Transformations abound in Sir Thomas Malory's Morte Darthur, yet the more closely transformation is scrutinized the more it seems to prove elusive. It appears in the opening lines with Uther shifting into the likeness of Igrayne's husband and as such transformation claims a significant foothold in the Morte's progression.1 Merlin is often altered in appearance, but it is difficult to distinguish his shape-shifting from disguise, and Merlin's presence in the Morte is largely limited to its beginning. In other Arthurian texts Morgan le Fay is known to be a mistress of shape-shifting, but in the Morte her most notable achievement is to transform into a rock (120.12). Demons appear in the Grail Quest in the likeness of fair damsels (712.30; 740.17–35), Bors’ brother (742.13–17), and even a priest (742.12), ‘illusions’ commonly found in hagiography. Perhaps one of the difficulties in examining transformation in the Morte is the word choice. Malory frequently uses the word ‘lykenes’ to describe moments of potential transformation, but it is unclear whether lykeness means illusion, corporeal shape-shifting, or disguise. Malory's descriptions of transformation are enigmatic: Elayne appears ‘lyke’ Guenevere, but is this shapeshifting or merely Lancelot's perception (630.17)? And is it transformation or a costume when Lyonesse appears to Gareth ‘lyke a prynces’ (259.10)? Yet by scrutinizing episodes of Malory's transformation, the catch-phrase ‘oute of mesure’ arises. A rough pattern begins to emerge: that at many episodes of transformation – frequently of ‘lyknes’ – emotions ‘oute of mesure’ are also present. The terms ‘lykenes’ and ‘oute of mesure’ are used together in moments of transformation, and characters ‘oute of mesure’ often find themselves open to manipulation by practitioners who can shape ‘lykenes’.

Transformation and ‘Lykenes’ in Malory and Beyond

Malory's transformations are dominated by the description of ‘lykenes’. The Middle English Dictionary defines ‘lykenes’ as ‘appearance, guise, shape,’ focusing on semblance. For Malory, ‘lykenes’ hints at shapeshifting and transformation but also encodes enchantment, disguise and natural affect. The concept of natural affect is particularly important in relationship to Malory's physical depictions of ‘lykenes’ because a person's physical appearance could be affected by the body's humours and emotions. Indeed, emotions, such as lovesickness, might be evidenced in a person's physique.