The literary treatment of natural history themes is, of course, quite different from the scientific treatment, and should be so. The former, compared with the latter, is like free-hand drawing compared with mechanical drawing. Literature aims to give us the truth in a way to touch our emotions, and in some degree to satisfy the enjoyment we have in the living reality. The literary artist is just as much in love with the fact as is his scientific brother, only he makes a different use of the fact, and his interest in it is often of a non-scientific character. His method is synthetic rather than analytic. He deals in general, and not in technical truths,--truths that he arrives at in the fields and woods, and not in the laboratory. The essay-naturalist observes and admires; the scientific naturalist collects. One brings home a bouquet from the woods; the other, specimens for his herbarium. The former would enlist your sympathies and arouse your enthusiasm; the latter would add to your store of exact knowledge. The one is just as shy of over-coloring or falsifying his facts as the other, only he gives more than facts,--he gives impressions and analogies, and, as far as possible, shows you the live bird on the bough. The literary and the scientific treatment of the dog, for instance, will differ widely, not to say radically, but they will not differ in one being true and the other false. Each will be true in its own way. One will be suggestive and the other exact; one will be strictly objective, but literature is always more or less subjective. Literature aims to invest its subject with a human interest, and to this end stirs our sympathies and emotions. Pure science aims to convince the reason and the understanding alone. Note Maeterlinck's treatment of the dog in a late magazine article, probably the best thing on our four-footed comrade that English literature has to show. It gives one pleasure, not because it is all true as science is true, but because it is so tender, human, and sympathetic, without being false to the essential dog nature; it does not make the dog _do_ impossible things. It is not natural history, it is literature; it is not a record of observations upon the manners and habits of the dog, but reflections upon him and his relations to man, and upon the many problems, from the human point of view, that the dog must master in a brief time: the distinctions he must figure out, the mistakes he must avoid, the riddles of life he must read in his dumb dog way. Of course, as a matter of fact, the dog is not compelled "in less than five or six weeks to get into his mind, taking shape within it, an image and a satisfactory conception of the universe." No, nor in five or six years. Strictly speaking, he is not capable of conceptions at all, but only of sense impressions; his sure guide is instinct--not blundering reason. The dog starts with a fund of knowledge, which man acquires slowly and painfully.