This is the very monstrosity of fable, the grossness of which carries with it its own condemnation. These facts, however, are not insisted upon by Malory, though such claims for Arthur were made by the credulous and less scrupulous writers. Romance has entirely remodelled his character, and has filled in all the gaps in his life-story in that triumphant manner in which Celtic genius manifests its power. The legendary Arthur is made to realise the sublime prophecies of Merlin, and as those prophecies waxed more bold and arrogant in the course of ages the proportions of the hero were magnified to suit them. Merlin had cherished the hope of the coming of a victorious chief under whom the Celts should be united, but the slaughter at Arderydd when the rival tribes fought each other, almost destroyed all such aspirations. Nevertheless the prophet foretold the continuance of discord among the British tribes, until the chief of heroes formed a federation on returning to the world, and his prediction concluded with the haunting words: “Like the dawn he will arise from his mysterious retreat.” Mr. Stuart Glennie calls Merlin a barbarian compound of madman and poet, prophet and bard, but denies that he was a mythic personage or a poetic creation. He was, like Arthur himself, an actual pre-mediæval personage, and, as in the case of Arthur, we have no means of determining his origin, his nationality, or the _locale_ of his wanderings. But if, as Wilson observes in one of his “Border Tales,” tradition is “the fragment which history has left or lost in its progress, and which poetry following in its wake has gathered up as treasures, breathed upon them its influence and embalmed them in the memories of men unto all generations,” we shall extract a residuum of truth from the fanciful fables of which Merlin is the subject.