The fates of the remaining major characters are made known in the course of the final chapter. Tegolin and Rhisiart, who is now an English judge, have a daughter, Catharine, and are due to be reunited at last, just as the book ends. When John Cowper Powys began "Owen Glendower" in April 1937 he referred to it in his diary, as "my Romance about "Owen Glyn Dwr" ", but then, in subsequent years, he generally referred to it as a historical novel, and it was so sub-titled when it was published. This description of the novel is supported by a scholarly introduction, or "Argument", giving historical background both to Glendower and to the period, which indicates, Powys had thoroughly researched his subject. Indeed the novel reveals that "Powys was no amateur in the academic world" But Welshman Roland Mathias, is highly critical of Powys's handling of Welsh history, arguing that he "chooses to ignore the heart and spirit of early fifteenth-century Wales in favour of a deep-rooted theory of his own". Powys's approach to the historical novel genre is influenced by Walter Scott -- "by far the most powerful literary influence on my life"—and both Edward Waverley ("Waverley", 1814) and the eponymous hero of "Quentin Durward" (1823) have been suggested as models for Rhisiart. However, though Scott is generally seen as a major influence of the modern version of the historical novel, his novels are also frequently described as historical romances, and Northrop Frye suggested "the general principle that most 'historical novels' are romances". In fact Powys's preferred genre was the romance, though Morine Krissdottir maintains that "Owen Glendower" "unlike the other novels, is not a 'romance' but a 'history' ", and Glen Cavaliero argues that "the normal definitions of romance hardly serve to define" Powys's novels, which "call into question our normal usage of the word 'novel' ". Jeremy Hooker, however, describes both "Owen" and "" as " 'Welsh Romances' " and relates this to Powys "drawing on a tradition of storytelling far older than that of any 'historical novelist'" and suggests that "[i]n a way, he is close to the medieval Arthurian romances". Hooker also emphasises the influence of the Welsh mythological classic "The Mabinogion" on this novel, stating "that the mythology is more essential, more integral, to this romance than its historical circumstances are".