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How completely had the young student discerned the characteristics of poor, genial, generous, drudging, holiday-loving Goldsmith; toiling, that he might play; earning his bread by the sweat of his brains, and then throwing it out of the window.

The Roman History was published in the middle of May, in two volumes of five hundred pages each. It was brought out without parade or pretension, and was announced as for the use of schools and colleges; but, though a work written for bread, not fame, such is its ease, perspicuity, good sense, and the delightful simplicity of its style, that it was well received by the critics, commanded a prompt and extensive sale, and has ever since remained in the hands of young and old.

Johnson, who, as we have before remarked, rarely praised or dispraised things by halves, broke forth in a warm eulogy of the author and the work, in a conversation with Boswell, to the great astonishment of the latter. “Whether we take Goldsmith," said he, "as a poet, as a comic writer, or as an historian, he stands in the first class." Boswell." An historian! My dear sir, you surely will not rank his compilation of the Roman History with the works of other historians of this age." Johnson. Why, who are before him?" Boswell. "Hume - Robertson Lord Lyttelton." Johnson (his antipathy against the Scotch beginning to rise). — “I have not read Hume; but doubtless Goldsmith's History is better than the verbiage of Robertson, or the foppery of Dalrymple." Boswell.

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"Will you not admit the superiority of Robertson, in whose history we find such penetration, such painting?" Johnson. "Sir, you must consider how that penetration and that painting are employed. It is not history, it is imagination. He who describes what he never saw, draws from fancy. Robertson paints minds as Sir Joshua paints faces, in a history-piece; he imagines an heroic countenance. You must look upon Robertson's work as romance, and try it by that standard. History it is not. Besides, sir, it is the great excellence of a writer to put into his book as much as his book will hold. Goldsmith has done this in his History. Now Robertson might have put twice as much in his book. Robertson is like a man who has packed gold in wool; the wool takes up more room than the gold. No, sir, I always thought Robertson would be crushed with his own weight would be buried under his own ornaments. Goldsmith tells you shortly all you want to know; Robertson detains you a great deal too long. No man will read Robertson's cumbrous detail a second time but Goldsmith's plain narrative will please again and again. I would say to Robertson what an old tutor of a college said to one of his pupils, 'Read over your compositions, and whenever you meet with a passage which you think is particularly fine, strike it out!' Goldsmith's abridgment is better than that of Lucius Florus or Eutropius; and I will venture to say, that, if you compare him with Vertot in the same places of the Roman History, you will find that he excels

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"HISTORY OF ANIMATED NATURE." 257

Vertot. Sir, he has the art of compiling, and of saying everything he has to say in a pleasing manner. He is now writing a Natural History, and will make it as entertaining as a Persian tale."

The Natural History to which Johnson alluded was the "History of Animated Nature," which Goldsmith commenced in 1769, under an engagement with Griffin, the bookseller, to complete it as soon as possible in eight volumes, each containing upwards of four hundred pages, in pica; a hundred guineas to be paid to the author on the delivery of each volume in manuscript.

He was induced to engage in this work by the urgent solicitations of the booksellers, who had been struck by the sterling merits and captivating style of an introduction which he wrote to Brookes's "Natural History." It was Goldsmith's intention originally to make a translation of Pliny, with a popular `commentary; but the appearance of Buffon's work induced him to change his plan, and make use of that author for a guide and model.

Cumberland, speaking of this work, observes : "Distress drove Goldsmith upon undertakings neither congenial with his studies nor worthy of his talents. I remember him when, in his chambers in the Temple, he showed me the beginning of his Animated Nature'; it was with a sigh, such as genius draws when hard necessity diverts it from its bent to drudge for bread, and talk of birds, and beasts, and creeping things, which Pidock's showman would have done as well.

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Poor fellow, he hardly knows an ass from a mule, nor a turkey from a goose, but when he sees it on the table."

Others of Goldsmith's friends entertained similar ideas with respect to his fitness for the task, and they were apt now and then to banter him on the subject, and to amuse themselves with his easy credulity. The custom among the natives of Otaheite of eating dogs being once mentioned in company, Goldsmith observed that a similar custom prevailed in China; that a dog-butcher is as common there as any other butcher; and that, when he walks abroad, all the dogs fall on him. Johnson. "That is not owing to his killing dogs; sir, I remember a butcher at Litchfield, whom a dog that was in the house where I lived always attacked. It is the smell of carnage which provokes this, let the animals he has killed be what they may." Goldsmith. "Yes, there is a general abhorrence in animals at the signs of massacre. If you put a tub full of blood into a stable, the horses are likely to go mad." Johnson. "I doubt that." Goldsmith. “ Nay, sir, it is a fact well authenticated." Thrale. "You had better. prove it before you put it into your book on Natural History. You may do it my stable if you will." Johnson. "Nay, sir, I would not have him prove it. If he is content to take his information from others, he may get through his book with little trouble, and without much endangering his reputation. But if he makes experiments for so comprehensive a book as his, there would be no end to them; his

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erroneous assertions would fall then upon him self; and he might be blamed for not having made experiments as to every particular."

Johnson's original prediction, however, with respect to this work, that Goldsmith would make it as entertaining as a Persian tale, was verified and though much of it was borrowed from Buffon, and but little of it written from his own observation, though it was by no means profound, and was chargeable with many errors, yet the charms of his style and the play of his happy disposition throughout have continued to render it far more popular and readable than many works on the subject of much greater scope and science. Cumberland was mistaken, however, in his notion of Goldsmith's ignorance and lack of observation as to the characteristics of animals. On the contrary, he was a minute and shrewd observer of them; but he observed them with the eye of a poet and moralist as well as a naturalist. We quote two passages from his works illustrative of this fact, and we do so the more readily because they are in a manner a part of his history, and give us another peep into his private life in the Temple, of his mode of occupying himself in his lonely and apparently idle moments, and of another class of acquaintances which he made there.

Speaking in his "Animated Nature" of the habitudes of Rooks, "I have often amused myself," says he, "with observing their plans of policy from my window in the Temple, that looks upon a grove, where they have made a colony in