Shelburne Essays, Third Series

by Paul Elmer More

"Un prêtre corrumpu ne l'est jamais à demi"—a priest is never only half corrupt—said Massillon, and there are times when such a saying is true. It is also true, and Sterne's life is witness thereof, that in certain ages, when compassion and tenderness of heart have taken the place of religion's austerer virtues, a man may preach with conviction on Sunday, and on Monday join without much disquiet of conscience in the revelries of a "Crazy" Castle. There is not a great deal for the moralist to say on such a life; it is a matter for the historian to explain. At Cambridge Sterne had made the acquaintance of John Hall Stevenson, the owner of Skelton, or "Crazy," Castle, which lay at Guisborough, within convenient reach of Sterne's Yorkshire homes. An excellent engraving in the present edition gives a fair notion of this fantastic dwelling before its restoration. On a fringe of land between the edge of what seems a stagnant pool and the foot of some barren hills, the old pile of stone sits dull and lowering. First comes a double terrace rising sheer from the water, and above that a rambling, comfortless-looking structure, pierced in the upper story by a few solemn windows. Terraces and building alike are braced with outstanding buttresses, as if, like the House of Usher, the ancient edifice might some day split and crumble away into the lake. At one end of the pile is a heavy square tower erected long ago for defence; at the other stands a slender octagonal turret with its famous weathercock, by whose direction the owner regulated his mood for the day. The whole bears an aspect of bleakness and solitude, in startling contrast with the wild doings of host and guests. A study yet to be made is a history of the clubs or associations of the eighteenth century, which, in imitation, no doubt, of the newly instituted Masonic rites, were formed for the purpose of adding the sting of a fraternal secrecy to the commonplace pleasures of dissipation. Famous among these were the "Monks of Medmenham Abbey," and the "Hell-Fire Club," and to a less degree the "Demoniacs" whom Hall Stevenson gathered into his notorious abode. If Sterne found his amusement in this boisterous assembly, it is charitable (and the evidence points this way) to suppose that he enjoyed the jovial wit and grotesque pranks of such a company rather than its viciousness. It is at least remarkable that Hall Stevenson, or "Eugenius," as Sterne called him, seems to have tried to steady the eccentric divine by more than one piece of practical advice. Above all, there lay at Skelton a great collection of Rabelaisian books, brought together by the owner during his tours on the Continent; and to this Sterne owed his eccentric reading and that acquaintance with the world's humours and whimsicalities which were to make his fortune.

Here, then, in the library of his compromising friend, he gathered the material for his great work, Tristram Shandy; and, indeed, if we credit some scholars, he gathered so successfully that little was left for his own creative talents. It is demonstrably true that he made extraordinary use of certain old French books, including Rabelais, whom he counted with Cervantes as his master; and from Burton's Anatomy of Melancholy he borrowed unblushingly, not to mention other English authors. We are shocked at first to learn that some of his choicest passages are stolen goods; the recording angel's tear was shed, it appears, and my Uncle Toby's fly was released long before that gentleman was born to sweeten the world; so too the wind was tempered to the shorn lamb in proverb before Sterne ever added that text to the stock of biblical quotations. But after all, there is little to be gained by unearthing these plagiarisms. Tristram Shandy and the Sentimental Journey still remain among the most original productions in the language, and we are only taught once more that genius has a high-handed way of taking its own where it finds it.

The fact is that this trick of borrowing scarcely does more than affect a few of those set pieces or purple patches by which an author like Sterne gradually comes to be known and judged. These are admirably adapted for use in anthologies, for they may be severed from their context without cutting a single artery or nerve; but let no one suppose that from reading them he gets anything but a distorted view of Sterne's work. They are all marked by a peculiar kind of artificial pathos—the recording angel's tear, Uncle Toby's fly, the dead ass, the caged starling, Maria of Moulines (I name them as they occur to me)—and they give a very imperfect notion of the true Shandean flavour. In their own genre they are no doubt masterpieces, but it is a genre which gives pleasure from the perception of the art, and not from the kindling touch of nature, in their execution. They are ostensibly pathetic, yet they make no appeal to the heart, and I doubt if a tear was ever shed over any of them—even by the lachrymose Yorick himself. To enjoy them properly one must key his mind to that state in which the emotions cease to have validity in themselves, and are changed into a kind of exquisite convention. Now, it is easier by far to detect the inherent insubstantiality of such a convention than to appreciate its delicately balanced beauty, and thus it happens that we hear so much of Sterne's false sentiment from those who base their criticism primarily on these famous episodes. For my part I am almost inclined to place the story of Le Fevre in this class, and to wonder if those who call it pathetic really mean that it has touched their heart; I am sure it never cost me a sigh.

No, the highest mastery of Sterne does not lie in these anthological patches, but first of all in his power of creating characters. There are not many persons engaged in the little drama of Shandy Hall, and their range of action is narrow, but they are drawn with a skill and a memorable distinctness which have never been surpassed. Not the bustling people of Shakespeare's stage are more real and individual than Mr. Shandy, my Uncle Toby, Corporal Trim, and Dr. Slop. Even the minor characters of the servants' hall are sketched in with wonderful vividness; and if there is a single failure in all that gallery of portraits, it is Yorick himself, who was drawn from the author and is foisted upon the company somewhat unceremoniously, if truth be told. Nor is the secret of their lifelikeness hard to discern. One of the constant creeds of the age, handed down from the old comedy of humours, was the belief in the "ruling passion" as the source of all a man's acts. The persons who figure in most of the contemporary letters and novels are a succession of originals or grotesques, moved by a single motive. They are all mad in England, said Hamlet, and Walpole enforces the sentence with a thousand burlesque anecdotes. Now in Sterne this ruling passion, both in his own character and in that of his creations, was softened down to what may be called a whimsical egotism, which does not repel by its exaggeration, yet bestows a marvellous unity and relief. It is his hobbyhorsical philosophy, as he calls it. At the head of all are Tristram's father and uncle, with their cunningly contrasted humours—Mr. Shandy, who would regulate all the affairs of life by abstract theorems of the mind, and my Uncle Toby, who is guided solely by the impulses of the heart. Between them Sterne would seem to have set over against each other the two divided sources of human activity; and the minor characters, each with his cherished hobby, are ranged under them in proper subordination. The art of the narrative—and in this Sterne is without master or rival—is to bring these characters into a group by some common motive, and then to show how each of them is thinking all the while of his own dear crotchet. Take, for example, the tremendous curse of Ernulphus in the third book. Mr. Shandy had "the greatest veneration in the world for that gentleman, who, in distrust of his own discretion in this point, sat down and composed (that is, at his leisure) fit forms of swearing suitable to all cases, from the lowest to the highest provocation which could possibly happen to him." That is Mr. Shandy's theorising hobby, and accordingly, when his man Obadiah is the cause of an annoying mishap, Mr. Shandy reaches down the formal curse of Bishop Ernulphus and hands it to Dr. Slop to read. It might seem tedious to have seven pages of excommunicative wrath thrust upon you, with the Latin text duly written out on the opposite page. On the contrary, this is one of the more entertaining scenes of the book, for at every step one or another of the listeners throws in an exclamation which intimates how the words are falling in with his own peculiar train of thought. The result is a delightful cross-section of human nature, as it actually exists. "Our armies swore terribly in Flanders, cried my Uncle Toby—but nothing to this.—For my own part, I could not have a heart to curse my dog so."

But it is not this persistent and very human egotism alone which makes the good people of Shandy Hall so real to us. Sterne is the originator and master of the gesture and the attitude. Like a skilful player of puppets, he both puts words into the mouths of his creatures and pulls the wires that move them. No one has ever approached him in the art with which he carries out every mood of the heart and every fancy of the brain into the most minute and precise posturing. Before Corporal Trim reads the sermon his exact attitude is described so that, as the author says, "a statuary might have modelled from it." Throughout all the dialogue between the two contrasted brothers we follow every movement of the speakers, as if we sat with them in the flesh, and when Mr. Shandy breaks his pipe the moment is tense with expectation. But the supreme exhibition of this art occurs at the announcement of Bobby's death. Let us leave Mr. Shandy and my Uncle Toby discoursing over this sad event, and turn to the kitchen. Those who know the scene may pass on:

——My young master in London is dead! said Obadiah.—

——A green sattin night-gown of my mother's, which had been twice scoured, was the first idea which Obadiah's exclamation brought into Susannah's head....

—O! 'twill be the death of my poor mistress, cried Susannah.—My mother's whole wardrobe followed.—What a procession! her red damask,—her orange tawney,—her white and yellow lutestrings,—her brown taffata,—her bone-laced caps, her bed-gowns, and comfortable under-petticoats.—Not a rag was left behind.—"No,—she will never look up again," said Susannah.

We had a fat, foolish scullion—my father, I think, kept her for her simplicity;—she had been all autumn struggling with a dropsy.—He is dead, said Obadiah,—he is certainly dead!—So am not I, said the foolish scullion.

——Here is sad news, Trim, cried Susannah, wiping her eyes as Trim stepp'd into the kitchen,—master Bobby is dead and buried—the funeral was an interpolation of Susannah's—we shall have all to go into mourning, said Susannah.