th and 21st centuries, appearing in a wide variety of roles and portrayals. Notably, her modern character is frequently being conflated with her sister's as mother of Arthur's son and nemesis Mordred, the status that Morgan herself never had in medieval legend.