Thus, supported by a hired nurse, and under the curious eyes of a stranger, Sterne breathed his last. His wife and daughter were far away; the convivial associates "who were all very sorry and lamented him very much," were for the moment represented only by "John;" and the shocking tradition goes that the alien hands by which the "dying eyes were closed," and the "decent limbs composed," remunerated themselves for the pious office by abstracting the gold sleeve-links from the dead man's wrists. One may hope, indeed, that this last circumstance is to be rejected as sensational legend, but even without it the story of Sterne's death seems sad enough, no doubt. Yet it is, after all, only by contrast with the excited gaiety of his daily life in London that his end appears so forlorn. From many a "set of residential chambers," from many of the old and silent inns of the lawyers, departures as lonely, or lonelier, are being made around us in London every year: the departures of men not necessarily kinless or friendless, but living solitary lives, and dying before their friends or kindred can be summoned to their bedsides. Such deaths, no doubt, are often contrasted in conventional pathos with that of the husband and father surrounded by a weeping wife and children; but the more sensible among us construct no tragedy out of a mode of exit which must have many times entered as at least a possibility into the previous contemplation of the dying man. And except, as has been said, that Sterne associates himself in our minds with the perpetual excitements of lively companionship, there would be nothing particularly melancholy in his end. This is subject, of course, to the assumption that the story of his landlady having stolen the gold sleeve-links from his dead body may be treated as mythical; and, rejecting this story, there seems no good reason for making much ado about the manner of his death. Of friends, as distinguished from mere dinner-table acquaintances, he seems to have had but few in London: with the exception of the Jameses, one knows not with certainty of any; and the Jameses do not appear to have neglected him in the illness which neither they nor he suspected to be his last. Mr. James had paid him a visit but a day or two before the end came; and it may very likely have been upon his report of his friend's condition that the message of inquiry was sent from the dinner table at which he was a guest. No doubt Sterne's flourish in Tristram Shandy about his preferring to die at an inn, untroubled by the spectacle of "the concern of my friends, and the last services of wiping my brows and smoothing my pillow," was a mere piece of bravado; and the more probably so because the reflection is appropriated almost bodily from Bishop Burnet, who quotes it as a frequent observation of Archbishop Leighton. But, considering that Sterne was in the habit of passing nearly half of each year alone in London lodgings, the realization of his wish does not strike me, I confess, as so dramatically impressive a coincidence as it is sometimes represented.
According, however, to one strange story the dramatic element gives place after Sterne's very burial to melodrama of the darkest kind. The funeral, which pointed, after all, a far sadder moral than the death, took place on Tuesday, March 22, attended by only two mourners, one of whom is said to have been his publisher Becket, and the other probably Mr. James; and, thus duly neglected by the whole crowd of boon companions, the remains of Yorick were consigned to the "new burying-ground near Tyburn" of the parish of St. George's, Hanover Square. In that now squalid and long-decayed grave-yard, within sight of the Marble Arch and over against the broad expanse of Hyde Park, is still to be found a tombstone inscribed with some inferior lines to the memory of the departed humourist, and with a statement, inaccurate by eight months, of the date of his death, and a year out as to his age. Dying, as has been seen, on the 18th of March, 1768, at the age of fifty-four, he is declared on this slab to have died on the 13th of November, aged fifty-three years. There is more excuse, however, for this want of veracity than sepulchral inscriptions can usually plead. The stone was erected by the pious hands of "two brother Masons," many years, it is said, after the event which it purports to record; and from the wording of the epitaph which commences, "Near this place lyes the body," &c., it obviously does not profess to indicate—what, doubtless, there was no longer any means of tracing—the exact spot in which Sterne's remains were laid. But, wherever the grave really was, the body interred in it, according to the strange story to which I have referred, is no longer there. That story goes: that two days after the burial, on the night of the 24th of March, the corpse was stolen by body-snatchers, and by them disposed of to M. Collignon, Professor of Anatomy at Cambridge; that the Professor invited a few scientific friends to witness a demonstration, and that among these was one who had been acquainted with Sterne, and who fainted with horror on recognizing in the already partially dissected "subject" the features of his friend. So, at least, this very gruesome and Poe-like legend runs; but it must be confessed that all the evidence which Mr. Fitzgerald has been able to collect in its favour is of the very loosest and vaguest description. On the other hand, it is, of course, only fair to recollect that, in days when respectable surgeons and grave scientific professors had to depend upon the assistance of law-breakers for the prosecution of their studies and teachings, every effort would naturally be made to hush up any such unfortunate affair. There is, moreover, independent evidence to the fact that similar desecrations of this grave-yard had of late been very common; and that at least one previous attempt to check the operations of the "resurrection-men" had been attended with peculiarly infelicitous results. In the St. James's Chronicle for November 26, 1767, we find it recorded that "the Burying Ground in Oxford Road, belonging to the Parish of St. George's, Hanover Square, having been lately robbed of several dead bodies, a Watcher was placed there, attended by a large mastiff Dog; notwithstanding which, on Sunday night last, some Villains found means to steal out another dead Body, and carried off the very Dog." Body-snatchers so adroit and determined as to contrive to make additional profit out of the actual means taken to prevent their depredations, would certainly not have been deterred by any considerations of prudence from attempting the theft of Sterne's corpse. There was no such ceremony about his funeral as would lead them to suppose that the deceased was a person of any importance, or one whose body could not be stolen without a risk of creating undesirable excitement. On the whole, therefore, it is impossible to reject the body-snatching story as certainly fabulous, though its truth is far from being proved; and though I can scarcely myself subscribe to Mr. Fitzgerald's view, that there is a "grim and lurid Shandyism" about the scene of dissection, yet if others discover an appeal to their sense of humour in the idea of Sterne's body being dissected after death, I see nothing to prevent them from holding that hypothesis as a "pious opinion."
CHAPTER IX.
STERNE AS A WRITER.—THE CHARGE OF PLAGIARISM.—DR. FERRIAR'S "ILLUSTRATIONS."
Everyday experience suffices to show that the qualities which win enduring fame for books and for their authors are not always those to which they owe their first popularity. It may with the utmost probability be affirmed that this was the case with Tristram Shandy and with Sterne. We cannot, it is true, altogether dissociate the permanent attractions of the novel from those characteristics of it which have long since ceased to attract at all; the two are united in a greater or less degree throughout the work; and this being so, it is, of course, impossible to prove to demonstration that it was the latter qualities, and not the former, which procured it its immediate vogue. But, as it happens, it is possible to show that what may be called its spurious attractions varied directly, and its real merits inversely, as its popularity with the public of its day. In the higher qualities of humour, in dramatic vigour, in skilful and subtle delineation of character, the novel showed no deterioration, but, in some instances, a marked improvement, as it proceeded; yet the second instalment was not more popular, and most of the succeeding ones were distinctly less popular, than the first. They had gained in many qualities, while they had lost in only the single one of novelty; and we may infer, therefore, with approximate certainty, that what "took the town" in the first instance was, that quality of the book which was strangest at its first appearance. The mass of the public read, and enjoyed, or thought they enjoyed, when they were really only puzzled and perplexed. The wild digressions, the audacious impertinences, the burlesque philosophizing, the broad jests, the air of recondite learning, all combined to make the book a nine days' wonder; and a majority of its readers would probably have been prepared to pronounce Tristram Shandy a work as original in scheme and conception as it was eccentric. Some there were, no doubt, who perceived the influence of Rabelais in the incessant digressions and the burlesque of philosophy; others, it may be, found a reminder of Burton in the parade of learning; and yet a few others, the scattered students of French facetiae of the fourteenth and fifteenth centuries, may have read the broad jests with a feeling that they had "seen something like it before." But no single reader, no single critic of the time, appears to have combined the knowledge necessary for tracing these three characteristics of the novel to their respective sources; and none certainly had any suspicion of the extent to which the books and authors from whom they were imitated had been laid under contribution. No one suspected that Sterne, not content with borrowing his trick of rambling from Rabelais, and his airs of erudition from Burton, and his fooleries from Bruscambille, had coolly transferred whole passages from the second of these writers, not only without acknowledgment, but with the intention, obviously indicated by his mode of procedure, of passing them off as his own. Nay, it was not till full fifty years afterwards that these daring robberies were detected, or, at any rate, revealed to the world; and, with an irony which Sterne himself would have appreciated, it was reserved for a sincere admirer of the humourist to play the part of detective. In 1812 Dr. John Ferriar published his Illustrations of Sterne, and the prefatory sonnet, in which he solicits pardon for his too minute investigations, is sufficient proof of the curiously reverent spirit in which he set about his damaging task:
"Sterne, for whose sake I plod through miry ways
Of antic wit, and quibbling mazes drear,
Let not thy shade malignant censure fear,
If aught of inward mirth my search betrays.
Long slept that mirth in dust of ancient days,
Erewhile to Guise or wanton Valois dear," &c.
Thus commences Dr. Ferriar's apology, which, however, can hardly be held to cover his offence; for, as a matter of fact, Sterne's borrowings extend to a good deal besides "mirth;" and some of the most unscrupulous of these forced loans are raised from passages of a perfectly serious import in the originals from which they are taken.
Here, however, is the list of authors to whom Dr. Ferriar holds Sterne to have been more or less indebted: Rabelais, Beroalde de Verville, Bouchet, Bruscambille, Scarron, Swift, an author of the name or pseudonym of "Gabriel John," Burton, Bacon, Blount, Montaigne, Bishop Hall. The catalogue is a reasonably long one; but it is not, of course, to be supposed that Sterne helped himself equally freely from every author named in it. His obligations to some of them are, as Dr. Ferriar admits, but slight. From Rabelais, besides his vagaries of narrative, Sterne took, no doubt, the idea of the Tristra-paedia (by descent from the "education of Pantagruel," through "Martinus Scriblerus"); but though he has appropriated bodily the passage in which Friar John attributes the beauty of his nose to the pectoral conformation of his nurse, he may be said to have constructively acknowledged the debt in a reference to one of the characters in the Rabelaisian dialogue.[1]
[Footnote 1: "There is no cause but one," said my Uncle Toby, "why one man's nose is longer than another, but because that God pleases to have it so." "That is Grangousier's solution," said my father. "'Tis He," continued my Uncle Toby, "who makes us all, and frames and puts us together in such forms … and for such ends as is agreeable to His infinite wisdom."—Tristram Shandy, vol. iii. c. 41. "Par ce, répondit Grangousier, qu'ainsi Dieu l'a voulu, lequel nous fait en cette forme et cette fin selon divin arbitre."—Rabelais, book i. c. 41. In another place, however (vol. viii. c. 3), Sterne has borrowed a whole passage from this French humourist without any acknowledgment at all.]
Upon Beroalde, again, upon D'Aubigné, and upon Bouchet he has made no direct and verbatim depredations. From Bruscambille he seems to have taken little or nothing but the not very valuable idea of the tedious buffoonery of vol. iii. c. 30, et sqq.; and to Scarron he, perhaps, owed the incident of the dwarf at the theatre in the Sentimental Journey, an incident which, it must be owned, he vastly improved in the taking. All this, however, does not amount to very much, and it is only when we come to Dr. Ferriar's collations of Tristram Shandy with the Anatomy of Melancholy that we begin to understand what feats Sterne was capable of as a plagiarist. He must, to begin with, have relied with cynical confidence on the conviction that famous writers are talked about and not read, for he sets to work with the scissors upon Burton's first page: