SNARLEYYOW Or, The Dog Fiend by CAPTAIN MARRYAT MDCCCXCV Contents CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER XII. CHAPTER XIII. CHAPTER XIV. CHAPTER XV. CHAPTER XVI. CHAPTER XVII. CHAPTER XVIII. CHAPTER XIX. CHAPTER XX. CHAPTER XXI. CHAPTER XXII. CHAPTER XXIII. CHAPTER XXIV. CHAPTER XXV. CHAPTER XXVI. CHAPTER XXVII. CHAPTER XXVIII. CHAPTER XXIX. CHAPTER XXX. CHAPTER XXXI. CHAPTER XXXII. CHAPTER XXXIII. CHAPTER XXXIV. CHAPTER XXXV. CHAPTER XXXVI. CHAPTER XXXVII. CHAPTER XXXVIII. CHAPTER XXXIX. CHAPTER XL. CHAPTER XLI. CHAPTER XLII. CHAPTER XLIII. CHAPTER XLIV. CHAPTER XLV. CHAPTER XLVI. CHAPTER XLVII. CHAPTER XLVIII. CHAPTER XLIX. CHAPTER L. CHAPTER LI. CHAPTER LII. CHAPTER LIII. CHAPTER LIV. CHAPTER LV. Prefatory Note _The dog fiend, or Snarleyyow_ is the earliest of the three novels, _The Phantom Ship_ and _The Privateersman_ being the other two, in which Marryat made use of historical events and attempted to project his characters into the past. The research involved is not profound, but the machinations of Jacobite conspirators provide appropriate material for the construction of an adventure plot and for the exhibition of a singularly despicable villain. Mr Vanslyperken and his acquaintances, male and female, at home and abroad, are all--except perhaps his witch-like mother--thoroughly life-like and convincing: their conduct is sufficiently probable to retain the reader's attention for a rapid and 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."