The main objection to this theory of an Anglo-Norman “epos” is the difficulty of reconciling it, not so much with the Trojan and the Arthurian parts of the _Historia_ as with the scope and character of the work as a whole. The book is called a _History of the Kings of Britain_, and would appear, _primâ facie_, to have been composed by a writer of British birth for the sole purpose of glorifying the forgotten heroes of his own race.[74] Through six books the narrative is strictly confined to the insular history of Britain and its rulers, many strange legends and marvels being interwoven with what professes to be an authentic and ordered record of actual events. Even in the first half of the _History_, dull though it is for the most part, one alights upon many passages which betray the hand of the deliberate romancer. But it is only with the introduction, in the seventh book, of the prophecies of Merlin that Geoffrey finds his real opportunity for romantic dilatation. With Merlin he is in the very heart of the land of enchantment, and the spell of romance inevitably falls upon him. It is to Merlin’s magic arts that the birth is due of “the most renowned Arthur, who was not only famous in after years, but was well worthy of all the fame he did achieve by his surpassing prowess.” Then follows, in three books, the narrative which first revealed to an astonished world that Britain once had a hero whose deeds challenged comparison with those of Alexander and Charlemagne. Here, at last, was historical confirmation of what had long been fabled in “the idle tales” and “ancient songs” of the Britons. Here, also, was just what a romantic age was thirsting for, and Arthur immediately became the central figure of the most popular and the most splendid of the romantic cycles. “Alexander”--and, we may add, Charlemagne--“had been an amusement; Arthur became a passion.”[75]