The Adventures of a Dog, and a 
Good Dog Too, by 
 
Alfred Elwes This eBook is for the use of anyone anywhere at no cost 
and with almost no restrictions whatsoever. You may copy it, give it 
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included with this eBook or online at www.gutenberg.org 
Title: The Adventures of a Dog, and a Good Dog Too 
Author: Alfred Elwes 
Release Date: March 4, 2007 [EBook #20741] 
Language: English 
Character set encoding: ISO-8859-1 
*** START OF THIS PROJECT GUTENBERG EBOOK 
ADVENTURES OF A DOG *** 
 
Produced by David Edwards, Christine D. and the Online Distributed 
Proofreading Team at http://www.pgdp.net (This file was produced 
from images generously made available by The University of Florida, 
The Internet Archive/Children's Library) 
 
THE 
ADVENTURES OF A DOG,
AND A GOOD DOG TOO 
BY ALFRED ELWES 
[Illustration: Cover] 
[Illustration: A FAMILY PARTY] 
 
THE 
ADVENTURES OF A DOG, 
AND A GOOD DOG TOO. 
BY ALFRED ELWES, 
AUTHOR OF "THE ADVENTURES OF A BEAR," "OCEAN AND 
HER RULERS," ETC., ETC. 
WITH EIGHT ILLUSTRATIONS BY HARRISON WEIR. 
LONDON: GEORGE ROUTLEDGE AND CO., FARRINGDON 
STREET, AND 18, BEEKMAN STREET, NEW YORK. 
1857. 
LONDON: THOMAS HARRILD, PRINTER, 11, SALISBURY 
SQUARE, FLEET STREET. 
 
CONTENTS. 
PAGE INTRODUCTION BY MISS MINETTE GATTINA 7 EARLY 
DAYS 12 CHANGES 18 UPS AND DOWNS 25 THE INUNDATION 
37 PAINS AND PLEASURES 46 DUTY 55
ILLUSTRATIONS. 
PAGE A FAMILY PARTY (FRONTISPIECE) 8 LADY BULL 17 
GOOD DOG! 22 A CANINE BUTCHER 36 AFLOAT 45 A 
WORTHY SUBJECT 54 A SEVERE BLOW 60 CONSOLATION 62 
 
PREFACE. 
I love dogs. Who does not? It is a natural feeling to love those who love 
us; and dogs were always fond of me. Thousands can say the same; and 
I shall therefore find plenty of sympathy while unfolding my dog's tale. 
This attachment of mine to the canine family in general, and their 
affection towards myself, have induced me, like the Vizier in the 
"Arabian Nights," of happy memory, to devote some time to the study 
of their language. Its idiom is not so difficult as many would suppose. 
There is a simplicity about it that often shames the dialects of man; 
which have been so altered and refined that we discover people often 
saying one thing when they mean exactly the reverse. Nothing of the 
sort is visible in the great canine tongue. Whether the tone in which it is 
uttered be gruff or polished, sharp or insinuating, it is at least sincere. 
Mankind would often be puzzled how to use it. 
Like many others, its meaning is assisted by gestures of the body, and, 
above all, by the expression of the eye. If ever language had its seat in 
that organ, as phrenologists pretend, it lies in the eye of the dog. Yet, a 
good portion finds its way to his tail. The motion of that eloquent 
member is full of meaning. There is the slow wag of anger; the gentle 
wag of contentment; the brisker wag of joy: and what can be more 
mutely expressive than the limp states of sorrow, humility, and fear? 
If the tongue of the dog present such distinctive traits, the qualities of 
the animal himself are not less striking. Although the dispositions of 
dogs are as various as their forms--although education, connections, the 
society they keep, have all their influence--to the credit of their name 
be it said, a dog never sullies his mouth with an untruth. His emotions
of pleasure are genuine, never forced. His grief is not the semblance of 
woe, but comes from the heart. His devotion is unmixed with other 
feelings. It is single, unselfish, profound. Prosperity affects it not; 
adversity cannot make it swerve. Ingratitude, that saddest of human 
vices, is unknown to the dog. He does not forget past favours, but, 
when attached by benefits received, his love endures through life. But I 
shall have never done with reciting the praises of this noble animal; the 
subject is inexhaustible. My purpose now has narrower limits. 
From the archives of the city of Caneville, I lately drew the materials of 
a Bear's Biography. From the same source I now derive my 
"Adventures of a Dog." My task has been less that of a composer than a 
translator, for a feline editoress, a Miss Minette Gattina, had already 
performed her part. This latter animal appears, however, to have been 
so learned a cat--one may say so deep a puss--that she had furnished 
more notes than there was original matter. Another peculiarity which 
distinguished her labours was the obscurity of her style; I call it a 
peculiarity, and not a defect, because I am not quite certain whether the 
difficulty of getting at her meaning lay in her mode of expressing 
herself or my deficiency in the    
    
		
	
	
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