Merlin in the context of "Idylls of the King"

Magic, sometimes spelled magick, is the application of beliefs, rituals or actions employed in the belief that they can manipulate natural or supernatural beings and forces. It is a category into which have been placed various beliefs and practices sometimes considered separate from both religion and science.

Connotations have varied from positive to negative at times throughout history. Within Western culture, magic has been linked to ideas of the Other, foreignness, and primitivism; indicating that it is "a powerful marker of cultural difference" and likewise, a non-modern phenomenon. During the late nineteenth and early twentieth centuries, Western intellectuals perceived the practice of magic to be a sign of a primitive mentality and also commonly attributed it to marginalised groups of people.

Magic, sometimes spelled magick, is the application of beliefs, rituals or actions employed in the belief that they can manipulate natural or supernatural beings and forces. It is a category into which have been placed various beliefs and practices sometimes considered separate from both religion and science.

Connotations have varied from positive to negative at times throughout history. Within Western culture, magic has been linked to ideas of the Other, foreignness, and primitivism; indicating that it is "a powerful marker of cultural difference" and likewise, a non-modern phenomenon. During the late nineteenth and early twentieth centuries, Western intellectuals perceived the practice of magic to be a sign of a fantasy prone mentality and also commonly attributed it to marginalised groups of people.

Mordred or Modred (/ˈmɔːrdrɛd/ or /ˈmoʊdrɛd/; Welsh: Medraut or Medrawt) is a major figure in the legend of King Arthur. The earliest known mention of a possibly historical Medraut is in the Welsh chronicle Annales Cambriae, wherein he and Arthur are ambiguously associated with the Battle of Camlann in a brief entry for the year 537. Medraut's figure seemed to have been regarded positively in the early Welsh tradition and may have been related to that of Arthur's son. As Modredus, Mordred was depicted as Arthur's traitorous nephew and a legitimate son of King Lot in the pseudo-historical work Historia Regum Britanniae, which then served as the basis for the subsequent evolution of the legend from the 12th century. Later variants most often characterised Mordred as Arthur's villainous bastard son, born of an incestuous relationship with his half-sister, the queen of Lothian or Orkney named either Anna, Orcades, or Morgause. The accounts presented in the Historia and most other versions include Mordred's death at Camlann, typically in a final duel, during which he manages to mortally wound his own slayer, Arthur. Mordred is usually a brother or half-brother to Gawain; however, his other family relations, as well as his relationships with Arthur's wife Guinevere, vary greatly.

In a popular telling, originating from the French chivalric romances of the 13th century and made prominent today through its inclusion in Le Morte d'Arthur, Mordred is a power-hungry son of Arthur from the incest with Morgause, prophesied by Merlin and destined to bring Britain to ruin. He survives Arthur's attempt to get rid of him soon after his birth and, years later, joins his half-brothers Gawain, Agravain, Gaheris and Gareth in Arthur's fellowship of the Round Table as a young and immoral knight. Eventually, Mordred learns of his true parentage and becomes the main actor in Arthur's downfall. He helps Agravain to expose the illicit love affair between Guinevere and Lancelot and then takes advantage of the resulting civil war to make himself the high king of Britain, ultimately leading to both his own and Arthur's deaths in their battle. Today, he remains an iconic character in many modern adaptations of Arthurian legend, in which he usually appears as a villain and the archenemy of Arthur.

The Lady of the Lake (French: Dame du Lac, Demoiselle du Lac, Italian: Dama del Lago) is a title used by multiple characters in the Matter of Britain, the body of medieval literature and mythology associated with the legend of King Arthur. As either actually fairy or fairy-like yet human enchantresses, they play important roles in various stories, notably by providing Arthur with the sword Excalibur, eliminating the wizard Merlin, raising the knight Lancelot after the death of his father, and helping to take the dying Arthur to Avalon after his final battle. Different Ladies of the Lake appear concurrently as separate characters in some versions of the legend since at least the Post-Vulgate Cycle and consequently the seminal Le Morte d'Arthur, with the latter describing them as members of a hierarchical group, while some texts also give this title to either Morgan or her sister.

The Beguiling of Merlin is a painting by the British Pre-Raphaelite painter Edward Burne-Jones that was created between 1872 and 1877.

The painting depicts a scene from the Arthurian legend about the infatuation of Merlin with the Lady of the Lake, Nimue. Merlin is shown trapped, helpless in a hawthorn bush as Nimue reads from a book of spells.

Le Morte d'Arthur (originally written as le morte Darthur; Anglo-Norman French for "The Death of Arthur") is a 15th-century Middle English prose compilation and reworking by Sir Thomas Malory of tales about the legendary King Arthur, Guinevere, Lancelot, Merlin and the Knights of the Round Table, along with their respective folklore, including the quest for the Holy Grail and the legend of Tristan and Iseult. In order to tell a "complete" story of Arthur from his conception to his death, Malory put together, rearranged, interpreted and modified material from various French and English sources. Today, this is one of the best-known works of Arthurian literature. Many authors since the 19th-century revival of the Arthurian legend have used Malory as their principal source.

Apparently written in prison at the end of the medieval English era, Le Morte d'Arthur was completed by Malory around 1470 and was first published in a printed edition in 1485 by William Caxton. Until the discovery of the Winchester Manuscript in 1934, the 1485 edition was considered the earliest known text of Le Morte d'Arthur and that closest to Malory's original version. Modern editions under myriad titles are variable, changing spelling, grammar and pronouns for the convenience of readers of modern English, as well as often abridging or revising the material.