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Labyrinth of Digressions Tristram Shandy As Perceived and Influenced by Sterne’S Early Imitators

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Labyrinth of Digressions Tristram Shandy As Perceived and Influenced by Sterne’S Early Imitators Labyrinth of Digressions Tristram Shandy as Perceived and Influenced by Sterne’s Early Imitators COSTERUS NEW SERIES 172 Series Editors: C.C. Barfoot, Theo D’haen and Erik Kooper Labyrinth of Digressions Tristram Shandy as Perceived and Influenced by Sterne’s Early Imitators René Bosch Authorized translation by Piet Verhoeff Amsterdam-New York, NY 2007 For Susanne, who can laugh and cry at the same time, and for our sons Tobias and Amos. The publication costs of this book were partly covered by the Netherlands Organization for Scientific Research (NWO). Cover design: Aart Jan Bergshoeff The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 978-90-420-2291-1 ©Editions Rodopi B.V., Amsterdam - New York, NY 2007 Printed in the Netherlands Acknowledgements An earlier version of this book appeared in Dutch in the Autumn of 1998. Although at that time some chapters had already been written in English, personal circumstances forced me to finish the book in a hurry, which made me decide to take the easy option of expressing myself in my mother tongue. I intended to create an English edition soon afterwards, but when financial support was unexpectedly withdrawn, that plan soon became less realistic. New uncertainties and challenges came in the way. In the years that followed I might have lost faith in the project altogether, if it had not been for Piet Verhoeff. Not only did Piet volunteer to translate the book and assist me with the English of the parts that had to be rewritten, but he expressed his confidence in the relevance of this study for English literary history and the history of Ideas, pressed me to take the criticism of editors seriously and never forsook his side of what I have come to think of as a warm friendship. In a way, this is Piet’s book as much as it is mine. The comments of an anonymous referee contacted by the University of Delaware Press also helped to make a difference. Whoever this knowledgeable reader may have been, I hope that the person concerned will read this new version, find that it has profited by the fair criticism then given, and accept my thanks. During the research phase in the middle of the 1990s, several colleagues contributed by sending me material or giving me information on the whereabouts of sources. To the names already mentioned in the Dutch edition (Anne Bandry, Jelle Bosma, David Brewer, Geoff Day, Rudolf Dekker, Madeleine Descargues, Paul Franssen, Tom Keymer, Annemieke Meijer, Melvyn New, Tim Parnell, the late Roy Porter, Titia Ram and Peter de Voogd) that of Mary Newbould can now be added. As my latest Sterne contact in Cambridge, she gave her generous assistance by sending me new and better reproductions of materials from the Oates collection. Thinking of Cambridge, happy memories arise of Paul and Fiona Cornish and their children. Probably, working in the rare books room of Cambridge University Library would not have been half as pleasant without their hospitality and friendliness during the intervals. With the exception of the table in the Introduction, which was kindly composed by Wilma El-Berrah, composition problems were liberally solved by my good friend Hans de Haan, who also spent many hours turning Wordfiles into PDFs. Finally, I wish to thank the editor, Cedric Barfoot, for sifting out hundreds of small errors and a couple of major mistakes, as well as the staff of Rodopi, for their patience and efforts throughout. Overveen, July 2007 Provenance of illustrations The following persons and institutions have kindly granted permission to reproduce materials from their collections: The Beinecke Rare Book and Manuscript Library, New Haven (Figure 15) The British Library (Figures 9, 12, 27, and 28) The British Museum (Figure 10) Cambridge University Library (Figures 1, 2, 3, 5, 11, 14, 17, 21, 22, and 23) Paul Franssen (Figures 13 and 26) Peter de Voogd (Figures 16, 18, and 19) The Widener Library, Cambridge:MA (Figure 6) The other illustrations are taken from originals in posession of the author or from the public domain. Table of Contents A Note on References 8 Introduction 9 Part I – Positive Expectations 1. Tristram in Grub Street 23 2. Sterne in Covent-Garden 39 3. Sentiment, or Something Like It 58 Part II – Contamination 4. Impulses 93 5. Nonsense and the Grotesque 123 Part III – Shifting Themes 6. Soldiers 145 7. Women 166 8. Physicians 195 9. Philosophers 223 Epilogue: The Waning of the Satirical Age 255 Bibliography 281 Index 313 A Note on References References to Sterne-imitations Because so many primary sources referred to were published anonymously, an alphabetic list of all books and pamphlets would include a long section in which books would be listed under the “Anon” tag. That part of the reference list would naturally become a checklist of Sterne imitations and commentaries, but it would also be incomplete, because a number of Shandean books and pamphlets have been published under the names of their authors. Therefore I have chosen to select imitations, parodies and commentaries by year of appearance, thus creating a chronological survey of Sterne-related materials, alpha- betizing authors’ names and titles by year only. This list appears as the second section of the Bibliography. The use of a chronological list makes it necessary to repeat the years of appearance of books and pamphlets more often than the promotion of historical awareness would require. In a few cases where the year of appearance could not be determinded, a reasoned guess is made. References to Sterne’s works Tristram Shandy is refered to in the style of The Shandean, here somewhat adjusted by citing the short title instead of a simple TS and by using roman numbers for the volumes. The second number indicates the chapter, while the final number refers to the page in the Florida Edition of the Works of Laurence Sterne. One obvious reason for not restricting myself to page numbers only, is that the Florida Edition, although flawless and authoritative, will not be readily available to many of my readers. With the chapter indicated, readers will be able to find a citation in whatever edition they happen to own. It may also be useful to mention that the volumes with Notes within the Florida Edition were published (and can be obtained) as books in their own right. They are referred to as such. The editions of Laurence Sterne’s works used here are mentioned in first section of the Bibliography. Introduction While relatively many documents have been left that may help us to reconstruct the most important events, ideas, desires and decisions in the life of Laurence Sterne, the man remains a greater mystery than other eighteenth-century vicars. The main reason for this is that he wrote The Life and Opinions of Tristram Shandy, Gentleman. This highly confusing novel-like book is like a Rorshach testplate, on which every individual and every age projects its own motives. With the ever-changing interpretations of Tristram Shandy the image of Sterne changes as well. Besides this general complicating factor, there is the more specific fact that Tristram Shandy is full of grotesque and sexually tainted humour. It remains difficult to reconcile the cultural taste which speaks from this with the idea of Sterne that we find in many biographical surveys, of a serious and emotionally involved vicar – from whatever side one wishes to look at it. Contemporaries wrestled with this seeming paradox, as much as some modern literary historians and biographers do. While my intention in the present work is not to offer a new and competing interpretation of the works and life of Sterne, it does build on the assumption that some of the artistic decisions of the author may be explained from biographical and historical facts. By having a new and broader look at the earliest reception, I hope to shed new light on some passages and a few general traits of Tristram Shandy, without committing myself to any one overall historically founded interpretation. Tristram Shandy was an open project, that grew and changed with Sterne’s life. From 1759 on, the reception of the instalments of this major book and of his published sermons made up an imortant part of that life and it appears to have been even more important to these works themselves than some later articles have assumed. For the very reason that ideas about Sterne and interpretations of Tristram Shandy appear to betray the concerns of readers rather than of the author, a history of the reception almost naturally acquires traits of a general cultural history. Therefore, an overview of the subtle changes in the attention for certain specific passages in the works of Sterne, will be of interest to social historians and historians of ideas. Besides, in order to consciously weigh and understand the reactions of Sterne’s earliest audience (of those readers who may have influenced his work) it may be important also to understand the reactions of the following generations. 10 Labyrinth of Digressions The contrast may sharpen our view and make us once more aware of the many possibilities that Tristram Shandy offers – and offered Sterne’s contemporaries and near-contemporaries. Howes’ study Studies of the earliest reception of Tristram Shandy are conspicuously scarce when compared with the number of philosophical discussions and textual analyses of Sterne’s work. The biographies, of which that in two parts by Arthur Cash (1975 and 1986) is the most comprehensive, are indispensable for an understanding of Sterne’s intellectual background, and all deal briefly with the reactions to his work by the public, but refer mainly to private documents, leaving many questions unanswered.
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