exciting narrative.

The numerous escapes of the vile cur, after whom the novel is
christened, and of his natural enemy Peter Smallbones are not all
equally well contrived, and they become a little wearisome by
repetition; but a general atmosphere of _diablerie_ is very effectively
produced by their means. Some such element of unreality is absolutely
demanded to relieve the sordid and brutal details by which the main plot
is worked out; and it must be admitted that in certain passages--the
death-struggle between Smallbones and the lieutenant's mother, the
discovery of the woman's body, and the descriptions of kisses between
Corporal Van Spitter and the Frau Vandersloosh--Marryat's habitual
literalness becomes unpleasantly coarse. The offensive touches, however,
are incidental, and the execution of the two villains, Vanslyperken and
Snarleyyow, with its dash of genuine pathos, is dramatic and
impressive:--"They were damnable in their lives, and in their deaths
they were not divided."

As usual the interest of the novel depends almost entirely upon men, but
on the character of Mrs Corbett, _née_ Nancy Dawson, Marryat has
expended considerable care with satisfactory results. Barring the
indecorous habit of regretting her past in public, which is not perhaps
untrue to nature, she is made attractive by her wit and sincere
repentance, without becoming unnaturally refined. The song in her honour
referred to on p. 107 is not suitable for reproduction in this place.
She was an historic character in the reign of William III., but must not
be confounded with her more celebrated namesake (1730-1767) of Sadler's
Wells, Covent Garden, and Drury Lane, who danced a horn-pipe in _The
Beggar's Opera_ to the air of "Nancy Dawson," which is mentioned in the
epilogue of _She Stoops to Conquer_, and survives in our nurseries as