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69-11700 RUFF, Lawrence Albert, 1937 This dissertation has been microfilmed exactly as received 69-11,700 RUFF, Lawrence Albert, 1937- THE TRUE LINE OF BEAUTY: STYLE IN TRISTRAM SHANDY. The Ohio State University, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE TRUE LINE OF BEAUTY: STYLE IN TRISTRAM SHANDY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lawrence Albert Ruff, B.S. , M. A. The Ohio State University 1968 Approved by Ad\^ser Department of English VITA November 24, 1937 Born - Dayton, Ohio 1958 ........... B.S., University of Dayton, Dayton, Ohio 1959 ........... M.A. , Catholic University of America, Washington, D.C. 1960-1963 . Instructor, University of Dayton, Dayton, Ohio 1963-1968 . Assistant Professor, Univers of Dayton, Dayton, Ohio FIELDS OF STUDY Major Field: English Studies in the Eighteenth Century. Professors Robert C. Elliott, Albert J. Kuhn, John Harold Wilson, Andrew H. Wright Studies in the Novel. Professors James Hafley, Claude M. Simpson CONTENTS Chapter Page 1 FORM AND STYLE IN TRISTRAM SHANDY 1 II STYLE OF MAJOR UNITS OF COMPOSITION 17 (i) Positive-negative structures,^ 22 (li) Conditional and volitive structures 67 (iii) Volume I, Chapter 10 as paradigm BO III STYLE OF MINOR UNITS OF COMPOSITION 97 (.i) Khetorical schemes ot aposiopesis and definition; the gesture 102 (li) Tropes of the journey, music and painting 128 IV CONCLUSION: STYLE IN KELATION TO AESTHETICS AND ETHICS 163 BIBLIOGRAPHY 180 ♦ xii I "I am.telling the same story over and over which is myself and the world . I'm trying to say it all in one sentence between one cap and one period. " William Faulkner, letter to Malcolm Cowley H o w does one tell a story? Tristram Shandy is the first major English novel to explore this vexatious question with emphasis on the form of the novel; without, that is, the classical aids so notably, if of­ ten ironically, employed by Fielding, and without the denial of "form" and the emphasis on "reality" displayed by, say, Defoe or Richardson. If one defines "novel" as a prose fiction of some length, in which an ac­ tion is imitated by a causal sequence of organically related events, ef­ fecting a fusion of conduct and consciousness, one finds that the fabulist who would be novelist is confronted by .three general problems: that of causality, that of characterization of both an individual and a society, and that of creation of significant form. Laurence Sterne, drawing upon the resources of tradition and individual talent, has solved these problems in a fashion that puzzled and generally delighted his contemporaries, puzzled and often irritated the readers of the nineteenth century, and has increasingly fascinated both the writers and critics of the twentieth century, perhaps because 1 2 the latter are attracted by evidences of modernity in Sterne's work. One problem for the reader, of course, is whether or not to regard Tristram Shandy as a novel at all, but one need not be distracted by considerations of autobiography or essay, if one considers the inclu­ siveness of the tentative definition given above, or if one turns to North­ rop Frye and notes the scope allowed by his "anatomy" category. The anatomy, as he defines it, is extroverted and intellectual, deals less with people than with mental attitudes, luxuriates in erudition, and even­ tually - for Frye's categories have the frailest of barriers between them - merges with the novel. And Tristram Shandy, as he views it, is the greatest success of the kind. W e have, then, definitions and categories for works as puzzling as Tristram Shandy - and how Sterne would have relished them! Moreover, we have become accustomed to dispensing ■*-AlanB. How e Yorick and the Critics (New Haven: Yale Univer­ sity Press, 1958) remarks that "the initial success of Tristram Shandy raised Sterne and his work to a position in the public eye which he main­ tained practically unbroken until his death" (p. 3). The reaction, due partially to the flood of imitations success bred (see pp. 175-76), did not begin until the 1780's. Lodwick Hartley Laurence Sterne in the Twentieth Century (Chapel Hill: North Carolina University Press, 1966) lists numerous studies comparing Sterne to such modern authors as Hesse, Gide, Woolf, Gogol, Mann, Joyce, and Green. Anatomy of Criticism: Four Essays (Princeton: Princeton University Press, 1957), pp. 308-12. John Stedmond The Comic Art of Laurence Sterne (Toronto: University of Toronto Press, 1967) agrees with the "anatomy" classification of the novel and concludes that, generi- cally speaking, the novel points two ways. "Historically, Tristram Shandy has obvious links with the works of Rabelais and Burton; psycho­ logically, it also has certain affinities with the modern novel" (p. 20). 3 with plot altogether, or to fragmenting or multiplying it; to doubling, tripling, or further multiplying aspects of character, with what La w ­ rence Durrell calls "prismatic" effect; to playing games with words, so that our novels m a y become either expanded lyric poems as with Virginia Woolf, or dictionary exercises in a dozen languages as with James Joyce. W e no longer expect in a novel coherent plot, objec­ tive characterization, or linguistic decorum. The one twig from the withered branch to which we can still cling, it would seem, is the twig of form, and Sterne's form fascinates. Edwin Muir says that "about his mastery of form there can be no doubt, for he did exactly what he wanted to do, and one cannot imagine the pattern of his books as being other than what it is; it ma y appear arbitrary, but it is inevitable. It is the interest in form which justifies an interest in style. "Form" and "style" are uncomfortably vague terms; form is so broad and vague in its implications, style is so limited and yet vague in its. The two terms, however, are closely related. F o r m is meaning •^Durrell uses the term "prismatic" in his rather Shandean dis­ cussion of character in spatial-temporal terms: "The curvature of space itself would give you stereoscopic narrative, while human per­ sonality seen across a continuum would perhaps become prismatic? W h o can say? I throw the idea out. I can imagine a form which, if satisfied, might raise in human terms the problems of causality or indeterminacy. " Clea (New York: E. P. Dutton &c Co. , I960), pp. 135- 36. Any of Woolf's major novels and Joyce's Finnegan's Wake illus- trate the Shandeism of the modern novel. ^"Laurence Sterne, " in Essays on Literature and Society (Cambridge: Harvard University Press, 1965), p. 56. 6 in its first sense, our grasp of the whole character or structure of a thing or experience in its totality. Style is meaning in its final sense, our grasp of "the furthest elaboration of the one concept in its jj;he work'sj center. " Both form and style spring from the same source - "An individual way of seeing will compel an individual way of using the language" - and they may, indeed must, be considered together, for "once we do conceive a process, and set the work within it, then formal elements become 'stylistic' elements. F o r m and style then are close­ ly allied, and both, of course, are closely connected with meaning, par­ ticularly moral meaning because they spring from that "individual way of seeing, " the personal moral vision. In Sterne a form and style which could amuse his contemporaries with its "wit" and "sentiment" and us with its "modernity" are joined to a moral vision which cheers by its humor while it braces by i'ts realism. That Sterne did have a serious moral intent is demonstrated by recent studies of his sermons as well as of Tristram Shandy and A Sentimental Journey; that he had a most unusual form and style to express the intent has been agreed from the time of the initial publication of Tristram Shandy. I should like, then, ^The quotations, in order, are from: W. K. Wimsatt, The Prose Style of Samuel Johnson (New Haven: Yale University Press, 1941), p. 11; J. Middleton Murry, The Problem of Style (London: Oxford University Press, I960), p. 13; and James Craig La Driere, "Form," in The Dictionary of World Literature, ed. Joseph T. Shipley (New York: Philosophical Library, 1953), p. 170. to examine the way in which the moral vision, the form, and the style of the novel work together, with particular emphasis on those aspects of the style which seem to m e to be most indicative of Sterne's moral intent and illustrative of his most beguiling technical effects. It would be agreeable if one could approach Sterne's style from a slightly broader base than we have, if we could, say, examine the "early" and the "late" Sterne in order to see precisely those aspects of his style which are most Shandean, just as we might trace the in­ creasingly delicate and tenuous reflective passages as James goes from The Portrait of a_ Lady to The Golden Bowl to find those things most Jamesian. But with Sterne we have only a limited oeuvre produced in a comparatively brief time of nine years, and the brevity of his writing career allows little scope for careful focussing on emerging stylistic peculiarities while at the same time it permits doubts concerning the writer's skill and care. ^ Sterne's limitation is, however, his strength, for rather than concerning oneself with change, development or decline, one can view the stylistic elements as a whole and can indicate, hope­ fully, that in Tristram Shandy form, style, and meaning are indeed all of a piece throughout.
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