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Sterne and Print Culture Cultural Poli[Ics, and [He Female Reader in Sterne's Tristram Shandy', Studies in Philology 88 (1992),485-98

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Sterne and Print Culture Cultural Poli[Ics, and [He Female Reader in Sterne's Tristram Shandy', Studies in Philology 88 (1992),485-98 Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. THE CAMBRIDGE COMPANION TO LAURENCE STERNE EDITED BY THOMA~KEYMER U CAMBRIDGE ::; . UNIVERSITY PRESS ELIZAI~ETlI \y. HARRIES Literature, 1500-r900 10 (197°),579-89). On the oth.cr hand, somdimes knit­ ting is just knitting. 9 16. Perry, 'Words for Sex'; Elizabeth W. Harries, 'Sorrows and Confessions of a CHRISTOPHER FANNING Cross-Eyed "Female Reader" of Sterne', in Approaches to Teaching Sterne's Tristram Shandy, ed. Melvyn New (New York, NY: Modern Language Associa[ion, 1989), 111-17; Barbara M.Benedic[, '''Dear Madam": Rhetoric, Sterne and print culture Cultural Poli[ics, and [he Female Reader in Sterne's Tristram Shandy', Studies in Philology 88 (1992),485-98. 17. Juliet McMaster, 'Walter Shandy, Sterne, and Gender: A Feminist Foray', in New (ed.), Cntlcal Essays on Sterne, 213; Paula Loscocco, 'Can't Live Without 'Em: Walter Shandy and the Woman Within', in New (ed.), Critical Essays on Sterne, 24 I. 18. Here I echo Virginia Mason Vaughan's chapter, 'Racial Discourse: Black and White', in her Othello: A Contextual History (Cambridge: Cambridge University Although Laurence Sterne would not have used the phrase 'print culture', he Press, 1994): 'I think this play is racist, and 1 think it is not' (70). Vaughan plays, of had a developed conception of t~ constellation of socio-economic and course, on Othello to Iago: 'I think my wife be honest, and think she is not; I I think aesthetic factors clustered around tife print medium, and he understood that thou art just, and think thou art not' (III.iii.3 8 5-6). how to exploit these in an authorial career based on, though extending 19. Harries, 'Sorrows and Confessions', 117. 20. Thomas, 'Tristram Shandy'S Consent', 228. beyond, his literary work on the page. Sterne's expressions, in his letters and published work, of his awareness of the opportunities made possible by print allow us to define 'print culture' in his own terms. The main categories by which he recognised print culture were both public and private, combining an acute awareness of the market for literary works - the power of public opinion and the tools (patronage, reviews) by which a reading public is created and maintained - with a philosophical conception of the existential implications of printed expression for notions of individuality and original­ ity.' For Sterne, print culture manifested itself in three basic categories: fame (the social phenomenon of the celebrity), finance (the business of professional authorship), and physicality (the printed artefact). Both the social-cultural aspects of print culture (fame and finance) and the concretely material (physi­ cality) mark an intersection of public and private. Not only is the print marketplace a locus of exchange where private written expression is made public; the printed text itself is also, for Sterne, a place where author and reader interact, and a point of contact that reveals the unbridgeable gap between participants in the act of communication. 'I wrote not [to] be fed, but to be famous' Sterne is our first author to achieve celebrity status in the modern sense of the term: a popular phenomenon in and of himself, and one who grounds his fame in public performance and market manipulation rather than, like 'the celebrated Mr. Pope' earlier in the century, in commendatory poems, col­ lected editions, and claims to canonical status in a classical tradition.2 The celebrity author is distinct from the author presupposed by the reader of any 124 125 CURISTOI'f1ER FANNING Srerne and prim culrure given book - that sense of an author manifest in a text that has been a concern system of consumer-driven literary production. He shows a distinct lack of of literary theory since Foucault and Barthes. Because Sterne was not just an resistance to what Pope would have labelled the forces of Dulness. 'There is a author posited by a text, but himself a celebrity phenomenon in 1760, the shilling pamphlet wrote against Tristram.-I wish they would write a hun­ public could respond to both the fictional and the real author figures. His dred such', Sterne writes to a correspondent in May I760 (Letters I07), book was read by many who met the author, or who wanted to: as Sterne clearly pleased at this sign of popular approval. And there would be dozens boasted soon after publishing the first volumes of Tristram Shandy, 'I ... am of such responses. Imitations, parodies, outcries, spurious continuations, and engaged allready to ten Noble men & men of fashion to dine' (Letters 96; see publications under the names of Shandean characters proliferated, all also 102, 104). Conversely, he was known - as an author - by many who attempting to capitalise on the fact that 'Tristram is the Fashion' (Letters never read the book. Indeed, Sterne created for himself something of a 102). fictional persona, signing correspondence with the names of his characters, In addition to this kind of print-market response were the more formal Tristram and Yorick, and deliberately blurring the lines between his biologi­ reviews. These were mixed, some celebrating the wit and oddity of the book, cal self and his literary creations. Together, Laurence Sterne and Tristram others condemning its bawdiness. And when Sterne's sermons were published Shandy garnered much attention. Sterne's association of himself with his mad as The Sermons ofMr. Yorick, maI)' took offence, like Owen Ruffhead in the narratOr, or with his jester-cum-parson, brought him a reputation for whimsy Monthly Review, at his 'mount[irrg] the pulpit in a Harlequin's coat' (CH 77) . and a certain carelessness a bout the mores of polite society. What had become Less than a year later, after the publication of volumes 3 and 4, Sterne's of the 'authority' of such an author? enthusiasm for any kind of attention was undiminished, especially as it When Sterne announced his preference for fame over food (Letters 90), he implied financial success: 'One half of the town abuse my book as bitterly, was inverting a statement of Colley Cibber, who, as a way of excusing his as the other half cry it up to the skies-the best is, they abuse it and buy it, and writing, insisted he wrote 'more to be Fed, than to be Famous'.} This connec­ at such a rate, that we are going on with a second edition, as fast as possible' tion is telling of cultural developments over the middle-third of the eighteenth (Letters I 29-30). Sterne's sensitivity to his market played a significant role in century. Cibber, the poet laureate of the previous generation, had been the development of Tristram Shandy over the seven-year period of its pub­ crowned .king of the dunces in the last versions of Alexander Pope's lication: nOt only does Tristram respond to the attacks of the reviewers Dunciad (1742-3). He was a self-promoter extraordinaire, much to the directly in subsequent volumes, but Sterne can be seen as adjusting and offence of the Scriblerian satirists (primarily Pope, Jonathan Swift, and John adapting his work to these responses. s For example, many reviews noted Gay), who ridiculed him as a threat to human culture by means of his Sterne's skill in the pathetic, or sentimental, and encouraged him to include pandering (and successful) approach to artistic production - a man who more of this (and less bawdry). The shift in emphasis in Tristram Shandy vulgarised the stage, and who changed poetry to a vehicle for flattery rather towards Uncle Toby - the benevolent, naive, wounded old soldier - indicates than moral instruction, all una bashedly in the name of self-interest. What that Sterne was listening to his critics. In order to remain 'the Fashion', does it mean that Laurence Sterne, a generation later, could both admire and Tristram Shandy had to keep pace with shifts in popular taste. And when imitate the Scriblerians and ye t take on a campaign of public self-promotion popular taste lost interest in the Shandean mode, Sterne had Tristram voice like Cibber? This is an indicatio n of shifting assumptions, tastes, and funda­ his financial concerns: 'Is it not enough that thou art in debt, and that thou mental beliefs about authorship, changes of which Pope and Swift had been hast ten cart-loads of thy fifth and sixth volumes still-still unsold, and art aware and afraid. They saw Cibber and Grubstreet hacks in general as almost at thy wit's ends, how to get them off thy hands' (TS 8.6.663). enemies of learning and humanistic culture who wrote for no higher end Certainly Sterne's shift of modes in his final work, A Sentimental Journey, than money or preferment. 4 In their resistance to a model of literature as a may be construed as both a response and an adaptation to the tastes of his consumer commodity, Pope and Swift proclaimed themselves to be anti­ reading public: 'If it is not thought a chaste book, mercy on them that read it, materialists in both the philosophical and economic senses, however indebted for they must have warm imaginations indeed!' (Letters 40 3).
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