by Mary Stewart
"His mistake."
His cheek-muscles moved slightly. It was a smile. After a while he asked: "Did he see the horses after all?"
"No. Ralf was at the gate when he came, and Brithael just asked if anyone had been up to the castle, because he'd met a horseman below. When Ralf said no he accepted it. We let him in, and then killed him."
"Uther." It was an assumption, not a question. His eyes were closed.
"No. Uther was still with the Duchess. I couldn't risk Brithael taking him unarmed. He would have killed her, too."
The eyes flared open, momentarily clear and startled. "You?"
"Come, Cadal, you hardly flatter me." I gave him a grin. "Though I'd have done you no credit, I'm afraid. It was a very dirty fight. The King wouldn't even know the rules. I invented them as I went along."
This time it really was a smile. "Merlin... little Merlin, that couldn't even sit a horse... You kill me."
The tide must be on the turn. The next wave that thundered up sent only the finest spray which fell on my shoulders like mist. I said: "I have killed you, Cadal."
"The gods..." he said, and drew a great, sighing breath. I knew what that meant. He was running out of time. As the light grew I could see how much of his blood had soaked into the soaking path. "I heard what the King said. Could it not have happened without... all this?"
"No, Cadal."
His eyes shut for a moment, then opened again. "Well," was all he said, but in the syllable was all the acquiescent faith of the past eight years. His eyes were showing white now below the pupil, and his jaw was slack. I put my good arm under him and raised him a little. I spoke quickly and clearly:
"It will happen, Cadal, as my father wished and as God willed through me. You heard what Uther said about the child. That alters nothing. Because of this night's work Ygraine will bear the child, and because of this night's work she will send him away as soon as he is born, out of the King's sight. She will send him to me, and I shall take him out of the King's reach, and keep him and teach him all that Galapas taught me, and Ambrosius, and you, even Belasius. He will be the sum of all our lives, and when he is grown he will come back and be crowned King at Winchester."
"You know this? You promise me that you know this?" The words were scarcely recognizable. The breath was coming now in bubbling gasps. His eyes were small and white and blind.
I lifted him and held him strongly against me. I said, gently and very clearly: "I know this. I, Merlin, prince and prophet, promise you this, Cadal."
His head fell sideways against me, too heavy for him now as the muscles went out of control. His eyes had gone. He made some small muttering sound and then, suddenly and clearly, he said, "Make the sign for me," and died.
I gave him to the sea, with Brithael who had killed him. The tide would take him, Ralf had said, and carry him away as far as the western stars.
* * *
Apart from the slow clop of hoofs, and the jingle of metal, there was no sound in the valley. The storm had died. There was no wind, and when I had ridden beyond the first bend of the stream, I lost even the sound of the sea. Down beside me, along the stream, mist hung still, like a veil. Above, the sky was clear, growing pale towards sunrise. Still in the sky, high now and steady, hung the star.
But while I watched it the pale sky grew brighter round it, flooding it with gold and soft fire, and then with a bursting wave of brilliant light, as up over the land where the herald star had hung, rose the young sun.
THE LEGEND OF MERLIN
VORTIGERN, KING OF BRITAIN, WISHING to build a fortress in Snowdon, called together masons from many countries, bidding them build a strong tower. But what the stonemasons built each day collapsed each night and was swallowed up by the soil. So Vortigern held council with his wizards, who told him that he must search for a lad who never had a father, and when he had found him should slay him and sprinkle his blood over the foundations, to make the tower hold firm. Vortigern sent messengers into all the provinces to look for such a lad, and eventually they came to the city that was afterwards called Carmarthen. There they saw some lads playing before the gate, and being tired, sat down to watch the game. At last, towards evening, a sudden quarrel sprang up between a couple of youths whose names were Merlin and Dinabutius. During the quarrel Dinabutius was heard to say to Merlin: "What a fool must thou be to think thou art a match for me! Here am I, born of the blood royal, but no one knows what thou art, for never a father hadst thou!" When the messengers heard this they asked the bystanders who Merlin might be, and were told that none knew his father, but that his mother was daughter of the King of South Wales, and that she lived along with the nuns in St. Peter's Church in that same city.
The messengers took Merlin and his mother to King Vortigern. The King received the mother with all the attention due to her birth, and asked her who was the father of the lad. She replied that she did not know. "Once," she said, "when I and my damsels were in our chambers, one appeared to me in the shape of a handsome youth who, embracing me and kissing me, stayed with me some time, but afterwards did as suddenly vanish away. He returned many times to speak to me when I was sitting alone, but never again did I catch sight of him. After he had haunted me in this way for a long time, he lay with me for some while in the shape of a man, and left me heavy with child." The King, amazed at her words, asked Maugantius the soothsayer whether such a thing might be. Maugantius assured him that such things were well known, and that Merlin must have been begotten by one of the "spirits there be betwixt the moon and the earth, which we do call incubus daemons."
Merlin, who had listened to all this, then demanded that he should be allowed to confront the wizards. "Bid thy wizards come before me, and I will convict them of having devised a lie." The King, struck by the youth's boldness and apparent lack of fear, did as he asked and sent for the wizards. To whom Merlin spoke as follows: "Since ye know not what it is that doth hinder the foundation being laid of this tower, ye have given counsel that the mortar thereof should be slaked with my blood, so that the tower should stand forthwith. Now tell me, what is it that lieth hid beneath the foundation, for somewhat is there that doth not allow it to stand?" But the wizards, afraid of showing ignorance, held their peace. Then said Merlin (whose other name is Ambrosius): "My lord the King, call thy workmen and bid them dig below the tower, and a pool shalt thou find beneath it that doth forbid thy walls to stand." This was done, and the pool uncovered. Merlin then commanded that the pool should be drained by conduits; two stones, he said, would be found at the bottom, where two dragons, red and white, were lying asleep. When the pool was duly drained, and the stones uncovered, the dragons woke and began to fight ferociously, until the red had defeated and killed the white. The King, amazed, asked Merlin the meaning of the sight, and Merlin, raising his eyes to heaven, prophesied the coming of Ambrosius and the death of Vortigern. Next morning, early, Aurelius Ambrosius landed at Totnes in Devon.
After Ambrosius had conquered Vortigern and the Saxons and had been crowned King he brought together master craftsmen from every quarter and asked them to contrive some new kind of building that should stand for ever as a memorial. None of them were able to help him, until Tremorinus, Archbishop of Caerleon, suggested that the King should send for Merlin, Vortigern's prophet, the cleverest man in the kingdom, "whether in foretelling that which shall be, or in devising engines of artifice." Ambrosius forthwith sent out messengers, who found Merlin in the country of Gwent, at the fountain of Galapas where he customarily dwelt. The King received him with honour, and first asked him to foretell the future, but Merlin replied: "Mysteries of such kind be in no wise to be revealed save only in sore need. For if I were to utter them lightly or to make laughter, the spirit that teaches me would be dumb and would forsake me in the hour of need." The King then asked him about the monument, but when Merlin advised him to send for the "Dance of the Giants that is in Killare, a mountain in Ireland," Ambrosius laughed, saying it was impossible to move stones that everyone knew had
been set there by giants. Eventually, however, the King was persuaded to send his brother Uther, with fifteen thousand men, to conquer Gilloman, King of Ireland, and bring back the Dance. Uther's army won the day, but when they tried to dismantle the giant circle of Killare and bring down the stones, they could not shift them. When at length they confessed defeat, Merlin put together his own engines, and by means of these laid the stones down easily, and carried them to the ships, and presently brought them to the site near Amesbury where they were to be set up. There Merlin again assembled his engines, and set up the Dance of Killare at Stonehenge exactly as it had stood in Ireland. Shortly after this a great star appeared in the likeness of a dragon, and Merlin, knowing that it betokened Ambrosius' death, wept bitterly, and prophesied that Uther would be King under the sign of the Dragon, and that a son would be born to him "of surpassing mighty dominion, whose power shall extend over all the realms that lie beneath the ray (of the star)..."
The following Easter, at the coronation feast, King Uther fell in love with Ygraine, wife of Gorlois, Duke of Cornwall. He lavished attention on her, to the scandal of the court; she made no response, but her husband, in fury, retired from the court without leave, taking his wife and men at arms back to Cornwall. Uther, in anger, commanded him to return, but Gorlois refused to obey. Then the King, enraged beyond measure, gathered an army and marched into Cornwall, burning the cities and castles. Gorlois had not enough troops to withstand him, so he placed his wife in the castle of Tintagel, the safest refuge, and himself prepared to defend the castle of Dimilioc. Uther immediately laid siege to Dimilioc, holding Gorlois and his troops trapped there, while he cast about for some way of breaking into the castle of Tintagel to ravish Ygraine. After some days he asked advice from one of his familiars called Ulfin. "Do thou therefore give me counsel in what wise I may fulfill my desire," said the King, "for, and I do not, of mine inward sorrow shall I die." Ulfin, telling him what he knew already — that Tintagel was impregnable — suggested that he send for Merlin. Merlin, moved by the King's apparent suffering, promised to help. By his magic arts he changed Uther into the likeness of Gorlois, Ulfin into Jordan, Gorlois' friend, and himself into Brithael, one of Gorlois' captains. The three of them rode to Tintagel, and were admitted by the porter. Ygraine taking Uther to be her husband the Duke, welcomed him, and took him to her bed. So Uther lay with Ygraine that night, "and she had no thought to deny him in aught he might desire." That night, Arthur was conceived.
But in the meantime fighting had broken out at Dimilioc, and Gorlois, venturing out to give battle, was killed. Messengers came to Tintagel to tell Ygraine of her husband's death. When they found "Gorlois," apparently still alive, closeted with Ygraine, they were speechless, but the King then confessed the deception, and a few days later married Ygraine.
Uther Pendragon was to reign fifteen more years. During those years he saw nothing of his son Arthur, who on the night of his birth was carried down to the postern gate of Tintagel and delivered into the hands of Merlin, who cared for the child in secret until the time came for Arthur to inherit the throne of Britain.
Throughout Arthur's long reign Merlin advised and helped him. When Merlin was an old man he fell dotingly in love with a young girl, Vivian, who persuaded him, as the price of her love, to teach her all his magic arts. When he had done so she cast a spell on him which left him bound and sleeping; some say in a cave near a grove of whitethorn trees, some say in a tower of crystal, some say hidden only by the glory of the air around him. He will wake when King Arthur wakes, and come back in the hour of his country's need.
AUTHOR'S NOTE
NO NOVELIST DEALING WITH DARK AGE Britain dares venture into the light without some pen-service to the Place-Name Problem. It is customary to explain one's usage, and I am at once less and more guilty of inconsistency than most. In a period of history when Celt, Saxon, Roman, Gaul and who knows who else shuttled to and fro across a turbulent and divided Britain, every place must have had at least three names, and anybody's guess is good as to what was common usage at any given time. Indeed, the "given time" of King Arthur's birth is somewhere around 470 A.D., and the end of the fifth century is as dark a period of Britain's history as we have. To add to the confusion, I have taken as the source of my story a semi-mythological, romantic account written in Oxford by a twelfth-century Welshman [Or (possibly) Breton], who gives the names of places and people what one might call a post-Norman slant with an overtone of clerical Latin. Hence in my narrative the reader will find Winchester as well as Rutupiae and Dinas Emrys, and the men of Cornwall, South Wales, and Brittany instead of Dumnonii, Demetae, and Armoricans.
My first principle in usage has been, simply, to make the story clear. I wanted if possible to avoid the irritating expedient of the glossary, where the reader has to interrupt himself to look up the place-names, or decide to read straight on and lose himself mentally. And non-British readers suffer further; they look up Calleva in the glossary, find it is Silchester, and are none the wiser until they consult a map. Either way the story suffers. So wherever there was a choice of names I have tried to use the one that will most immediately put the reader in the picture: for this I have sometimes employed the device of having the narrator give the current crop of names, even slipping in the modern one where it does not sound too out of place. For example: "Maesbeli, near Conan's Fort, or Kaerconan, that men sometimes call Conisburgh." Elsewhere I have been more arbitrary. Clearly, in a narrative whose English must be supposed in the reader's imagination to be Latin or the Celtic of South Wales, it would be pedantic to write of Londinium when it is so obviously London; I have also used the modern names of places like Glastonbury and Winchester and Tintagel, because these names, though mediaeval in origin, are so hallowed by association that they fit contexts where it would obviously be impossible to intrude the modern images of (say) Manchester or Newcastle. These "rules" are not, of course, intended as a criticism of any other writer's practice; one employs the form the work demands; and since this is an imaginative exercise which nobody will treat as authentic history, I have allowed myself to be governed by the rules of poetry: what communicates simply and vividly, and sounds best, is best.
The same rule of ear applies to the language used throughout. The narrator, telling his story in fifth-century Welsh, would use in his tale as many easy colloquialisms as I have used in mine; the servants Cerdic and Cadal would talk some kind of dialect, while, for instance, some sort of "high language" might well be expected from kings, or from prophets in moments of prophecy. Some anachronisms I have deliberately allowed where they were the most descriptive words, and some mild slang for the sake of liveliness. In short, I have played it everywhere by ear, on the principle that what sounds right is acceptable in the context of a work of pure imagination.
For that is all The Crystal Cave claims to be. It is not a work of scholarship, and can obviously make no claim to be serious history. Serious historians will not, I imagine, have got this far anyway, since they will have discovered that the main source of my story-line is Geoffrey of Monmouth's History of the Kings of Britain.
Geoffrey's name is, to serious historians, mud. From his Oxford study in the twelfth century he produced a long, racy hotch-potch of "history" from the Trojan War (where Brutus "the King of the Britons" fought) to the seventh century A.D., arranging his facts to suit his story, and when he got short on facts (which was on every page), inventing them out of the whole cloth. Historically speaking, the Historia Regum Brittaniae is appalling, but as a story it is tremendous stuff, and has been a source and inspiration for the great cycle of tales called the Matter of Britain, from Malory's Morte d'Arthur to Tennyson's Idylls of the King, from Parsifal to Camelot.
The central character of the Historia is Arthur, King of the first united Britain. Geoffrey's Arthur is the hero of legend, but it is certain that Arthur was a real person, and I believe the same applies to Merlin, though the "Merlin" that we know is a composite of at least four people — prince, prophe
t, poet and engineer. He appears first in legend as a youth. My imaginary account of his childhood is coloured by a phrase in Malory: "the well of Galapas, [So 'fontes galabes' is sometimes translated] where he wont to haunt," and by a reference to "my master Blaise" — who becomes in my story Belasius. The Merlin legend is as strong in Brittany as in Britain.
One or two brief notes to finish with.
I gave Merlin's mother the name Niniane because this is the name of the girl (Vivian/Niniane/Nimue) who according to legend seduced the enchanter in his dotage and so robbed him of his powers, leaving him shut in his cave to sleep till the end of time. No other women are associated with him. There is so strong a connection in legend (and indeed in history) between celibacy, or virginity, and power, that I have thought it reasonable to insist on Merlin's virginity.
Mithraism had been (literally) underground for years. I have postulated a local revival for the purpose of my story, and the reasons given by Ambrosius seem likely. From what we know of the real Ambrosius, he was Roman enough to follow the "soldiers' god." [Bede, the 7th C. historian, calls him "Ambrosius, a Roman." (Ecclesiastical History of the English Nation.)]
About the ancient druids so little is known that (according to the eminent scholar I consulted) they can be considered "fair game." The same applies to the megaliths of Carnac (Kerrac) in Brittany, and to the Giants' Dance of Stonehenge near Amesbury. Stonehenge was erected around 1500 B.C., so I only allowed Merlin to bring one stone from Killare. At Stonehenge it is true that one stone — the largest — is different from the rest. It comes originally, according to the geologists, from near Milford Haven, in Wales. It is also true that a grave lies within the circle; it is off center, so I have used the midwinter sunrise rather than the midsummer one towards which the Dance is oriented.
