The Boys' and Girls' Pliny Being parts of Pliny's "Natural History" edited for boys and girls, with an Introduction — Reading Companion
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The source record for The Boys' and Girls' Pliny Being parts of Pliny's "Natural History" edited for boys and girls, with an Introduction — Reading Companion measures this digital text at 116,591 words, 8 hr 27 min estimated reading time, and 14 detected text sections.
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concern of man, nor can the human mind form any conjecture respecting it. It is sacred, eternal, and without bounds, all in all; indeed including everything in itself; finite, yet like what is infinite; the most certain of all things, yet like what is uncertain, externally and internally embracing all things in itself; it is the work of nature, and itself constitutes nature.
To go out of this world and to search for what is beyond it would be madness, perfect madness, as if one who is ignorant of his own dimensions could ascertain the measure of anything else, or as if the human mind could see what the world itself cannot contain.
That the universe has the form of a perfect globe we learn from the name which has been uniformly given to it, as well as from numerous natural arguments. For not only does a figure of this kind return everywhere into itself[10] and sustain itself, also including itself, requiring no adjustments, not sensible of either end or beginning in any of its parts, and is best fitted for that motion, with which, as will appear hereafter, it is continually turning round; but still more, because we perceive it, by the evidence of the sight, to be, in every part, convex and central, which could not be the case were it of any other figure.
The rising and the setting of the sun clearly prove, that this globe is carried round in the space of twenty-four hours, in an eternal and never-ceasing circuit, and with incredible swiftness. I am not able to say, whether the sound caused by the whirling about of so great a mass be excessive, and, therefore, far beyond what our ears can perceive, nor, indeed, whether the resounding of so many stars, all carried along at the same time and revolving in their orbits, may not produce a kind of delightful harmony of incredible sweetness.[11] To us, who are in the interior, the world appears to glide silently along, both by day and by night.
Various circumstances in nature prove to us, that there are impressed on the heavens innumerable figures of animals and of all kinds of objects, and that its surface is not perfectly polished like the eggs of birds, as some celebrated authors assert. This is evident to the eye; for, in one part, we have the figure of a wain, in others of a bear, of a bull, and of a letter;[12] while, in the middle of them, over our heads, there is a white circle.
With respect to the name, I am influenced by the unanimous opinions of all nations. For what the Greeks, from its being ornamented, have termed κοσµος, we, from its perfect and complete elegance, have termed _mundus_. The name _cœlum_, no doubt, refers to its being engraved, as it were, with the stars, as Varro suggests. In confirmation of this idea we may adduce the Zodiac, in which are twelve figures of animals; through them it is that the sun has continued his course for so many ages.
I do not find that any one has doubted that there are four elements. The highest of these is supposed to be fire, and hence proceed the eyes of so many glittering stars. The next is that spirit, which both the Greeks and ourselves call by the same name, air.
It is by the force of this vital principle, pervading all things and mingling with all, that the earth, together with the fourth element, water, is balanced in the middle of space. These are mutually bound together, each remaining in its appropriate place by the never-ceasing revolution of the world.
Between this body and the heavens there are suspended, in this aërial spirit, seven stars, separated by determinate spaces, which, on account of their motion, we call planets or wandering bodies, although, in reality, none are less so. The sun is carried along in the midst of these, a body of great size and power, the ruler, not only of the seasons and of the different climates, but also of the stars themselves and of the heavens. When we consider his operations, we must regard him as the life, or rather the mind of the universe, the chief regulator and the God of nature; he also lends his light to the other stars. He is most illustrious and excellent, beholding all things and hearing all things—qualities which are ascribed to him exclusively by the prince of poets, Homer.[13]
The editor, John S. White, immediately signals his method by including Pliny's original dedication to Emperor Titus, where Pliny asks his friend to “read these things with a brow of indulgence.” This framing invites young readers into a direct, almost personal encounter with an ancient author. The table of contents then reveals a deliberate selection: Book II covers the world and elements, Book III treats human marvels, and Books IV–VI focus on terrestrial animals, domestic animals, and fishes. White omits much of Pliny's mineralogy and botany, instead emphasizing living creatures and natural wonders that would appeal to a youthful audience.
A Dedication That Sets the Tone
Pliny's opening letter to Titus Vespasian is not merely a formal preface. He describes his work as “a task of no ordinary nature” and asks for leniency, acknowledging that he writes “for the benefit of the public.” White retains this humility, which subtly teaches readers that even authoritative texts come from a human author aware of his limits. The dedication also establishes Pliny's relationship with power: he addresses the future emperor as a friend, blending scholarly deference with personal warmth. For a first-time reader, this section frames the entire book as a conversation between a curious naturalist and a powerful patron, rather than a dry compendium of facts.
From Oysters to Ostriches: The Range of Marvels
The excerpts on oysters and ostriches illustrate White's editorial principle: he selects passages that combine practical information with striking anecdotes. In the oyster section, Pliny notes that some oysters are so large they require “three bites” (the tridacna), and he records the luxury of burying them in snow—a detail that links natural history to Roman dining habits. The ostrich passage, by contrast, emphasizes the bird's paradoxical nature: it “cannot be considered as birds” because it runs rather than flies, yet it lays large eggs and its feathers adorn warriors. White includes Pliny's aside about the ostrich's supposed stupidity in hiding its head, a story that has become proverbial. These choices show that the editor values memorable, even questionable, lore over systematic classification.
The Phoenix as a Test of Belief
Pliny's account of the phoenix is remarkable for its cautious skepticism. He writes, “I am not quite sure that its existence is not all a fable,” and then proceeds to describe the bird in elaborate detail: its golden neck, purple body, azure tail, and 540-year lifespan. He cites the senator Manilius as his source, noting that Manilius claimed the phoenix builds a nest of cassia and incense, dies, and is reborn from a worm. By including this passage, White invites young readers to grapple with the boundary between observation and legend. Pliny does not dismiss the story outright; he presents it as a reported marvel, leaving judgment to the reader. This section models how to engage with ancient texts critically yet respectfully.
Structure and Selection: What White Leaves Out
White's table of contents reveals a clear pattern: he favors animals with dramatic behaviors (elephants fighting, lions performing feats) and omits lengthy discussions of geography or mineralogy. For instance, Book II includes only eleven chapters out of Pliny's many, focusing on comets, thunder, and notable places like Italy and Britain. The editor also skips Pliny's extensive medical and agricultural advice, except where it overlaps with animal lore (e.g., oyster-shells as a dentifrice). This selectivity means the book reads more like a collection of wonders than a systematic encyclopedia. Readers should expect abrupt transitions and a focus on the extraordinary rather than the everyday. White's introduction, though not excerpted here, likely explains his rationale; the table of contents itself is a guide to his priorities.
As you read, note how often Pliny shifts from sober observation to anecdote or moral commentary. The editor's choices highlight these shifts, making the text feel alive with curiosity. When you encounter a claim that seems improbable—like the ostrich throwing stones—consider what it reveals about Roman attitudes toward nature. White's edition is not a modern science textbook; it is a window into how one ancient mind organized knowledge, and how a Victorian educator made that mind accessible to young readers.
That rainy afternoon, I kept returning to Pliny’s phoenix—how it builds its own funeral pyre, then rises. It reminded me of another old story, cock robin’s end, where justice feels just as strange and circular. I found myself reaching for The Trial and Execution of the Sparrow for Killing Cock Robin — Reading Notes, and the quiet absurdity of both tales lingered together long after the rain stopped.
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