middle life, and continuing to pour forth his volumes in interminable succession, perhaps to the end of his long career,--for born in the year 59 B.C., he died in 17 A.D.,--left it still apparently unfinished, at the close of his hundred and forty-second book, and with the demise of Drusus Germanicus.[4] It may be conjectured that the latter portions of the work were overtaken by the garrulity of old age, and were suffered to fall into oblivion from their want of political or literary value. It is in the earlier books, however, that the spirit of Livy found the sphere most congenial to it; the first and third decades, containing the early history of the kings and consuls, and again the grand epic of the war with Hannibal, have always retained their pre-eminence in general esteem as the noblest specimens of narration. The greatest minds of Rome at this period seemed to have kindled with inspiration from the genius of the founder of the empire; and of these Livy at least appears to have conceived unconsciously the idea of attaching his countrymen to the early records of their city, by encircling it with a halo of poetical associations. The imagination of the Romans of that age was inflamed by the conservative reaction which sought to throw a bridge over the chaos of the last century, and revive the sense of national continuity. The thanks the race of Romulus owed to Livy, for making them acquainted with their ancestors and proud of their descent, were akin to those which Englishmen acknowledge to the historical dramas of Shakspeare. He took the dry chronicles, in which alone their first affairs were written, drew forth from them the poetic life of half-forgotten traditions, and clothed it again in forms of ideal beauty. His narrative, glowing in all the colours of imagination and fancy, is just as faithful to its authorities as the dramatised histories of the English bard to theirs; indeed, the myths of Romulus and Tarquin cannot lie farther from the truth of facts than the tragedies of Lear and Cymbeline; and when he begins to tread the domain of sober history, his painted Hannibals and Scipios approach as nearly to the men themselves as the Richards and Henrys of our own mighty master.