Set on destroying the bond between Uther and his son, she revives the seven deadly Knights of Medhir. While Arthur and Merlin ride out to face the Knights, everyone in Camelot is plunged into a deep and impenetrable sleep - everyone but Morgana. Desperate for a cure, Merlin is forced to beg for the Great Dragon's help, but it comes at a price: the Dragon's freedom. Why has Morgana escaped the effects of this powerful magic? And once free, will the Great Dragon wreak its vengeance on Camelot once and for all?

    Merlin rushes to the animal's side, obviously upset, as the knights cheer Arthur for killing this most highly-prized of beasts. But, it seems that by killing the magical creature Arthur has cursed Camelot, and until he makes amends for his actions the great city will be damned. Could this be the end of Camelot and her people?

    But when all seems lost, she is finally discovered. Uther is overjoyed but quickly becomes plagued by dark visions.As the king grows weaker, Gaius discovers that he has been enchanted by someone within the castle. Camelot stands on the brink as Merlin embarks on his most dangerous task yet. He must uncover the traitor within.

    Uther refuses to pay her ransom so Arthur defies his father, heading out into dangerous enemy territory to fight for Gwen's freedom. Merlin suspects Arthur's devotion to Gwen is more than just that of a prince to one of his subjects. But how will Arthur react when he finds Gwen is not alone in Hengist's castle? She and Lancelot have found each other again, and powerful feelings have been rekindled...

    The relationship between human and Faery lies at the very core of the Arthurian stories. In this radical re-evaluation of the Grail legends, Wendy Berg brings the ancient mythology of the British Isles into sharp focus centred around the marriage of King Arthur to the Faery Gwenevere and the origin and destiny of the Grail Hallows. Drawing upon numerous Arthurian sources and other related texts from the Book of Genesis to The Lord of the Rings, she explores the magical ritual underpinning of the legends and their connection to the ancient stellar deities of Britain. "When these stories are read with the additional level of understanding that they are for the most part a record of the lives and relationships of Faeries and humans working together about the Round Table, they immediately become not only a great deal more interesting, but also acquire a new and vivid relevance for the present day.

    After a hunting trip in the forest, Arthur is fatally attacked by a savage beast. As the Crown Prince lies dying, Gauis knows that dark magic is at work and Merlin is the only one who can save him.

    His aim? To kill Arthur. Will Merlin be able to save the prince from the killer’s lethal blade . . .

    But Uther, believing she has been abducted, sends and army after her.Can Merlin find Morgana before innocent lives are lost?

    "I mean by a picture a beautiful, romantic dream of something that never was, never will be," he once wrote, "in a light better than any light that ever shone--in a land no one can define or remember, only desire." Burne-Jones' fantasies of an ideal Albion offered solace against the onset of the Industrial Revolution, which had increasingly come to determine urban life in Victorian Britain, and which his close friend William Morris had also critiqued in his bestselling poetry book The Earthly Paradise (1868). This volume explores Burne-Jones' vision of an "Earthly Paradise" as expressed in painting cycles such as Perseus, Amor and Psyche, St George and Briar Rose, and his wonderful Arthurian tapestry sequences and book illustrations. It also opens up the artist's more practical efforts to secure this earthly paradise through the domestic crafts, rejuvenating the Victorian interior through Medieval precedents: carpets, textiles, stained glass windows, furniture and other Arts and Crafts objects. In emphasizing the conceptual unity of Burne-Jones' painting cycles and domestic designs, this monograph reveals his vision to be a coherent expression and longing for a finer world.Edward Burne-Jones was educated at Exeter College, Oxford, where he met his future collaborators, the artist-poets William Morris and Dante Gabriel Rossetti, under whose influence he left Oxford without graduating. From his first major exhibition in 1877, Burne-Jones was a hit with the English public; his 1884 painting "King Cophetua and the Beggar Maid" remains a classic expression of the Pre-Raphaelite Brotherhood sensibility. After his death in 1898, Burne-Jones' legacy became most apparent in the decorative arts.

    Bacchus asks what Midas wishes for and Midas asks that everything he touches be turned into gold. This works well until Midas attempts to eat food!

    A reworking of classic Arthurian legend, "Sir Gawain and the Green Knight." However, in this version Gawain and the Green Knight develop a romantic relationship.This story was originally published in the first volume of Saihoshi - The Guardian.