The Little Dog of Castiglione

“The dog,” says Bonaparte, “as if he had known my voice, removed his eyes from his master, and throwing them on me for a moment, resumed his former posture; but in that momentary look there was a mute eloquence beyond the power of language; it was reproach with all the poignancy of bitterness.” Bonaparte felt the appeal; he construed the upbraidings of the animal into a comprehensive demand of mercy; the sentiment was irresistible; it put to flight every harsh and hostile feeling: Bonaparte gave orders to stop instantly the pursuit, and carnage.

The barbet-dog and Bonaparte have been associated in my mind ever since I heard the story; and were I to be the negotiator for peace, I should send with my dispatches to every cabinet, the portrait of the little dog at the battle of Castiglione.

From ‘Sketches of the State of Manners and Opinions in the French Republic’ Vol. 2 (1801), by Helen Maria Williams (1759-1827). Additional information from ‘Women Against Napoleon: Historical and Fictional Responses to His Rise and Legacy’ (2007) by Waltraud Maierhofer and Gertrud M. Roesch.
Précis
The dog threw but a brief glance at the great general, but Napoleon felt more bitterness of reproach in it than any speech could have expressed. He immediately halted his pursuit, and Williams wished the image of that little dog could rise before all the warring parties, to remind them of the true cost of war.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate her ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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