Hello everyone, I used Sapkowski’s essay The World of King Arthur to break down the Witcher books. I see the entire Witcher saga as his own construction of Arthurian legend, and particularly the Quest for the Grail, based on his own views. This in turn, should help us understand the Witcher books even better.
To understand how these views directly shaped the structure of the books, we must look at the two most popular competing 13th-century traditions of the Grail quest legend that Sapkowski highlights in his essay:
1. The Church Propaganda / Cistercian Monastic Version: A version that reframes the quest for the Grail as a strict devotion to unattainable heavenly attributes.
Interestingly, of all the versions of the legend, the Vulgate is the most explicit and literal when it comes to matters of carnal love. The work simply oozes with sex and eroticism. [...] Undoubtedly, this stems from the same source as the whole witch-hunt against sex unleashed by the Church – from the irrepressible carnal desires burning within the pious brothers and sisters of religious orders, who had been driven mad by asceticism and celibacy. Or perhaps the pious monks were aware that the goal they wished to achieve required… some titillating content? [...] Instead, it created and circulated its own version of the myth – one powerful and appealing enough to the public to supplant the previous ones.
The world of King Arthur, Andrzej Sapkowski, 1995
2. Wolfram von Eschenbach’s version
In Wolfram’s version, the Grail is… a stone. Not a bowl, not a chalice, not a cup, not a communion chalice, but a stone. [...] the stone removes from the story its liturgical subtext and connections with the Eucharist. [...] there is no Galahad. There is no ‘chevalier sans peur et sans reproche’ who is born and becomes a knight for one purpose alone (referring to Galahad). There is only Parsifal – and Parsifal is not an ideal. Parsifal, however, wishes to be one and strives towards it. [...]
Wolfram’s message is this: let us not wait for a revelation or a command from on high; let us not wait for any ‘Deus vult’. Let us seek the Grail within ourselves. For the Grail is nobility, it is love for one’s neighbour, it is the capacity for compassion. [...] Everyone must find their own path. But it is not true that there is only one path. There are many. An infinite number. [...] What matters is humanity. The heart. Indeed, whilst I appreciate the intentions, I prefer the humanism of Wolfram von Eschenbach and Terry Gilliam to the idiosyncrasies of embittered Cistercian scribes and Bernard of Clairvaux..
The world of King Arthur, AS, 1995
And we know which one Sapkowski liked more. Wolfram von Eschenbach’s version.
In the final book, Lady of the Lake, characters like Ciri, Nimue, and Condwiramurs serve as the Grail of Galahad, Merlin, and Percival respectively. Condwiramurs in Wolfram’s work is the wife of Percival for reference. They function as the actual, literal manifestations of the Grail for Galahad, Merlin, and Percival respectively within an interconnected multi-world reality. By existing as real, living answers to these men, they embody the core message of Sapkowski’s works, where he argues that the true Grail must be completely stripped of distant, divine dogmatism and returned to compassion and love:
Parsifal does not depart this world with the Grail; he remains so that now, having attained the highest spiritual value (which, in Wolfram’s work, the Grail never ceases to be), he may enjoy life twofold. Wolfram’s message is this: let us not wait for a revelation or a command from on high; let us not wait for any ‘Deus vult’. Let us seek the Grail within ourselves. For the Grail is nobility, it is love for one’s neighbour, it is the capacity for compassion
The world of King Arthur, AS, 1995
Within this comparative framework, Geralt functionally symbolizes King Arthur, while Yennefer represents Guinevere. Crucially, in original Celtic mythology, Guinevere is far from a passive prize; she represents the sovereign power of the Great Triple Goddess. This is because in the original Welsh legends, Arthur had 3 wives, all having the same name, noted by Sapkowski in the essay.
In Welsh legends she appears as Gwenhwyfar (White Ghost), although Arthur had three (!) wives with the same name\ However, it was Gwenhwyfar, daughter of Orgyrvran, who entered the myth, initially as Wenhaver, Guanhamara, Gvenour or Ganhumara; later, in the French version, as Guenièvre or Guinevere; and in Malory’s original spelling – Gwenyvere, daughter of King Leodegran. [...] Three Gwenhwyfars – three White Phantoms [or White apparitions because In Celtic mythology, the name Gwenhwyfar is often translated as 'White Phantom' or 'White Spirit']. In other words, one: the Great, the White, the Triple. Guinevere from the earliest version of the Arthurian legend is none other than the Great Goddess*
The motif of taking a king’s wife is clearly rooted in the beliefs, customs and very nature of the Celts. During the wedding ceremony (and thereafter), the wife of a Celtic king symbolises the Earth over which the king reigns. Taking his wife is therefore an act that undermines not only the king’s authority
The world of King Arthur, AS, 1995
Yennefer is a subversion of Guinevere because she isn’t helpless like Gwenevere. Rather than occupying the traditional trope of the helpless, passive damsel who exists merely to be abducted and rescued, Yennefer is an active character. She is the one who chooses Geralt repeatedly. The rivals and antagonists who emerge to challenge Geralt’s bond with her, such as Vilgefortz and Istredd, directly mirror Arthurian pretenders like Mordred and Meleagant who sought to disrupt the King's authority by claiming his Queen. She fights off Bonhart who tries to rape her.
The young hero symbolises summer, rebirth, the surge and blossoming of vital forces, which stand in contrast to the waning, winter-like power of the old king. And the ruler cannot be weak; he cannot be barren, cold or sexually impotent– for he is, after all, wedded to the Earth, the Great Mother, symbolised by the spring queen, who, during the Beltaine mystery, is to be loved – loved physically, erotically
The world of King Arthur, AS, 1995
The irony of Sapkowski's plot is that Geralt is entirely barren and sterile, yet Yennefer, embodying the Great Mother Goddess archetype, completely rejects the old mythic requirement for a sexually potent consort (The irony is she is sterile too). Instead, she chooses him purely out of human affection, as beautifully illustrated in the short story "Something More, Chapter 3". Her role as a vessel of sovereignty is elevated even further when she receives direct, spiritual approval from the Great Mother Goddess of Skellige, Freya for choosing to be a mother to Ciri.
This subversion highlights how Sapkowski explicitly criticizes the limiting, patriarchal definitions that medieval chroniclers imposed on legendary women. To counteract these deeply entrenched biases, he created Yennefer as a powerful foil, drawing heavy inspiration from Parke Godwin’s novel The Beloved Exile to write her in alignment with the fierce independence of authentic Celtic myth.
And because – particularly with regard to gender equality and women’s independence – the Middle Ages are still with us, the medieval form of the legend remains the classic one, and the women of the legend are defined accordingly: Guinevere and Isolde are ‘unfaithful’ ,Morgana is an ‘evil witch’, Nimue is an ‘unscrupulous seductress’
In Arthurian fantasy literature, Guinevere is always present. Marion Zimmer Bradley, as I mentioned, is not particularly fond of the queen; the portrayal in ‘The Mists of Avalon’ is not the most sympathetic. In Robert Nye’s ‘Merlin’, Guinevere is a nymphomaniac with a birdbrain, and to make matters worse, she stutters. A lovely and interesting portrait of the queen, however, is painted by Parke Godwin in his book ‘The Beloved Exile’. The queen is portrayed as a wise woman, strong-willed and of strong character. As such, she is a truer portrayal of a Celtic woman – far truer than later medieval versions, which depict the ladies of the Arthurian myth as weak, ethereal and highly susceptible to sin, fainting from fear or love and helpless without a knight’s aid
The world of King Arthur, AS, 1995
Yennefer also serves as a profound structural parallel to Morgana. Rather than connecting her to themes of doom or static villainy, Sapkowski links Yennefer explicitly to the sea, playing directly on the true etymological roots of Morgana's name (mor meaning sea, rather than death). This water thematic manifests clearly when she travels to Skellige and is physically cast into the sea when escaping the lodge. She gets fished out and hit with an oar by Skelligian women. She is literally born of the sea.
I think that for all those who have adapted the myth, the appeal of this character (as an antagonist) stemmed from the evocative root ‘mor’ (mors, la morte, death). The same applies to Morgause and Mordred, described below. In Welsh, however, the root ‘mor’ associated with the sea not with death ‘Morgan’ means ‘Born of the Sea’ in Celtic. But the analogy is there – the sea, as we recall symbolises all the forces of evil for the Welsh
The world of King Arthur, AS, 1995
This mythic connection reaches its emotional peak in the saga's final pages: when Geralt is mortally stabbed by a pitchfork during the pogrom in Rivia, Yennefer cradles his head in her lap, whilst attempting to heal Geralt. This directly mirrors Morgana’s actions on the battlefield of Camlann where Sapkowski notes:
Interestingly, in the epilogue to the legend, Morgan reconciles with Arthur. When the King dies on the battlefield at Camlann, his sister cradles his head in her lap and speaks tender words to her brother, and she is one of the 4 queens who accompany the King in his final journey
The world of King Arthur, AS, 1995
Just as Morgana survives the final battle to guide King Arthur safely to the shores of Avalon, Yennefer does not truly perish; instead, she departs the mortal realm alongside Geralt.
There is a theory that women played an enormous role in Celtic society. In many myths (such as that of Cuchulainn), the hero must undergo training under a woman – a sorceress or a warrior. In many legends, it is the privilege of the mother, guardian or priestess to bestow a name upon the boy and present him with a weapon. This is likely linked to the cult of the Triple Great Mother described above, which was deeply rooted among the Celts
The world of King Arthur, AS, 1995
It is Visenna who names Geralt and it is Yennefer who gets Geralt’s swords. Nenneke and the priestesses at temple of Elander and Sigrdrifa and the priestesses at the temple of Freya on Skellige also reflect the Celtic priestess role.
Something interesting to note is the title of Lady of the Lake being passed around. Ciri was taught by Yennefer. She has a title of Lady of the lake just like Nimue. Ciri is Yennefer’s successor. Nimue is Ciri’s successor. She (and Condwiramurs) helped Ciri get to Stygga castle.
Four queens – Morgana, the Ruler of North gales (North Wales –could she be a druidess from the Isle of Anglesey?), the Queen of the Barren Lands (Perceval’s aunt) and, indeed, Nimue. So – four. But if that is the case, there must have been a fifth! For to whom did the hand belong that Bedivere sees, the hand that grasps Excalibur as it is cast into the waves? The four queens are with Arthur on the barge; the fifth is underwater with Excalibur. I can see no other explanation – apart from sorcery. It follows that Marion Zimmer Bradley may be right in treating the Lady of the Lake (much like Merlin) as a title, office or druidic function. Thus, the retired druidesses sail off with Arthur to Avalon, leaving a successor in the Lake.
There were several Ladies of the Lake, as can be inferred from Malory’s Le Morte D’Arthur,. The one who gave Arthur his sword and was slain by Balin was called Lile. However, right up until the end of the legend, another Lady of the Lake appears and aids Arthur and his knights. At times, one might infer that this Lady is Nimue, the one who seduced Merlin. In the finale of Le Morte D’Arthur (and in James Archer’s painting of the same title, inspired by Malory’s text), however, Arthur is escorted to Avalon by Nimue, the Lady of the Lake
The world of King Arthur, AS, 1995
This is wrapped up by Sapkowski himself when he says at the end of the chapter
Perhaps it will now be easier for readers to understand how I, a humble fantasy author, conceived the sorceress Yennefer, the beloved of the Witcher Geralt. A woman who would not dream of yielding when she has no desire to do so
Cahir could be seen as a mirror to Percival. Both had brothers who died. Both had the chance to obtain the Grail. Cahir at the sack of Cintra. Percival at the Grail Castle. But both are trying to be honourable, noble Knights, and as such Sapkowski gives Cahir a chance to see the Grail once more at Stygga castle and gives his life for Ciri the Grail. Percival, to gets his chance to go with Galahad and Bors, to accompany Galahad to the Grail. Cahir wants to redeem himself, constantly being seen as the Black Knight haunting Ciri’s dreams but he had good intentions and a good heart, but his actions were seen in service to Nilfgaard, to Emhyr. And such actions deemed him unsuited for the Grail.
Cahir also represents other knights, like Garet, youngest brother of Gawain. In Garet’s journey to Camelot and eventual Knighthood, he endures a long, and hard journey to prove himself. Garet works in the kitchens of Camelot waiting for his chance, and Cahir follows Geralt and the Hanza from a distance, waiting for his chance. Garet eventually gets his chance, saves the damsel in the tower, gets married and gets killed by Lancelot, the same man who knighted him, cut down like Bonhart cut down Cahir.
As the archetype of the righteous, honest simpleton with a pure heart and intentions, longing to become something more, and consequently bringing to that ‘something’ his own simplicity and the great humanism inherent in that simplicity, Perceval Pere-dur rides through world literature like a Don Cossack across the steppe
The world of King Arthur, AS, 1995
Dandelion as a mirror to some of Arthurs closest knights like Gawain and Tristan. Like Gawain appears in every single work devoted to Arthur since the earliest iterations, Dandelion too appears in all books where Geralt is. Like Gawain is ruled out from the beginning of the quest for the Grail, Dandelion too, does not take part in the quest to Stygga Castle. Gawain’s horny nature and entanglements with beautiful ladies rules him out. And Dandelion in Toussaint with Anna rules him out.
And just as Gawain is the one to trigger the quest for the Grail, in the main 5 books, which is the quest for the Grail (Ciri), Sapkowski opens Blood of elves with Dandelion finishing his song to a gathering, meeting rience, saved by Yennefer. Tristan is a Bard like Dandelion and is to, hunted by a cuckolded Husband, the Duke Raymund for Dandelion and the King Mark for Tristan. Tristan is killed in one telling by King Mark, but Dandelion escapes.
Of course, Gawain has no right to find the Grail. Gawain is a woodcutter. He is an ‘earthly’ knight – not to say ‘mundane’. Besides, Gawain succumbs to temptation far too often; he finds it particularly hard to resist beautiful ladies (whom Malory calls ‘damosels’– I don’t know about you, but that word makes me laugh until I cry). As an uncontrollable sinner, Gawain – though he is the initiator of the quest for the Grail – loses the chance even to catch a glimpse of the holy vessel; in the myth, he serves as a plot-driven contrast to the blameless and virtuous Galahad, who remains unmoved by any damsels or temptations
In Le Morte D’Arthur, Tristan meets a grim end – he is killed by a treacherous stab in the back, dealt by his own uncle, King Mark. At the very moment of this crime, Tristan was busy enchanting Isolde with his harp-playing. A good defence lawyer might therefore have defended Mark by suggesting he acted in the heat of the moment – but we know that it was sheer villainy and a premeditated crime long in the making
The world of King Arthur, AS, 1995
With the Character Kai, foster brother of Arthur, I think Sapkowski reflected him within the many Nilfgaardian higher ups, mainly Menno Coehorn.
Kai is endowed with many of the traits of Cuchulainn, a hero dear to the Celts – particularly when it comes to his legendary physical attributes. Kai was capable of staying underwater for nine days and nights without stopping to eat. {...} Kai fell at Camlann, fighting alongside Arthur. Another, and interesting, version can be found in Parke Godwin’s The Beloved Exile: Kai dies much earlier, at the Battle of Badon
Yarpen and Zoltan as Bedivere and Lukan. Like Bedivere appears in all versions of Arthurian legend since the earliest iterations, as one of Arthurs closest companions, Yarpen was there since the short stories. It is the Dwarves (helped by Triss) who carry Geralt to the boat, just like Bedivere and Lukan are the last two Knights who carry Arthur away from the battlefield of Camlann. Zoltan is the one to give Geralt the sword, but Bedivere is the one to take it away to throw it into the Lake.
He casts the sword Excalibur into the waves and watches as the Lady of the Lake’s hand grasps the magical weapon and hides it beneath the water. When, having completed his mission, Bedivere returns to the dying king, all he can see on the horizon is the sail of the boat carrying Arthur towards the Isle of Avalon...
Milva as Tor. Tor is the bastard son of king Pellinor, sired on a wife of a commoner. The commoner notices Tor’s clearly Knightly attributes and disowns him, taking him to Camelot and telling Arthur to take him. Tor takes his place amongst the round table, doing great many deeds. He is eventually slain by Lancelot during his rescuing of Guenevere. Milva, taught and raised by her Father, gains a strong relationship with him. In her flashback, she forgives her father, being slain on the assault on Stygga Castle. Geralt, as Celtic King Arthur would, accepts her as a fighter.
In Malory’s day, it was rather unthinkable that a knight with a bastard’s bar in his coat of arms – especially one of such ignoble maternal descent – should be counted amongst the king’s inner circle. The character of Tor alludes to Celtic democracy – the historical Arthur would surely have cared little for the propriety of one’s lineage – the only thing that mattered was whether a warrior was effective in defeating the Saxons and Picts.
Boreas Munn serves as a direct narrative mirror to Sir Bors of Ganis, with their character arcs following similar paths of pursuing the Grail, testing their morals along the way, and eventual exile:
Both characters spend their arcs tracking the ultimate vessel of their respective worlds: Bors seeking the Holy Grail while resisting demonic illusions, and Boreas pursuing Ciri before narrowly escaping a frozen lake when the "Grail" herself chooses to spare his life
Each man becomes entangled with the wrong faction during a massive structural war; Bors sides with Lancelot’s rebels against King Arthur, while Boreas allies with the villainous triumvirate of Vilgefortz, Skellen, and Bonhart. However, both undergo a late-stage moral pivot toward redemption. Bors races to aid Arthur against Mordred’s coup, while Boreas defects during the assault on Stygga Castle, guiding Geralt’s Hanza through the stronghold.
Then, when their respective socio-political landscapes (Peace of Cintra/ Battle of Camlann) crumble, both men permanently abandon their known continents alongside a small band of survivors to seek an entirely new purpose in a distant, uncharted land. Where Bors departs for the Holy Land, Boreas Munn permanently exits the Northern Realms alongside Sigismund Dijkstra and Isengrim Faoiltiarna
But when news of Mordred’s revolt reaches them, they immediately set out to come to Arthur’s aid. Although they arrive too late, they rout the remnants of the rebels and their Saxon allies. Lionel is killed in these battles. Ector de Maris, Bors and the cousins Blamor and Bleoberis, however, seeing that Camelot and the Round Table had ceased to exist, set out for the Holy Land to fight the Saracens. They all perished there, as befits honourable knights, on Good Friday, without having tasted the Easter meal.
The Fisher King’s wound has symbolic significance and alludes to Celtic beliefs – the maimed king is incapable of sexual intercourse, and the Earth over which he reigns cannot be fertilised. If the king is not healed, the Earth will die, turning into La Terre Gaste, the Barren Earth. The wounding spear is a phallic symbol, whilst the healing Grail represents the vulva
Little Eye (Essi Daven), as one of the three (reoccuring number here) different characters called Elaine, specifically Elaine of Astolat, falls in unrequited love with Lancelot du lac (who would be Geralt) and dies due to smallpox just like Elaine who dies. Sapkowski remaining truer to the original than in Sapkowski’s own words the kind Tolkien.
She (Elaine of Astolat) could neither sleep, nor eat, nor drink’; so, as one might easily guess, she died. She had her body, clad in black and covered with a shroud of black brocade, carried all the way to Camelot. When Lancelot saw this, he felt rather faint
The noble Aragorn cannot return the love of Éowyn, Princess of Rohan, and rightly regards this as one of the most painful blows that can be dealt to a man’s heart. Éowyn, too, seeks death (though in a more Celtic manner – in battle), but the benevolent Tolkien does not allow her to suffer the fate of Elaine of Astolat. The undersigned, in creating the character of the poetess Little Eye (A Little Sacrifice), had no intention of being quite so kind – Little Eye, like Elaine, stood no chance.
The other Elaine, daughter of King Pelles, had a union with Lancelot du lac, causing the birth of the one quite literally created for the Grail, by the Vulgate Monks. The one who would achieve the Grail, Galahad. The one as Sapkowski says:
Elaine sacrificed her virginity (did she close her eyes and think of England?) because she knew she would give birth to a child of destiny who would outshine not only his famous father, but also Arthur and all the other Knights of the Round Table. And she gave birth – in the manner just described.
Galahad was engineered by the Vulgate monks to be the perfect Christian Knight to obtain the Christian Grail. Elaine sacrificed her virginity to birth the Greatest, most virtuous Knight, with the bloodline of the greatest earthly knight, Lancelot and on his mother’s side, the holy bloodline going back to Joseph of Arimathea. A mirror of Ciri, whose Bloodline was engineered by the sorcerers and previously the Aen Elle when they engineered the Elder blood culminating in Lara Dorren.
Once, however, both were struck down – with a single lance – by the Saracen Palomides, proving that a list of the best does not settle the matter. Nevertheless, no one ever managed to defeat Lancelot in a fair fight. The exception was Galahad, his son – though Galahad was an exception in every respect. His victory over Lancelot (and Perceval) is symbolic in nature
Galahad is meant to be what the previous Grail Knights were not. He is so pure, so righteous, the world itself is not worthy to hold him and so he leaves to heaven with the Grail.
Sapkowski reimagines him a perfect Knight to win the Grail (Ciri). Elaine also mirrors Ciri during her stay in Tir na Lia. Whilst in bed with Auberon, she thinks of mistle just like how Sapkowski postulates Elaine thinking of England, whilst the elves are wanting her to give birth to a child of destiny.
Sapkowski then starts defending Galahad from Dante when Dante mixed up the names when describing the one who facilitated the first kiss between Lancelot and Guenevere.
For this reason, Galeotto (that is, Galahad) entered the Italian language as a synonym for a pimp, a procurer, a vile man. Władysław Kopaliński laments that such a virtuous and righteous knight as Galahad should, thanks to Dante, have been given such a vile and insulting eponym. I hasten to defend Galahad and his good name! Władysław Kopaliński is mistaken! That is not how it happened at all! According to the Vulgate Cycle, it was not Galahad but Galehot (Galehault, Galahaut), known as the Lord of the Far Islands, who brought about the tryst and the first (beautifully described) kiss between Lancelot and Guinevere. {…} And it is Galehot – not Galahad – who is Dante’s Galeotto, and it is he who deserves the eponym. The righteous and pure Galahad, the Conqueror of the Grail, facilitated no – I repeat, no – trysts whatsoever!
Destiny can be changed in Sapkowski’s books. He remarks regarding Morholt’s death by the hand of Tristan:
Interestingly, it was precisely thanks to this battle that Tristan was knighted as a Knight of the Round Table! For each chair at the Table was magically inscribed with the name of the knight who had the right to sit upon it. After Morholt’s death, his name magically vanished, and Tristan’s name appeared in its place
So, Morholt was the knight destined for the round table but by Tristan’s sword, it changed. And we see this in the forest of Brokilon, where on the Chalice is inscribed:
The sword of destiny has two edges... You are one of them
What this means for Geralt and Coen as prophesied by Ciri? I theorise Coen was claimed by Destiny in the battle of Brenna, but Geralt, was almost claimed. Ciri and Ihuarraquax changed destiny and as such Geralt survived.
The episode with Meleagant is also a reference to Celtic mythology – it is another triad, whereby in the Lancelot– Guinevere–Meleagant configuration, Lancelot is the old king whose prowess is challenged – unsuccessfully – by a young pretender. In earlier Welsh legends, which served as the prototype for the above story, Queen Gwenhwyfar’s abductor was an evil giant, and her liberator – and the slayer of the pretender – was King Arthur himself
What Lancelot is to Meleagant, he himself is to Arthur. A Celtic triad. This theme of Celtic triad come up a couple times in Sapkowski’s work. Geralt-Yennefer-Istredd being a prominent one. Geralt also mirrors Arthur, slaying the abductor of Guinevere, slaying Vilgefortz, the abductor of Yennefer.
Sapkowski traces the Grail from its Pagan Celtic origin where they had magic cauldrons representing regeneration and abundance, and severed heads for Knowledge and clairvoyance into the future to its Christian story, where Church falsified and repurposed it into their holy Chalice
first continental discoverer of the Grail was Perceval, created by Chrétien de Troyes. Perceval, in turn, is derived from the mythical Welsh hero Peredur. And in Welsh mythology, Peredur, after long searches and wanderings, found a wondrous and mysterious object, which was… a severed, blood-dripping head on a platter. […] which became an oracle and warned the Britons of enemy invasions. Scholars not only see in this head one of the earliest prototypes of the Grail – it is believed that the ancient Celts were in the habit of mummifying and then venerating severed heads and skulls
Sapkowski, however, reinterprets the Quest for the Grail as not pursuing a religious object, but the Knightly heroes pursuing a woman to love. And this is where he takes a turn from Celtic and Christian objects.
I prefer – following Parnicki and Dante – to identify the Grail with the true goal of the great endeavour of mythical heroes. I prefer to identify the Grail with Olwen, from whose feet white clovers sprang as she walked. [...] Because I believe the Grail is a woman. To find her and win her over, to understand her, it’s worth devoting a great deal of time and effort. And that is precisely the moral of the story. [...] All the love literature in the world. The Grail is a woman. But the words used by Teodor Parnicki are not spoken by a woman. They are spoken by the Goddess. For, as Marion Zimmer Bradley says in The Mists of Avalon, there are many gods and they have many names. But there is only one Goddess. The Great, White, Triple One. She who was, is, and will be
If you read this to the end, massive respect. This was one long analysis. Thank you for reading!
