historians) were naked civilized men, learned, studious, abstruse in thought and contemplation; naked, simple, plain, in their acts and manners; wiser than after-ages. They were overwhelmed by brutal arms, all but a small remnant; Strength, Beauty, and Ugliness escaped the wreck, and remain for ever unsubdued, age after age.
The British Antiquities are now in the Artist's hands; all his visionary contemplations relating to his own country and its ancient glory, when it was, as it again shall be, the source of learning and inspiration—(Arthur was a name for the constellation Arcturus, or Boötes, the Keeper of the North Pole); and all the fables of Arthur and his Round Table; of the warlike naked Britons; of Merlin; of Arthur's conquest of the whole world; of his death, or sleep, and promise to return again; of the Druid monuments, or temples; of the pavement of Watling-street; of London stone; of the Caverns in Cornwall, Wales, Derbyshire, and Scotland; of the Giants of Ireland and Britain; of the elemental beings, called by us by the general name of Fairies; and of these three who escaped, namely. Beauty, Strength, and Ugliness. Mr. B. has in his hands poems of the highest antiquity. Adam was a Druid, and Noah; also Abraham was called to succeed the Druidical age, which began to turn allegoric and mental signification into corporeal command, whereby human sacrifice would have depopulated the earth. All these things are written in Eden. The Artist is an inhabitant of that happy country: and if everything goes on as it has begun, the world of vegetation and generation may expect to be opened again to Heaven, through Eden, as it was in the beginning.
The Strong Man represents the human sublime; the Beautiful Man represents the human pathetic, which was in the wars of Eden divided into male and female; the Ugly Man represents the human reason. They were originally one man, who was fourfold; he was self-divided, and his real humanity slain on the stems of generation, and the form of the fourth was like the Son of God. How he became divided is a subject of great sublimity and pathos. The Artist has written it under inspiration, and will, if God please, publish it; it is voluminous, and contains the ancient history of Britain, and the world of Satan and of Adam.
In the meantime he has painted this Picture, which supposes that in the reign of that British Prince, who lived in the fifth century, there were remains of those naked Heroes in the Welch Mountains; they are there now—Gray saw them in the person of his Bard on
