Merlin

Merlin (Welsh: Myrddin, Cornish: Merdhyn, Breton: Merzhin) is a mythical figure prominently featured in the legend of King Arthur and best known as a magician, with several other main roles. The familiar depiction of Merlin, based on an amalgamation of historical and legendary figures, was introduced by the 12th-century Catholic cleric Geoffrey of Monmouth and then built on by the French poet Robert de Boron and prose successors in the 13th century.

Geoffrey seems to have combined earlier Welsh tales of Myrddin and Ambrosius, two legendary Briton prophets with no connection to Arthur, to form the composite figure that he called Merlinus Ambrosius. His rendering of the character became immediately popular, especially in Wales. Later chronicle and romance writers in France and elsewhere expanded the account to produce a more full, multifaceted character, creating one of the most important figures in the imagination and literature of the Middle Ages.

Merlin's traditional biography casts him as an often-mad cambion, born of a mortal woman and an incubus, from whom he inherits his supernatural powers and abilities. His most notable abilities commonly include prophecy and shapeshifting. Merlin matures to an ascendant sagehood and engineers the birth of Arthur through magic and intrigue. Later stories have Merlin as an advisor and mentor to the young king until he disappears from the tale, leaving behind a series of prophecies foretelling events to come. A popular version from the French prose cycles tells of Merlin being bewitched and forever sealed up or killed by his student, the Lady of the Lake, after having fallen in love with her. Other texts variously describe his retirement, at times supernatural, or death.

The name Merlin is derived from the Welsh name of the legendary bard Myrddin that Geoffrey of Monmouth Latinised to Merlinus in his works. Medievalist Gaston Paris suggests that Geoffrey chose the form Merlinus rather than the expected *Merdinus to avoid a resemblance to the Anglo-Norman word merde (from Latin merda) for feces. 'Merlin' may also be an adjective, in which case he should be called "The Merlin", from the French merle meaning blackbird. According to Martin Aurell, the Latin form Merlinus is a euphony of the Welsh form Myrddin to bring him closer to the blackbird (Latin merula) into which he could metamorphose through his shamanic powers, as was notably the case for Merlin's Irish counterpart.

Myrddin may be a combination of *mer (mad) and the Welsh dyn (man), to mean 'madman'. It may also mean '[of] many names' if it was derived from the Welsh myrdd, myriad. In his Myrdhinn, ou l'Enchanteur Merlin (1862), La Villemarqué derived Marz[h]in, which he considered the original form of Merlin's name, from the Breton word marz (wonder) to mean 'wonder man'. Clas Myrddin or Merlin's Enclosure is an early name for Great Britain as stated in the third series of Welsh Triads.

Celticist Alfred Owen Hughes Jarman suggested that the Welsh name Myrddin (

Welsh pronunciation: [ˈmərðɪn]) was derived from the toponym Caerfyrddin, the Welsh name for the town known in English as Carmarthen. This contrasts with the popular folk etymology that the town was named after the bard. The name Carmarthen is derived from the town's previous Roman name Moridunum, in turn, derived from the Celtic Brittonic moridunon, 'sea fort[ress]'. Eric P. Hamp proposed a similar etymology: Morij:n, 'the maritime' or 'born of the sea'. There is no obvious connection between Merlin and the sea in the texts about him, but Claude Sterckx has suggested that Merlin's father in the Welsh texts, Morfryn, might have been a sea spirit. Philippe Walter connected it with the figure of the insular Celtic sea god Manannán.

Folklorist Jean Markale proposed that the name of Merlin is of French origin and means 'little blackbird', an allusion to the mocking and provocative personality usually attributed to him in medieval stories. The Welsh Myrddin could be also phonetically connected to the name Martin and some of the powers and other attributes of the 4th-century French Saint Martin of Tours (and his disciple Saint Hilaire) in hagiography and folklore are similar to these of Merlin. If a relationship between the two figures does exist, however, it may rather be a reverse one in which the Merlin tradition inspired the later accounts of the saint's miracles and life.

As summarized by Danielle Quéruel of the Bibliothèque nationale de France,

Geoffrey's composite Merlin is based mostly on the North Brythonic poet and seer Myrddin Wyllt, that is Myrddin the Wild (known as Merlinus Caledonensis or Merlin Sylvestris in later texts influenced by Geoffrey), appearing in 12th-century poems such as "Afallennau Myrddin" ("Myrddin's Apple Trees") or "Yr Oianau" ("The Piglet"). Myrddin's legend has parallels with a northern Welsh and southern Scottish story of the mad prophet Lailoken (Laleocen), probably the same as Myrddin son of Morfryn (Myrddin map Morfryn) mentioned in the Welsh Triads, and with Buile Shuibhne, an Irish tale of the wandering insane king Suibihne mac Colmáin (often Anglicised to Sweeney).

In Welsh poetry, Myrddin was a bard who was driven mad after witnessing the horrors of war and subsequently fled civilization to become a wild man of the wood in the 6th century. He roamed the Caledonian Forest until he was cured of his madness by Kentigern, also known as Saint Mungo. Geoffrey had Myrddin in mind when he wrote his earliest surviving work, the Prophetiae Merlini ("Prophecies of Merlin", c. 1130), which he claimed were the actual words of the legendary poet (including some distinctively apocalyptic prophecies for Geoffrey's contemporary 12th century); however, the work reveals little about Merlin's background.

Geoffrey was further inspired by Emrys (Old Welsh: Embreis), a character based in part on the 5th-century historical figure of the Romano-British war leader Ambrosius Aurelianus (Welsh name Emrys Wledig, also known as Myrddin Emrys). When Geoffrey included Merlin in his next work, Historia Regum Britanniae (c. 1136), he supplemented his characterisation of Merlin by attributing stories of Ambrosius to Merlin. These stories were taken from one of Geoffrey's primary sources, the early 9th-century Historia Brittonum attributed to Nennius. In this source, Ambrosius was discovered when the King of the Britons, Vortigern, attempted to erect a tower at Dinas Emrys (City of Emrys). More than once, the tower collapsed before completion. Vortigen's wise men advised him that the only solution was to sprinkle the foundation with the blood of a child born without a father. Ambrosius was rumoured to be such a child. When he was brought before the king, Ambrosius revealed that below the foundation of the tower was a lake containing two dragons battling into each other, representing the struggle between the invading Saxons (the white dragon) and the native Celtic Britons (the red dragon). Geoffrey retold the story in his Historia Regum Britanniæ, adding new episodes that tie Merlin with King Arthur and his predecessors. Geoffrey stated that this Ambrosius was also called "Merlin", hence Ambrosius Merlinus.

Geoffrey's account of Merlin's early life is based on the story from the Historia Brittonum. At the same time, however, Geoffrey also turned Ambrosius Aurelianus into the separate character of Uther Pendragon's brother Aurelius Ambrosius. Geoffrey added his own embellishments to the tale, which he set in Carmarthen, Wales (Welsh: Caerfyrddin). While Nennius' "fatherless" Ambrosius eventually reveals himself to be the son of a Roman consul, Geoffrey's Merlin is fathered by an incubus demon through a nun, daughter of the King of Dyfed (Demetae, today's South West Wales). Usually, the name of Merlin's mother is not stated, but it is given as Adhan in the oldest version of the Prose Brut, the text also naming his grandfather as King Conaan.

Merlin is born all hairy and already able to speak like an adult, as well as possessing supernatural knowledge that he uses to save his mother. The story of Vortigern's tower is the same; the underground dragons, one white and one red, represent the Saxons and the Britons, and their final battle is a portent of things to come. At this point Geoffrey inserted a long section of Merlin's prophecies, taken from his earlier Prophetiae Merlini. Geoffrey also told two further tales of the character. In the first, Merlin creates Stonehenge as a burial place for Aurelius Ambrosius, bringing the stones from Ireland. In the second, Merlin's magic enables the new British king, Uther Pendragon, to enter into Tintagel Castle in disguise and to father Arthur with his enemy's wife, Igerna (Igraine). These episodes appear in many later adaptations of Geoffrey's account. Merlin subsequently disappears from the narrative. He does not tutor or advise Arthur as in later versions.

Geoffrey dealt with Merlin again in his third work, Vita Merlini (1150). He based it on stories of the original 6th-century Myrddin, set long after his time frame for the life of Merlin Ambrosius. Nevertheless, Geoffrey asserts that the characters and events of Vita Merlini are the same as told in the Historia Regum Britanniae. Here, Merlin survives the reign of Arthur, whose fall he is told about by Taliesin. Merlin spends a part of his life as a madman in the woods and marries a woman named Guendoloena (a character inspired by the historic king Gwenddoleu ap Ceidio). He eventually retires to observing stars from his house with seventy windows in the remote woods of Rhydderch. There, he is often visited by Taliesin and by his own sister Ganieda (a Latinized name of Myrddin's sister Gwenddydd), who has become queen of the Cumbrians and is also endowed with prophetic powers. Compared to Geoffrey's Historia, his Vita seems to have little influence on the later portrayals of Merlin.

Mark Chorvinsky hypothesized that Merlin is based on a historical person, probably a 5th and/or 6th-century druid living in southern Scotland. Nikolai Tolstoy makes a similar argument based on the fact that early references to Merlin describe him as possessing characteristics which modern scholarship would recognize as druidical (but that sources of the time would not have recognized), the inference being that those characteristics were not invented by the early chroniclers but belonged to a real person. If so, the hypothetical proto-Merlin would have lived about a century after the hypothetical historical Arthur.

A late version of the Annales Cambriae (dubbed the "B-text", written at the end of the 13th century) and influenced by Geoffrey, records that in the year 573 after "the battle of Arfderydd, between the sons of Eliffer and Gwenddolau son of Ceidio; in which battle Gwenddolau fell; Myrddin went mad." The earliest version of the same entry in Annales Cambriae (in the "A-text", written c. 1100), as well as a later copy (the "C-text", written towards the end of the 13th century) do not mention Myrddin. Myrddin furthermore shares similarities with the shamanic bard figure of Taliesin, alongside whom he appears in the Welsh Triads and in Vita Merlini, as well as in the poem "Ymddiddan Myrddin a Thaliesin" ("The Conversation between Myrddin and Taliesin") from The Black Book of Carmarthen, which was dated by Rachel Bromwich as "certainly" before 1100, that is predating Vita Merlini by at least half century while telling a different version of the same story. According to Villemarqué, the origin of the legend of Merlin lies with the Roman story of Marsus, a son of Circe, which eventually influenced the Breton and Welsh tales of a supernaturally-born bard or enchanter named Marzin or Marddin.

Around the turn of the 13th century, Robert de Boron retold and expanded on this material in Merlin, an Old French epic poem inspired by Wace's Roman de Brut, an Anglo-Norman creative adaptation of Geoffrey's Historia. The work presents itself as the story of Merlin's life as told by Merlin himself to be written down by the "real" author while the actual author claimed merely to translate the story into French. Only a few lines of what is believed to be the original text have survived, but a more popular prose version had a great influence on the emerging genre of Arthurian-themed chivalric romance.

As in Geoffrey's Historia, Merlin is created as a demon spawn, but in Robert's account he is explicitly to become the Antichrist intended to reverse the effect of the Harrowing of Hell. The infernal plot is thwarted when a priest named Blaise [fr] (the story's narrator and perhaps Merlin's divine twin in a hypothetical now-lost oral tradition) is contacted by the child's mother; Blaise immediately baptizes the boy at birth, thus freeing him from the power of Satan and his intended destiny. The demonic legacy invests Merlin (already able to speak fluently even as a newborn) with a preternatural knowledge of the past and present, which is supplemented by God, who gives the boy prophetic knowledge of the future. The text lays great emphasis on Merlin's power to shapeshift, his joking personality, and his connection to the Holy Grail, the quest for which he later foretells.

Merlin was originally part of a cycle of Robert's poems telling the story of the Grail over the centuries. The narrative of Merlin is largely based on Geoffrey's familiar tale of Vortigern's Tower, Uther's war against the Saxons, and Arthur's conception. New in this retelling is the episode of young Arthur (who had been secreted away by Merlin) drawing the sword from the stone, an event orchestrated by Merlin in the role of kingmaker. Earlier, Merlin also instructs Uther to establish the original, quasi-religious chivalric order of the Round Table for fifty members, following his own act of creating the table itself as a replica of both the Last Supper table and the table of Joseph of Arimathea. The text ends with the coronation of Arthur. The prose version of Robert's poem was then continued in the 13th-century Merlin Continuation, telling of King Arthur's early wars and Merlin's role in them. In this text, also known as the Suite du Merlin, the mage both predicts and, wielding elemental magic, influences the course of battles, in addition to helping the young Arthur in other ways. Eventually, he arranges the reconciliation between Arthur and his rivals, and the surrender of the defeated Saxons and their departure from Britain.

The extended prose rendering of Merlin was incorporated as a foundation of the Lancelot-Grail, a vast cyclical series of Old French prose works also known as the Vulgate Cycle, in the form of the Estoire de Merlin (Story of Merlin), also known as the Vulgate Merlin or the Prose Merlin. There, while not identifying his mother, it is stated that Merlin was named after his grandfather on her side. The Vulgate's Prose Lancelot further relates that after growing up in the borderlands between 'Scotland' (i.e. Pictish lands) and 'Ireland' (i.e. Argyll), Merlin "possessed all the wisdom that can come from demons, which is why he was so feared by the Bretons and so revered that everyone called him a holy prophet and the ordinary people all called him their god." In the Vulgate Cycle's version of Merlin, his acts include arranging the consummation of Arthur's desire for "the most beautiful maiden ever born," Lady Lisanor of Cardigan, resulting in the birth of Arthur's illegitimate son Lohot from before the marriage to Guinevere. Merlin seems to be inherently evil in the so-called non-cyclic Lancelot, where he was born as the "fatherless child" from not a supernatural rape of a virgin but a consensual union between a lustful demon and an unmarried beautiful young lady and was never baptized.

A further reworking and an alternative continuation of the Prose Merlin were included within the subsequent Post-Vulgate Cycle as the Post-Vulgate Suite du Merlin or the Huth Merlin, the so-called "romantic" rewrite (as opposed to the so-called "historical" original of the Vulgate). It added some content such as Merlin providing Arthur with the sword Excalibur through a Lady of the Lake, while either removing or altering many other episodes. Merlin's magical interventions in the Post-Vulgate versions of his story are relatively limited and markedly less spectacular, even compared to the magical feats of his own students, and his character becomes less moral. In addition, Merlin's prophecies also include sets of alternative possibilities (meaning future can be changed) instead of only certain outcomes. The Post-Vulgate Cycle has Merlin warn Arthur of how the birth of his other son will bring great misfortune and ruin to his kingdom, which then becomes a self-fulfilling prophecy. Eventually, long after Merlin is gone, his advice to dispose of the baby Mordred through an event evoking the Biblical Massacre of the Innocents leads to the deaths of many, among them Arthur.

Both Merlin and its continuations have been adapted in verse and prose, translated into several languages, and further modified to various degrees by other authors. Notably, the Post-Vulgate Suite (along with an earlier version of the Prose Merlin) was the main source for the opening section of Thomas Malory's English-language compilation work Le Morte d'Arthur which formed a now-iconic version of the legend. Compared to some of his French sources (such as the Vulgate Lancelot which described Merlin as "treacherous and disloyal by nature, like his [demon] father before him"), Malory limited the extent of the negative association of Merlin and his powers. He is relatively rarely condemned as demonic by other characters such as King Lot, instead he is presented as an ambiguous trickster.

As the Arthurian myths were retold, Merlin's prophetic "seer" aspects were sometimes de-emphasized (or even seemingly vanish entirely, as in the fragmentary and more fantastical Livre d'Artus) in favor of portraying him as a wizard and an advisor to the young Arthur, sometimes in the struggle between good and evil sides of his character, and living in deep forests connected with nature. Through his ability to change his shape, he may appear as a "wild man" figure, evoking his prototype Myrddin Wyllt, as a civilized man of any age (including as a very young child), or even as a talking animal. His guises can be highly deformed and animalistic even when Merlin is presenting as a human or humanoid being. In the Perceval en prose (also known as the Didot Perceval and usually also attributed to Robert), where Merlin is the initiator of the Grail Quest and cannot die until the end of days, he eventually retires after Arthur's downfall by turning himself into a bird and entering the mysterious esplumoir, never to be seen again.

The earliest English verse romance concerning Merlin is Of Arthour and of Merlin of the late 13th century, which drew from the chronicles and the Vulgate Cycle. In English-language medieval texts that conflate Britain with the Kingdom of England, the Anglo-Saxon enemies against whom Merlin aids first Uther and then Arthur tend to be replaced by the Saracens or simply just invading pagans. The earliest Merlin work written in Germany was Caesarius of Heisterbach's Latin theological text Dialogus Miraculorum (1220). Among other medieval works dealing with the Merlin legend is the 13th-century French romance Le Roman de Silence, and the 13th-14th Italian story collection Il Novellino that pictures him as a righteous seer chastising people for their sins. Conversely, the Orygynale Cronykil of Scotland, which sympathizes with Mordred as usual in Scottish chronicle tradition, particularly attributes Merlin's supernatural evil influence on Arthur to its very negative portrayal of his rule.

In the Second Continuation of Perceval, the Story of the Grail, written around 1210, a young daughter of Merlin called the Lady of the High Peak of Mont Dolorous, appears to guide Perceval towards the Grail Castle. Merlin's usually unspecified mother is sometimes called Adhan or Aldan, or Optima, as in Bauduin (Baudouin) Butor's 1294 romance known as either Les Fils du Roi Constant or Pandragus et Libanor. Paolino Pieri's 14th-century Italian La Storia di Merlino, which invents a new version of the story of Merlin's youth, names his mother as Marinaia. Ulrich Füetrer's 15th-century Buch der Abenteuer, in the section based on Albrecht von Scharfenberg's lost Merlin, turns Merlin into father of Uter, effectively making Merlin's grandson Arthur a part-devil too. The eponymous redeemed half-demon Gowther is Merlin's half-brother in the 15th-century English poem Sir Gowther.

In the prose chivalric romance tradition, Merlin has a major weakness: young beautiful women of femme fatale archetype. This is what leads him to his doom by a Lady of the Lake. Besides her, Merlin's apprentice in chivalric romances is often King Arthur's half-sister, Morgan le Fay, who is sometimes depicted as Merlin's lover and sometimes as just his unrequited love interest. Contrary to many modern works in which they are archenemies, Merlin and Morgan are never opposed to each other in any medieval tradition, other than she forcibly rejecting him in some texts. Merlin's love for Morgan is so great that he even lies to the king to save her in the Huth Merlin, which is the only instance of him ever intentionally misleading Arthur. In the Venetian prose romance [Les] Prophéties de Merlin, also known as the Prophécies de Merlin (c. 1274-79), he further tutors Sebile, two other witch queens, and the Lady of the Isle of Avalon (Dama di Isola do Vallone). Other figures who learn sorcery from Merlin include the Wise Damsel in the Italian prose romance Historia di Merlino, and the male wizard Mabon in the Post-Vulgate Merlin Continuation and in the Prose Tristan. While Merlin's apprentices gain or expand their magical powers through him, his prophetic powers cannot be passed on.

The works dealing with Merlin's prophecies did not end with Geoffrey's Prophetiae. Particularly in Britain, Merlin remained as much as a prophet as a magician up to and including the 16th century, when political content in the style of Agrippa d'Aubigné continued to be written using Merlin's name to guarantee their authenticity. For instance, John of Cornwall's 12th-century Latin poem Prophecy of Merlin contains a selection of 'updated' prophecies from Geoffrey's Prophetae that come with the author's interpretations relating them to his contemporary Cornish and English political affairs. The late medieval Vita di Merlino con le sue Profetie (1379), combining Merlin romance material and prophecies related to the author's recent contemporary history and politics, became the first Arthurian text printed in Italy.

The influential Prophéties de Merlin (later abridged and clarified in Pieri's Storia) was written in French but obviously by an Italian in Venice (falsely claiming to be one "Richard from Ireland") on the bidding of Frederick II, Holy Roman Emperor and to propagate on his behalf. It contains long prophecies mostly concerned with 11th to 13th-century history and contemporary politics relating to Italy and the Holy Land, some supposedly told by Merlin's ghost after his death, interspersed with episodes relating Merlin's deeds and with assorted Arthurian adventures in which Merlin does not appear at all. The German Sagen von Merlin from the same era, which included the War of the Keys between Frederic II and the Papacy, contains prophecies directed against the Popes. The widely circulated short political tract Expositio Abbatis Joachimi super Sibillis et Merlino (c .1240), falsely attributed to Joachim of Fiore, contains the praise of Frederick II's miraculous birth, which backfired, making it look like the coming of Antichrist.

During the 15th century, old Welsh works predicting the Celtic revenge and victory over the Saxons were recast as Merlin's (Myrddin's) prophecies and used along with Geoffrey by the propaganda of the Welsh-descended Henry VII of England (who fought under the red dragon banner) of the House of Tudor, which claimed to trace its lineage directly to Arthur. Later, the Tudors' Welsh supporters, including bards, interpreted the prophecy of King Arthur's return as having been fulfilled after the Tudors' ascent to the throne of England that they sought to legitimize following the Wars of the Roses. Prophecies attributed to Merlin have been also previously used by the 14th-century Welsh hero Owain Glyndŵr in his fight against the English rule. The vagueness of Merlin's prophecies enabled British monarchs and historians to continue using them even in the early modern period. Notably, the King of Scotland and later also of England and Ireland, James VI and I, claimed his 1603 unification of Britain into the United Kingdom had been foretold by Merlin.

In the prose romance tradition, Merlin's eventual undoing comes from his lusting after another of his female students: the one often named Viviane, among various other names and spellings (including Malory's own Nyneve that his editor William Caxton changed to Nymue which in turn eventually became the now-popular Nimue). Her character and relation to Merlin have been added to the legend of Merlin in the prose continuations of de Boron Merlin, identifying her with the figure of Lancelot's supernatural foster mother. She is also called a fairy (French fee) like Morgan and described as a Lady of the Lake, or the "chief Lady of the Lake" in the case of Malory's Nimue. In the Arthurian prequel Perceforest, the ancestry of both Merlin and the Lady of the Lake is descended from the ancient fairy Morgane (unrelated to Arthur's sister). Here, their bloodline had been cursed by Morgane out of false belief that her daughter was raped by a human (really her lover) so that a female descendant is destined to kill a male one.

There are several different versions of their story. Common themes in most of them include Merlin actually having the prior prophetic knowledge of her plot against him (one exception is the Spanish Post-Vulgate Baladro where his foresight ability is explicitly dampened by sexual desire) but lacking either ability or will to counteract it in any way, along with her using one of his own spells to get rid of him. Usually (including in Le Morte d'Arthur), having learned everything she could from him, Viviane will then also replace the eliminated Merlin within the story, taking up his role as Arthur's adviser and court mage. However, Merlin's fate of either demise or eternal imprisonment, along with his destroyer or captor's motivation (from her fear of Merlin and protecting her own virginity, to her jealousy of his relationship with Morgan), is recounted differently in several variants of this motif. The exact form of his prison or grave can be also variably a cave, a tree, or hole either within or under a large rock (according to Le Morte d'Arthur, this happens somewhere in Benwick, the kingdom of Lancelot's father), or an invisible tower made of magic with no physical walls. The scene is sometimes explicitly placed in the enchanted forest of Brocéliande, a legendary location today identified with the real-life Paimpont forest in Brittany. A Breton tradition cited by Roger Sherman Loomis in Celtic Myth and Arthurian Romance (where he also asserts that it "seems almost certain that Morgan le Fay and the Lady of the Lake were originally the same person" in the legend) has Merlin trapped by his mistress inside a tree on the Île de Sein.

Niniane, as the Lady of the Lake student of Merlin is known in the Livre d'Artus continuation of Merlin, is mentioned as having broken his heart before his later second relationship with Morgan, but here the text does not tell how exactly Merlin did vanish, other than relating his farewell meeting with Blaise. In the Vulgate Merlin, she (aged just 12 at the time) makes Merlin sleep forever in a pit in the forest of Darnantes "and that is where he remained, for never again did anyone see or hear of him or have news to tell of him." In the Post-Vulgate Suite de Merlin, the young King Bagdemagus (one of the early Knights of the Round Table) manages to find the rock under which Merlin is entombed alive by Niviene, as she is named there. He communicates with Merlin, but is unable to lift the stone; what follows next is supposedly narrated in the mysterious text Conte del Brait (Tale of the Cry). In the Prophéties de Merlin, his tomb is unsuccessfully searched for by various parties, including Morgan and her enchantresses, but the tomb cannot be accessed due to the deadly magic traps around it, while the Lady of the Lake comes to taunt Merlin, asking if he has rotted yet. She only allows Tristan's half-brother Meliadus the Younger (her lover, groomed by her from childhood) to access it and record his prophecies. One notably alternate version that has a happier ending for Merlin is the Premiers Faits section of the Livre du Graal, where Niniane peacefully confines him in Brocéliande with walls of air, visible only as a mist to others but as a beautiful yet unbreakable crystal tower to him (only Merlin's disembodied voice can escape his prison one last time when he speaks to Gawain on the knight's quest to find him), where they then spend almost every night together as lovers. Besides evoking the final scenes from Vita Merlini, this particular variant of their story also mirrors a certain episode type found in romances in two versions. There, depending on the variant, Merlin can be object of one-sided desire by a different amorous sorceress who (unsuccessfully) plots to trap him, or it is him who does trap an unwilling lover with his magic.

Unrelated to the legend of the Lady of the Lake, other purported sites of Merlin's burial include a cave deep inside Merlin's Hill (Welsh: Bryn Myrddin), outside Carmarthen. Carmarthen is also associated with Merlin more generally, including through the 13th-century manuscript known as the Black Book and the local lore of Merlin's Oak. In North Welsh tradition, Merlin retires to Bardsey Island (Welsh: Ynys Enlli), where he lives in a house of glass (Welsh: Tŷ Gwydr) with the Thirteen Treasures of the Island of Britain (Welsh: Tri Thlws ar Ddeg Ynys Prydain). One site of his tomb is said to be Marlborough Mound in Wiltshire, known in medieval times as Merlebergia (the Abbot of Cirencester wrote in 1215: "Merlin's tumulus gave you your name, Merlebergia").

Another site associated with Merlin's burial, in his 'Merlin Silvestris' aspect, is the confluence of the Pausalyl Burn and River Tweed in Drumelzier, Scotland. The 15th-century Scotichronicon tells that Merlin himself underwent a triple-death, at the hands of some shepherds of the under-king Meldred: stoned and beaten by the shepherds, he falls over a cliff and is impaled on a stake, his head falls forward into the water, and he drowns. The fulfillment of another prophecy, ascribed to Thomas the Rhymer, came about when a spate of the Tweed and Pausayl occurred during the reign of the Scottish James VI and I on the English throne: "When Tweed and Pausayl meet at Merlin's grave, / Scotland and England one king shall have."

Merlin and stories involving him have continued to be popular from the Renaissance to the present day, especially since the renewed interest in the legend of Arthur in modern times. During the French Renaissance, Merlin would continue to be uniquely appealing figure of theater and ballet even after the interest in Arthur himself had already waned. Since the Romantic period, Merlin has been typically depicted as a wise old man with a long white beard, creating a modern wizard archetype reflected in many fantasy characters, such as J. R. R. Tolkien's Gandalf or J. K. Rowling's Dumbledore, who also use some of his other traits. As noted by Arthurian scholar Alan Lupack, "numerous novels, poems and plays center around Merlin. In American literature and popular culture, Merlin is perhaps the most frequently portrayed Arthurian character."

According to Stephen Thomas Knight, Merlin embodies a conflict between knowledge and power: beginning as a symbol of wisdom in the first Welsh stories, he became an advisor to kings in the Middle Ages, and eventually a mentor and teacher to Arthur and others in the works around the world since the 19th century. While some modern authors write about Merlin positively through an explicitly Christian world-view, some New Age movements instead see Merlin as a druid who accesses all the mysteries of the world. For instance, Merlin appears in the teachings of the Montana-based New Age religious-survivalist group Church Universal and Triumphant as one of their "ascended masters". Francophone artistic productions since the end of the 20th century have tended to avoid the Christian aspects of the character in favor of the pagan aspects and the tradition sylvestre (attributing positive values to one's links to forest and wild animals), thus "dechristianizing" Merlin to present him as a champion for the idea of return to nature. Diverging from his traditional role in medieval romances, Merlin is also sometimes portrayed as a villain. As Peter H. Goodrich wrote in Merlin: A Casebook:

Things named in honour of the legendary figure include asteroid 2598 Merlin, the British company Merlin Entertainments, the handheld console Merlin, the literary magazine Merlin, the metal band Merlin, and more than a dozen different British warships each called HMS Merlin. He was one of eight British magical figures who were commemorated on a series of UK postage stamps issued by the Royal Mail in 2011, and one of the three Arthurian figures (along with Arthur and Morgan) commemorated on the gold and silver British pound coins issued by the Royal Mint in 2023. Merlinia, the Ordovician trilobite, is also named after Merlin; the name is given in memory of a Welsh legend in which the broken tail parts of trilobites were identified as butterflies turned to stone by Merlin.

Contrary to a popular belief among the Royal Air Force pilots and general society at the time (and also later), the Merlin engine that powered several British aircraft during the Second World War (including the famous Spitfire fighter that helped to win the Battle of Britain) was not named after the Arthurian legend figure, but after the bird, as dictated by the Rolls-Royce company naming policy. That coincidence nevertheless had a positive effect on British war morale.

• Garab Dorje, also said to have been conceived by a nun without a human father
• Merlin's Cave, a location under Tintagel Castle

• Goodrich, Peter H. (2004). Merlin: A Casebook. Routledge. ISBN 978-1-135-58340-8.
• Koch, John T. (2006). Celtic Culture: A Historical Encyclopedia. ABC-CLIO. ISBN 978-1-85109-440-0.

• Merlin: Texts, Images, Basic Information Archived 2010-08-27 at the Wayback Machine, Camelot Project at the University of Rochester. Numerous texts and art concerning Merlin
• Timeless Myths: The Many Faces of Merlin Archived 2011-01-09 at the Wayback Machine
• BBC audio file Archived 2018-11-09 at the Wayback Machine of the "Merlin" episode of In Our Time
• Merlin — The Legend Archived 2023-05-20 at the Wayback Machine, a Chronicle documentary on YouTube
• Prose Merlin, Introduction Archived 2004-03-04 at the Wayback Machine and Text Archived 2004-04-06 at the Wayback Machine (the University of Rochester TEAMS Middle English text series) edited by John Conlea, 1998. A selection of many passages of the prose Middle English translation of the Vulgate Merlin with connecting summary. The sections from "The Birth of Merlin to "Arthur and the Sword in the Stone" cover Robert de Boron's Merlin
• Of Arthour and of Merlin Archived 2021-11-06 at the Wayback Machine translated and retold in modern English prose, the story from Edinburgh, National Library of Scotland MS Advocates 19.2.1 (the Auchinleck MS) (from the Middle English of the Early English Text Society edition: O D McCrae-Gibson, 1973, Of Arthour and of Merlin, 2 vols, EETS and Oxford University Press)
• Phillip Walter (ed.), LE DEVIN MAUDIT Merlin, Lailoken, Suibhne — Textes et études Archived 2023-10-07 at the Wayback Machine by Philippe Walter, Christine Bord, Jean-Charles Berthet and Nathalie Stalmans. Moyen Âge européen, 1999. Earliest Merlin texts and studies on them, available to read for free at OpenEdition Books (in French)