Being a teenage fairy tale is not often easy for Avalon. She wants to grow up fast and be a serious person. Avalon believes that rules are made to break and that destinies are made to rewrite. She don't cares about other people's opinions and she only listens to hershelf. Avalon always sees the bright side of life. That makes her courageous and loyal. Actually even if Avalon is not a big fan of adventure, she will always try to help in any way.
Avalon is very calm. She doesn't like to fight so she often keeps her thoughts for hershelf. Her friends see Avalon like a Queen, Avalon is the only who can't see her shelf like this. She never wanted to follow something that others have designed for her. She feels like she doesn't fit into it. She feels trapped.
She is a tomboy and a lady like girl together. Avalon loves beautiful clothes, good terms and precious jewels but she's always ready to run in the enchanted forest with her pretty messy hair, only wearing a outfit made of the cheapest material in the world. Avalon has a deep knowledge in war and she has a pretty strong desire to carry a sword. She don't knows if this is connected to her destiny, but swords always were Avalon's second love, after logic.
Avalon has got long blonde locks that reach her back. She is almost tomboy like and she has got strongly sweet facial features. Avalon's eyes are crystal blue.
Her nose is quite small and her ears too. Avalon often likes to set her hair free. Avalon wears a pretty long strapless top made of rough material, decorated with a golden belt and some buttons.
Under the top, Avalon wears a simple white shirt. Despite Gerald's efforts to disavow the mythologizing of Avalon, the tradition of the Isle as the final resting place of Arthur and as a place of otherworldly mystery extends into the Arthurian "renaissance" of the 19th century, where many references to Avalon continue to be found. Many poems were written about Avalon during this time, several of which evoke the isle as an idyllic, healing place of eternal beauty.
American poet Madison Julius Cawein, for instance, wrote a series of poems "Unanointed" [], "Uncalled" [] and "Avalon" [] in which the isle is consistently described in such terms. In "Uncalled," the poet imagines that he can see the beautiful Avalon but knows that it cannot be reached in this life. Other nineteenth-century poems that center on Avalon refer to it as the final resting place of Arthur.
William Morris's "Near Avalon" is one such work, as is J. Arthur Blaikie's poem "Arthur in Avalon. Blaikie's poem was inspired by James T. Archer's painting, "La Mort d'Arthur"; it depicts the dying Arthur and the vigil kept by the four Queens who bore him on the barge to Avalon.
Another poem of this period that evokes Avalon as Arthur's place of repose is Sally Bridges "Avilion" , a dream-vision that includes a richly detailed account of the poet's metaphysical journey to the isle.
This interest in Avalon continued into the twentieth and twenty-first centuries due, undoubtedly, to the continued interest in the legends of Arthur in general. The idea of Avalon so popular in the 19th century has extended into these more recent literary traditions, though as is the case with nearly all aspects of the Arthurian legend authors continue to reinterpret and reinvent its popular modes of representation.
Of all of the reinterpretations and evocations of Avalon, few have wielded as much influence in the late twentieth century as Marion Zimmer Bradley's The Mists of Avalon. Bradley plays with the tradition of Glastonbury-as-Avalon, describing a mystical divide between Christian and Pagan worlds, one in which Avalon exists in the same physical space as the Christian Abbey, though neither is more than peripherally aware of the other.
In this work, the Isle is permanently inhabited by a company of priestesses and novices who wish to preserve the pagan traditions of Britain. The physical superimposition of Glastonbury Abbey upon Avalon indicates the waxing influence of Christianity and the waning power of the pagan religion.
As the novel progresses, and as Christianity gains dominance, the magical mist around the isle continues to thicken, making it increasingly difficult for anyone except the initiated to find or enter into it. Avalon has also been adopted and adapted by neo-pagan communities, some of which are more or less directly influenced by Bradley's work. The Avalonian Tradition is an entire branch of neo-paganism in and of itself. Telyndru asserts, in the website's section entitled "The Avalonian Tradition," that.
This organization is only one of many Avalonian groups, several of which apparently draw their authority from their location in Glastonbury a place that has become a virtual neo-pagan community in and of itself. The name "Avalon" also appears frequently in popular culture, sometimes clearly evoking the Arthurian tradition directly, while at other times being used only as a name that evokes the mysterious.
Some play more substantially with the literary tradition of Avalon than others, but most of these appropriations seem to be more casual though intriguing evocations than anything else. Avalon, as this brief chronological survey demonstrates, has been treated to a rich if at times strange and multifaceted development over the centuries. From the early portrayals as a mysterious place of supernatural qualities, to the wide-reaching array of modern permutations and adaptations, Avalon remains an ephemeral and mythic location that continues to inspire creative reinvention.
Bibliography Darrah, John. Paganism in Arthurian Romance. Woodbridge, UK: Boydell, Dixon-Kennedy, Mike. Arthurian Myth and Legend.
London: Blandford, Lacy, Norris. The Arthurian Encyclopedia. New York: Garland, Lacy, Norris and Geoffrey Ashe. The Arthurian Handbook.
Merlin sends Arthur to Avalon. Their journey was interrupted by Morgana, however, and Arthur died before they reached their destination. Devastated, Merlin cast Excalibur back into the lake, where Freya caught it and drew it back under the water.
Merlin then placed Arthur's body in a boat and set it adrift on the lake The Diamond of the Day. The Last Sleep of Arthur in Avalon. Avalon also known as the Isle of the Blessed was an island in Arthurian Legend. First appearing in Geoffrey of Monmouth's pseudo-historical account Historia Regum Britanniae , it was the place where Arthur's sword Excalibur was forged and where Arthur was taken after the Battle of Camlann.
Even in its earliest appearances, Avalon was strongly associated with mystical practices and figures. Morgan le Fay , for example, was portrayed in Geoffrey of Monmouth's work Vita Merlini as the chief of nine magical sisters who dwelt on the island, all of them skilled in healing. Despite both of the terms "Avalon" and the "Isle of the Blessed" often being used to refer to the same island in Celtic mythology, in the series the terms have been used for separate locations.
In , the monks at Glastonbury Abbey supposedly discovered King Arthur and Queen Guinevere's neatly labeled coffins in the Tor, though this was later proven to be a hoax. Historians continue to debate whether Glastonbury is in fact Avalon, but generally the claim is rejected. In the series, they refer frequently to the Lake of Avalon. The lake was home to immortal winged creatures called Sidhe and one of the few entrances to the afterlife.
Merlin threw the sword, Excalibur, into the lake, where Arthur later retrieved it from the stone. Many modern Pagans draw from the legend of Avalon as a path to inner wisdom. They also view the Glastonbury Tor as a significant spiritual location, even today. Lightworkers, spiritual healers, also believe the mystical island represents a path to inner peace or paradise. Celtic polytheism has had a great influence on mythology, including the legend of Avalon. Since the Celts were closely tied with nature and the supernatural, the mythical island and its healing powers were a significant example of their belief system and, even today, the island remains bound to the healing and magical arts.
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