Nor was the land less indebted for romantic associations to those fabulous historians, who peopled Britain with royalty, beauty, chivalry, and faery, and assigned to Cornwall the honour of producing the renowned Sir Tristan. Not a few hours were whiled away at Trevethlan Castle in discoursing of their marvellous adventures, their strange wandering towns of Camelot and Caerleon, and the general phantasmagoric character of their narratives. They plotted out the kingdom in an imaginary map, and whatever scenery they required, they regarded as existing and well known. Did they want a lake, from whence should issue a hand bearing a magic sword, they troubled not themselves with any mention of its landmarks: a forest perilous arose wherever they willed: a bridge to be defended, and therefore a stream, was always ready in the champion's path: you were introduced to a fountain as if you had drunk at it all your life. Undoubting faith in their own story was one of their most powerful fascinations: it transferred itself to their hearers, and a tale, which modern exactness would make incoherent and incredible, became credible from its very indistinctness. The Round Table romances present us with a fantastic Britain, which we may conceive to be still in being, like the paradise of Irem in the desert of Aden, and which the second-sight of imagination may yet conjure up in all its pristine glory. Many of those old tomes, quartos and folios, whose florid binding attested their high estimation by early possessors, enriched the shelves of the castle library; and few of its proprietors were deterred from exploring their contents, by the mystic black-letter and antiquated French in which the stories were told. Under Polydore's guidance, Randolph and Helen had become acquainted with much of this legendary lore; and even their father sometimes deigned to take part in a conversation arising out of it.