For none of the "Mordred story," then, is there any evidence at all. It is to be noticed that the Annales Cambriae does not even state that he and Arthur fought on opposite sides. It would have been possible — and very tempting — to have rewritten the story completely, and set Arthur, with Mordred at his side, against the Saxons, who (as recorded in the Anglo-Saxon Chronicle) fought a battle against the Britons in A.D. 527, and presumably won it, since the Chronicle does not emphasize Saxon defeats. The battle, at the right date, might even have been the battle of Camlann, the last stand of the British against the Saxons.
But the temptation had to be resisted. Until I came to study in detail the fragments that make up Mordred's story, I had accepted him without question as the villain of the piece, an evil man who brought about the tragedy of Arthur's final downfall. Hence, in my earlier books, I had made Merlin foresee that doom, and warn against it. So I could not rewrite the Camlann battle. Instead I tried to iron out the absurdities in the old story, and add some saving greys to the portrait of a black villain. I have not made a "hero" out of Mordred, but in my tale he is at least a man who is consistent in his faults and virtues, and has some kind of reason for the actions with which legend has credited him.
Perhaps the most exciting thing about the tale of the final years of Arthur's reign is the way which the actual historical events can be made to fit with the legend. Arthur most certainly existed, and so may Mordred have done, but since the traitor of romance was a figment of the storyteller's imagination, then I would suggest that the Mordred of my story is just as valid, since I, too, have perhaps earned a place among those of whom Gibbon writes with such urbane contempt:
The declamations of Gildas, the fragments and fables of Nennius, the obscure hints of the Saxon laws and chronicles, and the ecclesiastical tales of the venerable Bede have been illustrated by the diligence, and sometimes embellished by the fancy, of succeeding writers, whose works I am not ambitious either to censure or transcribe.
—Decline and Fall of the Roman Empire
Some other brief notes
Camlann. The site of Arthur's last battle cannot be identified with any certainty. Some scholars have suggested Birdoswald in Northumbria (the Roman Camboglanna), others the Roman Camulodonum (Colchester). The most usually accepted site is in Cornwall, on the River Camel; this because of Arthur's strong connection with West Country legend. I have set the battle beside the River Camel near South Cadbury in Wiltshire. The hill at South Cadbury has, owing to recent excavations, a strong claim to being an Arthurian strong point, possibly "Camelot" itself. Hence there seemed no need to look further for the site of the final battle. I do not know when the local stream was called the Camel, but the long ridge nearby was in antiquity known as "Camel Hill."
At that date, also, there would be lake and fenland stretching right inland from the estuary of the River Brue almost as far as South Cadbury. The hills of modem Glastonbury would then be islands — Ynys Witrin, or the Glass Isle — and Caer Camel "not far from the seaside." The barge that carried the wounded Arthur to be healed at Avilion would have only a brief journey to the legendary place of healing.
The date of Camlann. Scholars place the date of the battle somewhere between A.D. 515 and — a wide choice, but a date somewhere about to 527 seems reasonable. One date given for Badon Hill is a.d. 506, and we are told (in the Annales Cambriae) that Camlann was twenty-one years later.
The following is a table of the "real" (as opposed to guesswork) dates:
524 A.D.
Clodomir, son of Clovis and ruler of the central part of the Frankish kingdom, was killed at Vézeronce in battle with the Burgundians. Two of his sons, aged ten and seven, were put in charge of Clevis's widow, Clothild, in Paris, but were murdered by their uncles. The third son fled into a monastery.
526 A.D.
Theodoric, King of Rome and "emperor of the West," died at Ravenna.
527 A.D.
Justin, ageing "emperor of the East," abdicated in favour of his nephew Justinian.
527 A.D.
According to the
Anglo-Saxon Chronicle,
"in this year Cerdic and Cynric fought against the Britons at the place which is called
Cerdicesleag"
(Cerdic's field or woodland).
Neustria.
This was the name given to the western portion of the Frankish empire after its division at Clovis's death in 511.
Drustan.
Drust or Drystan, son of Talorc, is an eighth-century wan who later was absorbed into the Arthurian legend as Tristram.
Linet.
In one version of the Gareth legend he marries Liones, in another her sister Linet.
Arthur's sons.
We have the names of two, Amr and Llacheu.
Convent.
The word did not always, as now, imply a religious house for women only. It was used interchangeably with "monastery." Many of the foundations had communities of both women and men.
The harper's song.
This is a free translation of an Anglo-Saxon poem, "The Wanderer," which in The Last Enchantment I attributed to Merlin.
Seal Island:
Selsey.
Sutthrige:
Surrey.
Edinburgh and Lochawe, 1980-1983
A NOTE ABOUT THE AUTHOR
MARY STEWART, one of the most popular novelists writing today, was born in Sunderiand, County Durham, England. After boarding school, she went on to Durham University, and later worked there as a lecturer in English Language and Literature, until her marriage in 1945. Her husband is Sir Frederick Stewart, who has recently retired from the chairmanship of the Geology Department of Edinburgh University. He is a Fellow of the Royal Society.
Lady Stewart's career as a novelist began in with the publication of Madam, Will You Talk? Since then she has published sixteen successful novels, including The Wicked Day, the fourth of her novels of Arthurian legend. Preceding it is her magical merlin trilogy, about the legendary enchanter Merlin and young Arthur. (the novels of the trilogy are The Crystal Cave, The Hollow Hills, and The Last Enchantment.) Her books for young readers, The Little Broomstick (1972), Ludo and the Star Horse (1974), and A Walk in Wolf Wood (1980), quickly met with the same success as her other novels. In 1971, the Scottish chapter of the International PEN Association awarded her the Frederick Niven Prize for The Crystal Cave. In 1974, the Scottish Arts Council Award went to Ludo and the Star Horse.