Tristram Shandy, though it is Sterne’s first novel, was written at a time when many have written their twentieth, that is, when he was forty-five years old. But it bears every sign of maturity. No young writer could have dared to take such liberties with grammar and syntax and sense and propriety and the longstanding tradition of how a novel should be written. It needed a strong dose of the assurance of middle age and its indifference to censure to run such risks of shocking the lettered by the unconventionality of one’s style, and the respectable by the irregularity of one’s morals. But the risk was run and the success was prodigious. All the great, all the fastidious, were enchanted. Sterne became the idol of the town. Only in the roar of laughter and applause which greeted the book, the voice of the simple-minded public at large was to be heard protesting that it was a scandal coming from a clergyman and that the Archbishop of York ought to administer, to say the least of it, a scolding. The Archbishop, it seems, did nothing. But Sterne, however little he let it show on the surface, laid the criticism to heart. That heart too had been afflicted since the publication of Tristram Shandy. Eliza Draper, the object of his passion, had sailed to join her husband in Bombay. In his next book Sterne was determined to give effect to the change that had come over him, and to prove, not only the brilliance of his wit, but the depths of his sensibility. In his own words, “my design in it was to teach us to love the world and our fellow creatures better than we do”. It was with such motives animating him that he sat down to write that narrative of a little tour in France which he called A Sentimental Journey.
But if it were possible for Sterne to correct his manners, it was impossible for him to correct his style. That had become as much a part of himself as his large nose or his brilliant eyes. With the first words — They order, said I, this matter better in France — we are in the world of Tristram Shandy. It is a world in which anything may happen. We hardly know what jest, what jibe, what flash of poetry is not going to glance suddenly through the gap which this astonishingly agile pen has cut in the thick-set hedge of English prose. Is Sterne himself responsible? Does he know what he is going to say next for all his resolve to be on his best behaviour this time? The jerky, disconnected sentences are as rapid and it would seem as little under control as the phrases that fall from the lips of a brilliant talker. The very punctuation is that of speech, not writing, and brings the sound and associations of the speaking voice in with it. The order of the ideas, their suddenness and irrelevancy, is more true to life than to literature. There is a privacy in this intercourse which allows things to slip out unreproved that would have been in doubtful taste had they been spoken in public. Under the influence of this extraordinary style the book becomes semi-transparent. The usual ceremonies and conventions which keep reader and writer at arm’s length disappear. We are as close to life as we can be.
That Sterne achieved this illusion only by the use of extreme art and extraordinary pains is obvious without going to his manuscript to prove it. For though the writer is always haunted by the belief that somehow it must be possible to brush aside the ceremonies and conventions of writing and to speak to the reader as directly as by word of mouth, anyone who has tried the experiment has either been struck dumb by the difficulty, or waylaid into disorder and diffusity unutterable. Sterne somehow brought off the astonishing combination. No writing seems to flow more exactly into the very folds and creases of the individual mind, to express its changing moods, to answer its lightest whim and impulse, and yet the result is perfectly precise and composed. The utmost fluidity exists with the utmost permanence. It is as if the tide raced over the beach hither and thither and left every ripple and eddy cut on the sand in marble.
Nobody, of course, stood more in need of the liberty to be himself than Sterne. For while there are writers whose gift is impersonal, so that a Tolstoy, for example, can create a character and leave us alone with it, Sterne must always be there in person to help us in our intercourse. Little or nothing of A Sentimental Journey would be left if all that we call Sterne himself were extracted from it. He has no valuable information to give, no reasoned philosophy to impart. He left London, he tells us, “with so much precipitation that it never enter’d my mind that we were at war with France”. He has nothing to say of pictures or churches or the misery or well-being of the countryside. He was travelling in France indeed, but the road was often through his own mind, and his chief adventures were not with brigands and precipices but with the emotions of his own heart.
This change in the angle of vision was in itself a daring innovation. Hitherto, the traveller had observed certain laws of proportion and perspective. The Cathedral had always been a vast building in any book of travels and the man a little figure, properly diminutive, by its side. But Sterne was quite capable of omitting the Cathedral altogether. A girl with a green satin purse might be much more important than Notre-Dame. For there is, he seems to hint, no universal scale of values. A girl may be more interesting than a cathedral; a dead monkey more instructive than a living philosopher. It is all a question of one’s point of view. Sterne’s eyes were so adjusted that small things often bulked larger in them than big. The talk of a barber about the buckle of his wig told him more about the character of the French than the grandiloquence of her statesmen.
I think I can see the precise and distinguishing marks of national characters more in these nonsensical minutiae, than in the most important matters of state; where great men of all nations talk and stalk so much alike, that I would not give nine-pence to chuse amongst them.
So too if one wishes to seize the essence of things as a sentimental traveller should, one should seek for it, not at broad noonday in large and open streets, but in an unobserved corner up a dark entry. One should cultivate a kind of shorthand which renders the several turns of looks and limbs into plain words. It was an art that Sterne had long trained himself to practise.
For my own part, by long habitude, I do it so mechanically that when I walk the streets of London, I go translating all the way; and have more than once stood behind in the circle, where not three words had been said, and have brought off twenty different dialogues with me, which I could have fairly wrote down and swore to.
It is thus that Sterne transfers our interest from the outer to the inner. It is no use going to the guide-book; we must consult our own minds; only they can tell us what is the comparative importance of a cathedral, of a donkey, and of a girl with a green satin purse. In this preference for the windings of his own mind to the guide-book and its hammered high road, Sterne is singularly of our own age. In this interest in silence rather than in speech Sterne is the forerunner of the moderns. And for these reasons he is on far more intimate terms with us today than his great contemporaries the Richardsons and the Fieldings.
Yet there is a difference. For all his interest in psychology Sterne was far more nimble and less profound than the masters of this somewhat sedentary school have since become. He is after all telling a story, pursuing a journey, however arbitrary and zigzag his methods. For all our divagations, we do make the distance between Calais and Modena within the space of a very few pages. Interested as he was in the way in which he saw things, the things themselves also interested him acutely. His choice is capricious and individual, but no realist could be more brilliantly successful in rendering the impression of the moment. A Sentimental Journey is a succession of portraits — the Monk, the lady, the Chevalier selling pâtés, the girl in the bookshop, La Fleur in his new breeches; — it is a succession of scenes. And though the flight of this erratic mind is as zigzag as a dragon-fly’s, one cannot deny that this dragon-fly has some method in its flight, and chooses the flowers not at random but for some exquisite harmony or for some brilliant discord. We laugh, cry, sneer, sympathize by turns. We change from one emotion to its opposite in the twinkling of an eye. This light attachment to the accepted reality, this neglect of the orderly sequence of narrative, allows Sterne almost the licence of a poet. He can express ideas which ordinary novelists would have to ignore in language which, even if the ordinary novelist could command it, would look intolerably outlandish upon his page.
I walked up gravely to the window in my dusty black coat, and looking through the glass saw all the world in yellow, blue, and green, running at the ring of pleasure. — The old with broken lances, and in helmets which had lost their vizards — the young in armour bright which shone like gold, beplumed with each gay feather of the east — all — all tilting at it like fascinated knights in tournaments of yore for fame and love.
There are many passages of such pure poetry in Sterne. One can cut them out and read them apart from the text, and yet — for Sterne was a master of the art of contrast — they lie harmoniously side by side on the printed page. His freshness, his buoyancy, his perpetual power to surprise and startle are the result of these contrasts. He leads us to the very brink of some deep precipice of the soul; we snatch one short glance into its depths; next moment, we are whisked round to look at the green pastures glowing on the other side.
If Sterne distresses us, it is for another reason. And here the blame rests partly at least upon the public — the public which had been shocked, which had cried out after the publication of Tristram Shandy that the writer was a cynic who deserved to be unfrocked. Sterne, unfortunately, thought it necessary to reply.
The world has imagined [he told Lord Shelburne] because I wrote Tristram Shandy, that I was myself more Shandean than I really ever was. . . . If it (A Sentimental Journey) is not thought a chaste book, mercy on them that read it, for they must have warm imaginations, indeed!
Thus in A Sentimental Journey we are never allowed to forget that Sterne is above all things sensitive, sympathetic, humane; that above all things he prizes the decencies, the simplicities of the human heart. And directly a writer sets out to prove himself this or that our suspicions are aroused. For the little extra stress he lays on the quality he desires us to see in him, coarsens it and over-paints it, so that instead of humour, we get farce, and instead of sentiment, sentimentality. Here, instead of being convinced of the tenderness of Sterne’s heart — which in Tristram Shandy was never in question — we begin to doubt it. For we feel that Sterne is thinking not of the thing itself but of its effect upon our opinion of him. The beggars gather round him and he gives the pauvre honteux more than he had meant to. But his mind is not solely and simply on the beggars; his mind is partly on us, to see that we appreciate his goodness. Thus his conclusion, “and I thought he thank’d me more than them all”, placed, for more emphasis, at the end of the chapter, sickens us with its sweetness like the drop of pure sugar at the bottom of a cup. Indeed, the chief fault of A Sentimental Journey comes from Sterne’s concern for our good opinion of his heart. It has a monotony about it, for all its brilliance, as if the author had reined in the natural variety and vivacity of his tastes, lest they should give offence. The mood is subdued to one that is too uniformly kind, tender, and compassionate to be quite natural. One misses the variety, the vigour, the ribaldry of Tristram Shandy. His concern for his sensibility has blunted his natural sharpness, and we are called upon to gaze rather too long at modesty, simplicity, and virtue standing rather too still to be looked at.
But it is significant of the change of taste that has come over us that it is Sterne’s sentimentality that offends us and not his immorality. In the eyes of the nineteenth century all that Sterne wrote was clouded by his conduct as husband and lover. Thackeray lashed him with his righteous indignation, and exclaimed that “There is not a page of Sterne’s writing but has something that were better away, a latent corruption — a hint as of an impure presence”. To us at the present time, the arrogance of the Victorian novelist seems at least as culpable as the infidelities of the eighteenth-century parson. Where the Victorians deplored his lies and his levities, the courage which turned all the rubs of life to laughter and the brilliance of the expression are far more apparent now.
Indeed A Sentimental Journey, for all its levity and wit, is based upon something fundamentally philosophic. It is true that it is a philosophy that was much out of fashion in the Victorian age — the philosophy of pleasure; the philosophy which holds that it is as necessary to behave well in small things as in big, which makes the enjoyment, even of other people, seem more desirable than their suffering. The shameless man had the hardihood to confess to “having been in love with one princess or another almost all my life”, and to add, “and I hope I shall go on so till I die, being firmly persuaded that if ever I do a mean action, it must be in some interval betwixt one passion and another”. The wretch had the audacity to cry through the mouth of one of his characters, “Mais vive la joie . . . Vive l’amour! et vive la bagatelle!” Clergyman though he was, he had the irreverence to reflect, when he watched the French peasants dancing, that he could distinguish an elevation of spirit, different from that which is the cause or the effect of simple jollity. —“In a word, I thought I beheld Religion mixing in the dance.”
It was a daring thing for a clergyman to perceive a relationship between religion and pleasure. Yet it may, perhaps, excuse him that in his own case the religion of happiness had a great deal of difficulty to overcome. If you are no longer young, if you are deeply in debt, if your wife is disagreeable, if, as you racket about France in a post-chaise, you are dying of consumption all the time, then the pursuit of happiness is not so easy after all. Still, pursue it one must. One must pirouette about the world, peeping and peering, enjoying a flirtation here, bestowing a few coppers there, and sitting in whatever little patch of sunshine one can find. One must crack a joke, even if the joke is not altogether a decent one. Even in daily life one must not forget to cry “Hail ye, small, sweet courtesies of life, for smooth do ye make the road of it!” One must — but enough of must; it is not a word that Sterne was fond of using. It is only when one lays the book aside and recalls its symmetry, its fun, its whole-hearted joy in all the different aspects of life, and the brilliant ease and beauty with which they are conveyed to us, that one credits the writer with a backbone of conviction to support him. Was not Thackeray’s coward — the man who trifled so immorally with so many women and wrote love-letters on gilt-edged paper when he should have been lying on a sick-bed or writing sermons — was he not a stoic in his own way and a moralist, and a teacher? Most great writers are, after all. And that Sterne was a very great writer we cannot doubt.
Last updated Monday, December 22, 2014 at 10:56