The Life and Opinions of Tristram Shandy, Gentleman. Лоренс Стерн
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not merely many a gallant, noble, and not unwise gentleman, but I fear not a few ladies, both fair and fine, are damned, with Shakespeare and Scott and Southey, with Margaret of Navarre and Marie de Sévigné, to keep them in countenance. Yet to merit indulgence, this questionable quality, in addition to being treated as genius treats, must have certain sub-qualities, or freedoms from quality, of its own. It must not be brutal and inhuman, since the quality of humanity is the main thing that saves it. It must not be underhand and sniggering. It must be frank and jovial, or frank and passionate. Perhaps, in some cases, it may be saved, as Swift’s is to a great extent, by the overmastering pessimism of despair, which enforces its contempt of man and man’s fate by bringing forward these evidences of his weakness. But Sterne can plead none of these exemptions. He has neither the frank laughter of Aristophanes and Rabelais, nor the frank passion of Catullus and Donne. He was incapable of feeling any sæva indignatio whatever. The attraction of the thing for him was, I fear, merely the attraction of the improper, because it is improper; because it shocks people, or makes them blush, or gives them an unholy little quiver of sordid shamefaced delectation. His famous apology of the child playing on the floor and showing in innocence what is not usually shown, was desperately unlucky. For his displays are those of educated and economic un-innocency. And he took this manner, I am nearly sure, wholly and directly from Voltaire, who enjoys the unenviable copyright and patent of it.
The third characteristic which Sterne took from others, which dyed his work deeply, and which injured more than it helped it, was his famous, his unrivalled, Sensibility or Sentimentalism. A great deal has been written about this admired eighteenth-century device, and there is no space here for discussing it. Suffice it to say, that although Sterne certainly did not invent it—it had been inculcated by two whole generations of French novelists before him, and had been familiar in England for half a century—he has the glory, such as it is, of carrying it to the farthest possible. The dead donkey and the live donkey, the latter (as I humbly but proudly join myself to Mr. Thackeray and Mr. Traill in thinking) far the finer animal; Le Fever and La Fleur; Maria and Eliza; Uncle Toby’s fly, and poor Mrs. Sterne’s antenuptial polyanthus; the stoics that Mr. Sterne (with a generous sense that he was in no danger of that lash) wished to be whipped, and the critics from whom he would have fled from Dan to Beersheba to be delivered;—all the celebrated persons and passages of his works, all the decorations and fireworks thereof, are directed mainly to the exhibition of Sensibility, once so charming, now, alas! hooted and contemned of the people!
And now it will be possible to have done with his foibles, all the rest in Sterne being for praise, with hardly any mixture of blame. We have seen what he borrowed from others, mostly to his hurt; let us now see what he contributed of his own, almost wholly to his credit and advantage. He had, in the first place, what most writers when they begin almost invariably and almost inevitably lack, a long and carefully amassed store, not merely of reading, but of observation of mankind. Although his nearly fifty years of life had been in the ordinary sense uneventful, they had given him opportunities which he had amply taken. A “son of the regiment,” he had evidently studied with the greatest and most loving care the ways of an army which still included a large proportion of Marlborough’s veterans; and it has been constantly and reasonably held that his chief study had been his father, whom he evidently adored in a way. Roger Sterne is the admitted model of my Uncle Toby; and I at least have no doubt that he was the original of Mr. Shandy also, for some of the qualities which appear in his son’s character of him are Walter’s, not Toby’s. It would have required, perhaps, even greater genius than Sterne possessed, and an environment less saturated with the delusive theory of the “ruling passion,” to have given us the mixed and blended temperament instead of separating it into two gentlemen at once, and making Walter Shandy all wayward intellect, and Tobias all gentle goodness. But if it had been done—as Shakespeare perhaps alone could have done it—we should have had a greater and more human figure than either. Mr. Shandy would then never have come near, as he does sometimes, to being a bore; and my Uncle Toby (if I may say so without taking the wings of the morning to flee from the wrath of the extreme Tobyolaters) would have been saved from the occasional appearance of being something like a fool.
Still, these two are delightful even in their present dichotomy; and Sterne was amply provided by his genius, working on his experience, with company for them. His fancy portrait of himself as “Yorick” (his unfeigned Shakespearianism is one of his best traits) is a little vague and fantastic; and that of Eugenius, which is supposed to represent John Hall Stevenson, is almost as slight as it is flattering. But Dr. Slop, who is known to have been drawn (with somewhat unmerciful fidelity in externals, but not at all unkindly when we look deeper) from Dr. Burton, a well-known Jacobite practitioner who had suffered from the Hanoverian zeal of Yorick’s uncle Jaques in the ’45, is a masterpiece. The York dignitaries are veritable etchings in outline, more instinct with life and individuality than a thousand elaborately painted pictures; all the servants, Obadiah, Susannah, Bridget, and the rest, are the equals of Fielding’s, or of Thackeray’s domestics; and though Tristram himself is the shadow of a shade, I confess that I seem to see a vivid portrait in the three or four strokes which alone give us “my dear, dear Jenny.” Mr. Fitzgerald, succumbing to a not unnatural temptation, considering the close juxtaposition in time, approximates this to the “dear, dear Kitty” of the letters to Miss Catherine de Fourmentelle. But this, taking all things together, would be a rather serious scandalum damigellarum; and I do not think it necessary to identify, though the traits seem to me to suit not ill with the few genuine ones in the letters about Mrs. Sterne herself. That the “dear, dear” should be ironical more or less is quite Shandean. All these, if not drawn directly from individuals (the lower exercise), are first generalised and then precipitated into individuality from a large observation (which is the infinitely higher and better). I fear I must except Widow Wadman, save in the sentry-box scene, from this encomium. But then Widow Wadman is not really a real person. She is partly an instrument to put my Uncle Toby through some new motions, and partly a cue to enable Sterne to indulge in his worst foible. As for Trim, quis vituperavit Trim? The lover of the “popish clergywoman” is simply perfect, with a not much less good heart and a much better head than his master’s, and in his own degree hardly less of a gentleman.
The manner in which these delightful persons (I observe with shame that I had omitted the modest worth of Mrs. Shandy, nearly the most delightful of them all) are introduced to the reader, may have suffered a little from that corrupt following of which enough has been said. I can only say, that I would compound for a good deal more corruption of the same kind, allied with a good deal less genius. It can scarcely be doubted that there was a real pre-established harmony between Sterne’s gifts and the fatrasie manner; certainly this manner, if it sometimes exhibited his weaknesses, gave rare opportunities to his strength. And the same may be said of his style. He might certainly have given us less of the typographical tricks with which he chose to bedizen and bedaub it, and sometimes in his ultra-Rabelaisian moods—I do not mean of gauloiserie but of sheer fooling—we feel the falsetto rather disastrously. It is constantly forgotten by unfavourable critics of Rabelais that his extravagances were to a great extent, at any rate, quite natural outbursts of animal spirits. The Middle Ages, though it has become the fashion with those who know nothing about them to represent them as ages of gloom, were probably the merriest time of this world’s history; and the Reformation and the Renaissance, with their pedantry and their puritanism, and worst of all their physical science, had not quite killed the merriment when Rabelais wrote. But though animal spirits still survived in Sterne’s day, it cannot be said that in England, any more than elsewhere, there was much genuine merriment of the honest, childish, mediæval kind, and thus his manner perpetually jars. Still the style, independently of the tricks, was excellently suited for the work. It is a moot point how far the extremely loose and ungirt character of this style, which sometimes, and indeed often, reaches sheer slovenliness and solecism, was intentional. I think myself that it was nearly as deliberate as the asterisks, and the black and marble pages. We know from the Sermons that Sterne could write carefully enough when he chose, and we know from the MS. of the Journey that he corrected sedulously. Nor is it likely that he had the excuse of hurry. The shortest time that he ever took over one of his two-volume batches was more than six months; and looking at the practice, not of miracles of industry and facility like Scott, but of rather dilatory writers like Thackeray, one would think