Read Song of the Highlands: The Cambels (The Medieval Highlanders) Online

Authors: K.E. Saxon

Tags: #adventure, #intrigue, #series romance, #medieval erotic romance, #medieval romance, #alpha male, #highlander romance, #highland warrior, #scottish highlands romance, #scottish highlander romance, #medieval highlands romance

Song of the Highlands: The Cambels (The Medieval Highlanders)





Song of the Highlands


He captured her innocence with his savage
desire, she conquered his heart with her song…


Say naught. Else you shall be

These are the words that leave a six-year-old
Highland lass without a voice, and without memory of that terrible
day her family's caravan was overtaken and her parents were

Now, thirteen years later, fresh from the
nunnery where she was taken after the attack, Highland Lady,
Morgana Cambel, harbors only one wish: To have one night of ecstasy
with the man of her dreams—her worldly, beautiful cousin's sometime
lover—Robert MacVie. So, when she is offered such a chance—a secret
switch—she determines to take it.

Highland Laird, Robert MacVie, desperately
plots to ensnare his heiress lover into marriage in order to gain
her dowry and pay his King the debt his late father owed, thus
saving his clan from division and ruin. But a last minute switch
changes the course of his life—and his heart—forever.

When their passionate interlude is discovered
by her unctuous, devious uncle, nothing will do but that Robert wed
the impoverished Morgana instead.

At first, they both resist. He, for the sake
of his clan. She, for the sake of her unrequited love. But they
quickly discover that resistance is futile. And a boon by the King
soon lessens Robert’s debt. Now, as their desire for each other
grows, as Morgana’s voice begins to return only in song, as their
hearts bond, a legacy of jealousy and greed entraps Morgana in a
furious death plot—and only her warrior-knight husband can save

Song of the Highlands


* * * *


Smashwords Edition

Copyright © 2014 by K.E. Saxon



All rights reserved. No part of this book may
be used or reproduced by any means, graphic, electronic, or
mechanical including photocopying, recording, taping, or by any
information storage retrieval system without the written permission
of the author K.E. Saxon, the copyright owner and publisher of this
book, except in the case of brief quotations embodied in critical
articles or reviews.


This is a work of fiction. Names, characters,
places, brands, media, and incidents either are the product of the
author’s imagination or are used fictitiously. Any resemblance to
actual events, locales, organizations, or persons, living or dead,
is entirely coincidental and beyond the intent of the publisher.
The author acknowledges the trademarked status and trademark owners
of various products referenced in its work of fiction, which have
been used without permission. The publication/use of these
trademarks is not authorized, associated with, or sponsored by the
trademark owners.


License Notes


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Cover Photo obtained from
Romance Novel

Cover Design created by
Angela Waters Graphic
Art & Design

Editing Services supplied by:


Bev Katz

Proofreading Services supplied by



eISBN: 978-0-9881803-8-3


* * * *



I would like to start by paraphrasing a
portion of my author’s note from my Highlands Trilogy: By the time
of William the Lion (William I), who ruled Scotland from 1165 to
1214, the feudal systems were more firmly established in the
southern region of Scotland, the king had managed to exert his
influence and sway in the wilder northern and western regions as
well. Mostly through alliances with foreigners to whom he chartered
land, or to natives who sought a royal charter for their land in
order to secure it for their own offspring.

My vision, therefore, was of a kind of
“melting pot.” The old ways, not completely abandoned, yet the new
coming to be embraced.

This is a work of fiction. Some creative
license has been taken with regard to certain aspects of historical
accuracy in order to fulfill my vision for the romance, and allow
for less confusion to the romance reader.

The Campbells were in the Highlands during
this time frame, but were not yet known by the name Cambel

The idea for setting William, King of Scots’
court at Scone Abbey actually came from another work of fiction,
The Fair Maid of Perth
, written by Sir Walter Scott, while I
was researching
Highland Vengeance
. Within the third
paragraph of the first chapter it reads:
“The city was often the
residence of our monarchs, who, although they had no palace at
Perth, found the Cistercian convent amply sufficient for the
reception of their court.”
The abbey at Scone was Augustinian,
but I loved the idea of using it so much, that I blurred the lines
a bit. As well, I want to note, that although I have searched, I
have never been able to verify Sir Walter Scott’s words with any
scholarly account.

The Romans mined copper from Scottish
Highlands, set up forts for this purpose, as well as to “tame” the

The idea for Morgana’s song weaving a spell
on the occupants of the carn (cairn, in modern spelling), comes
directly from the section, “Acoustic effects: ancient Scottish
megalithic chambers”, which I found in the book,
The Quest for
the Celtic Key
, by Karen Ralls-MacLeod and Ian Robertson, while
doing research for this book. It specifically speculates that
sub-sonic vibrations may have altered the mental states of the
ancient worshippers, but this sentence alone was enough to set my
imagination flying!

Although Schiehallion is not well-forested
now, there is archeological evidence that at one time it was. In
the 13
century, though much of the ancient forests had
been depleted, there were still an estimated 20% standing. Today,
there are only an estimated 1%. For those interested in the history
of deforestation and afforestation of the Highlands, and Scotland
in general, I recommend,
Woods, Forests, and Estates
, by
Thomas Hunter; and
Conquering the Highlands: A history of the
afforestation of the Scottish uplands
, by Jan Oosthoek.

I hope you can forgive the licenses I’ve
taken and simply enjoy Robert and Morgana’s story!


For further scholarly reading, please refer
to my research booklist at


K.E. Saxon





This glossary is meant merely as an aid to
the reader of this story, and in no way is intended to be used as
an authoritative guide to the spoken language represented. The
glossary contains pronunciations of classical Latin, Old Norse, and
Scottish Gaelic, of which some were constructed by the author using
multiple sources (see list at end of glossary), and to the best of
her ability, as no authoritative pre-constructed versions of the
word’s pronunciation were found.


Á vegginum Ásgarðr
ar-veG-in-uhm ars-gar-thr \: Lit: Upon the wall of Asgard. (This
expletive was completely contrived by the author, and has no proof
of historical merit, as far as she has been able to find.) Old


Aerariae secturae
ahyuhr-ar-ee-eye sec-toor-ahy \: Latin “copper mines”. [note:
classical pronunciation]


\ ahn-koo \:
Breton Mythology. A Celtic death god known as “Master of the
World”; Grim Reaper.


ahr-mawr-i-k, -mor- \: A native of Armorica. (Brittany)


of Óðinn!
\ Bah-klr
ahv O-then \: Lit: Balls of Odin! (This expletive was completely
contrived by the author, and has no proof of historical merit, as
far as she has been able to find). Old Norse.


byăll-tènn \: The Celtic May Day Festival. (May 1 or 2). Scottish


Cailleach Bheur
kaely-lyach vveer \: The old hag of the ridges in folklore.
Scottish Gaelic.


Caislean Credi
kahsh-lee-ahn kreh-dee \: “Hill of Credulity”; The place of
coronation for Scotland’s Kings at the Abbey at Scone. Survives as
the present Moot Hill. Scottish Gaelic.


kahst-l-eyn \: Note: Author-coined feminine form of
, which is a medieval term for the male governor of
a keep.


\ kom-plin,
-plahyn \: “Night Prayer.” The last of the seven canonical hours,
or the service for it, originally occurring after sunset and before


\ kawrps-ish
\: Note: Author-coined word (because corpse is an older word than
cadaver) with the intended meaning: pale, haggard and thin. Of or
like a corpse.


Cruach na Beinne
kruăch nă baynn \: Ben Cruachan in Argyll. Scottish Gaelic.


Garbh Uisge
\ gărv
ishka \: River Leny. Scottish Gaelic.


\ dal-l \:
Gentle, easy (to manage). Old Norse.


Greek fire
\ Greek
fire \: A Byzantine incendiary mixture, composition unknown that,
when wetted, exploded into flame, and was then shot through syphons
or catapults.


\ howst \:
Harvest. Old Norse.


hahy-muh-nee-uhl \: Archaic. Marriage song.


Í móti vetri
\ ee
moti vetree \: Lit: “At the onset of winter”. Old Norse. See:
Ynglinga saga
by Snorri Sturluson.


in-jen-ee-ah-tore \: Latin “to devise in the sense of construct, or
craftsmanship”. Root of


eenn-vare-llhay \: Medieval name for Leith. Up until the
century, Leith had two settlements, one north, and
one south of the Water of Leith river. The south settlement was a
trade port; while the north settlement was more a fishing village,
and under the jurisdiction of Holyrood Abbey.


Leòdhas (Isle of)
Lioh-yhas \: Isle of Lewis. The Largest Island of the Outer
Hebrides, Scotland.


Lia Fáil
\ lee-ah
fowl \: Stone of Destiny. The coronation stone for the High Kings
of Ireland up through Murtagh MacErc (6
century AD).
Scottish chroniclers in the 13
century expanded the
legend to say that the Stone of Destiny was the same as the Stone
of Scone, that it was brought to Scotland by the brother of Murtagh
MacErc, and never returned. This legend, then, I believe would have
made for good theater in William the Lion’s court.


Llyn Tegid
\ khlin
teh-gitt \: Bala Lake in Gwynedd, Wales.


Kœrr logi of mitt
\ korr loGi ahv miT fuhst \: Dear flame of my desire.
Old Norse.

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