Whereas Mélusine’s anatomical parameters are ambiguous by design, her behaviour and intentions throughout and beyond the Romance contradict those of Judaeo-Christian demons. In the eyes of the Catholic Church, Mélusine and her sisters would quickly be classified as diabolical for having committed patricide in response to their mother’s lamentations about the promised wealth they would never have. However, since they are raised on the secluded Lost Isle of Avalon, Pressine’s young and naïve daughters have been isolated from all forms of human civilization until that very moment and do not comprehend the consequences of their actions in the mortal world (Lebey 115). Duly punished, Mélusine is cursed with immortality in a serpent’s body unless she can find a human groom so loyal that he would “never dream of seeing [her] on th[e] night” of her weekly transforma- tion (Lebey 117). Thus, she decides to make use of her preternatural gifts of nature to bless an ill-fated Raymondin with love, wealth, and prestige, so long as he does not transgress this geas, following in the footsteps of her faery mother. With her non-linear temporal perception and God like omniscience, Mélusine trains her obedient knight to conceal the accidental murder of his uncle, to expose the wrong-doings of others, and to diplomatically manipulate relations with neighbouring fiefs in his favour (Lebey 35–40, 83–97). Meanwhile, without ever seeking recognition, Mélusine clandestinely establishes villages for her rapidly increasing population, erects beautiful churches and castles from Aquitaine to Brittany, and exponentially extends the borders of Lusignan such that there would be ample land over which her ten future sons could rule (Lebey 98–101). This behaviour is pivotal to the classification of Mélusine as a being that exists beyond the binary of heaven and hell, as it contradicts the Christian notion that unnatural abilities inevitably tempt their wielder to rise in fame and power (Revised Standard Catholic Edition, Matt. 4.1–11). Instead, in occidental folklore, faeries – even those with benign intentions – were depicted as very secretive folk (Almqvist 13–69). Their very nomenclature in Celtic languages imply that they are “silent” neighbours that exist parallel to the natural world, meaning that they conceal their identities and avoid confronting and interfering with human civilization as much as possible. Likewise, Mélusine’s bivalent identity as a human and a hidden natural deity allows her to make a substantial difference in the lives of her loyal subjects and her family, all while selflessly allowing any recognition of her power to be eclipsed by her husband’s valour. Even after her unfortunate final transformation into an airborne, serpentine guardian, Mélusine reportedly continues to warn her cherished descendants of impending danger to this day (Lebey 147).