Laurence Sterne Bibliography Meaning

Life.

Sterne’s father, Roger, though grandson of an archbishop of York, was an infantry officer of the lowest rank who fought in many battles during the War of the Spanish Succession (1701–14). In Flanders, Roger married Agnes, the widow of an officer, but of a social class much below Roger’s. The regiment retired to Ireland, and there Laurence was born. Most of his early childhood was spent in poverty, following the troops about Ireland. Later, Sterne expressed his affection for soldiers through his portraits in Tristram Shandy of the gentle uncle Toby and Corporal Trim.

At age 10, Sterne was sent to school at Hipperholme, near Halifax, where his uncle, Richard Sterne, whose estate was nearby, could look out for him. He grew into a tall, thin man, with a long nose but likable face. Sterne attended Jesus College, Cambridge, on a scholarship. At college he met his great friend John Hall-Stevenson (Eugenius in his fiction) and also suffered his first severe hemorrhage of the lungs. He had incurable tuberculosis.

After graduating he took holy orders and became vicar of Sutton-on-the-Forest, north of York. He soon became a prebendary (or canon) of York Minster and acquired the vicarage of Stillington. At first he was helped by another uncle, Jaques Sterne, precentor of York and archdeacon of Cleveland, a powerful clergyman but a mean-tempered man and a rabid politician. In 1741–42 Sterne wrote political articles supporting the administration of Sir Robert Walpole for a newspaper founded by his uncle but soon withdrew from politics in disgust. His uncle became his archenemy, thwarting his advancement whenever possible.

Sterne fell in love with Elizabeth Lumley, a cousin to Elizabeth Montagu, the bluestocking. They married in 1741. According to the account of an acquaintance, Sterne’s infidelities were a cause of discord in the marriage.

As a clergyman Sterne worked hard but erratically. In two ecclesiastical courts he served as commissary (judge), and his frequent sermons at York Minster were popular. Externally, his life was typical of the moderately successful clergy. But Elizabeth, who had several stillborn children, was unhappy. Only one child, Lydia, lived.

In 1759, to support his dean in a church squabble, Sterne wrote A Political Romance (later called The History of a Good Warm Watch-Coat), a Swiftian satire of dignitaries of the spiritual courts. At the demands of embarrassed churchmen, the book was burned. Thus, Sterne lost his chances for clerical advancement but discovered his real talents. Turning over his parishes to a curate, he began Tristram Shandy. An initial, sharply satiric version was rejected by Robert Dodsley, the London printer, just when Sterne’s personal life was upset. His mother and uncle both died. His wife had a nervous breakdown and threatened suicide. Sterne continued his comic novel, but every sentence, he said, was “written under the greatest heaviness of heart.” In this mood, he softened the satire and told about Tristram’s opinions, his eccentric family, and ill-fated childhood with a sympathetic humour, sometimes hilarious, sometimes sweetly melancholic—a comedy skirting tragedy.

At his own expense, Sterne published the first two volumes of The Life and Opinions of Tristram Shandy, Gentleman at York late in 1759, but he sent half of the imprint to Dodsley to sell in London. By March 1760, when he went to London, Tristram Shandy was the rage, and he was famous. Dodsley’s brother James, the new proprietor, brought out a second edition of the novel, and two volumes of sermons followed. The witty, naughty “Tristram Shandy,” or “Parson Yorick,” as Sterne was called after characters in his novel, was the most sought-after man in town. Although the timing was coincidental, Lord Fauconberg, a Yorkshire neighbour, presented him with a third parish, Coxwold. Sterne returned north joyfully to settle at Coxwold in his beloved “Shandy Hall,” a charming old house that is now a museum. He began to write at Shandy Hall during the summers, going to London in the winter to publish what he had written. James Dodsley brought out two more volumes of Tristram Shandy; thereafter, Sterne became his own publisher. In London he enjoyed the company of many great people, but his nights were sometimes wild. In 1762, after almost dying from lung hemorrhages, he fled the damp air of England into France, a journey he described as Tristram’s flight from death. This and a later trip abroad gave him much material for his later Sentimental Journey. Elizabeth, now recovered, followed him to France, where she and their daughter settled permanently. Sterne returned to England virtually a single man.

In 1767 he published the final volume of Tristram Shandy. Soon thereafter he fell in love with Eliza Draper, who was half his age and unhappily married to an official of the East India Company. They carried on an open, sentimental flirtation, but Eliza was under a promise to return to her husband in Bombay. After she sailed, Sterne finished A Sentimental JourneyThrough France and Italy, by Mr. Yorick, published it to acclaim early in 1768, and collapsed.

Lying in his London lodgings, he put up his arm as though to ward off a blow, saying, “Now it is come,” and died. Soon after burial at London, Sterne’s body was stolen by grave robbers, taken to Cambridge, and used for an anatomy lecture. Someone recognized the body, and it was quietly returned to the grave. The story, only whispered at the time, was confirmed in 1969: Sterne’s remains were exhumed and now rest in the churchyard at Coxwold, close to Shandy Hall.

Works.

Sterne’s Tristram Shandy was published in nine slim volumes (released in five installments) from 1759 to 1767. In it the narrator, Tristram, sets out to do the impossible—to tell the story of his life. He begins with the story of his conception—an innocent remark of his mother upsetting his father’s concentration and causing poor Tristram to be conceived a weakling. To understand that, Tristram must then explain John Locke’s principle of the association of ideas. This, in turn, embroils him in a discussion of his parents’ marriage contract, his Uncle Toby, Parson Yorick, the midwife, and Dr. Slop. He has so much to tell that he does not get himself born until the third volume. Finally reality dawns upon Tristram: it takes more time to tell the story of his life than it does to live it; he can never catch himself.

At one level Tristram Shandy is a satire upon intellectual pride. Walter Shandy thinks he can beget and rear the perfect child, yet Tristram is misconceived, misbaptized, miseducated, and circumcised by a falling window sash. He grows to manhood an impotent weakling whose only hope of transcending death is to tell the story of himself and his family. Finally, Tristram turns to the sweet, funny story of his Uncle Toby’s amours with the Widow Wadman, concluding the novel at a point in time years before Tristram was born. A hilarious, often ribald novel, Tristram Shandy nevertheless makes a serious comment on the isolation of people from each other caused by the inadequacies of language and describes the breaking-through of isolation by impulsive gestures of sympathy and love. A second great theme of the novel is that of time—the discrepancy between clock time and time as sensed, the impinging of the past upon the present, the awareness that a joyous life inexorably leads to death. Modern commentators regard Tristram Shandy as the ancestor of psychological and stream-of-consciousness fiction.

Sterne’s second and last novel, A Sentimental Journey, is the story of Yorick’s travels through France; Sterne did not live to complete the part on Italy. He called it a “sentimental” journey because the point of travel was not to see sights or visit art collections, but to make meaningful contact with people. Yorick succeeds, but in every adventure, his ego or inappropriate desires and impulses get in the way of “sentimental commerce.” The result is a light-hearted comedy of moralsentiments. A Sentimental Journey was translated into many languages, but the translations tended to lose the comedy and emphasize the sentiments. Abroad Sterne became the “high priest of sentimentalism,” and as such had a profound impact upon continental letters in the second half of the 18th century.

Arthur H. Cash

The British novelist Laurence Sterne (1713-1768) produced only two works of fiction, but he ranks as one of the major novelists of the 18th century because of his experiments with the structure and organization of the novel.

The English novel came of age in the 18th century. Daniel Defoe had contributed realistic detail in the 1720s; Samuel Richardson had showed the dramatic intensity inherent in the epistolary novel; Henry Fielding had combined the satirical portrayal of contemporary manners with elaborate and carefully worked-out plots. Laurence Sterne, however, published the single most idiosyncratic novel of the century, The Life and Opinions of Tristram Shandy (1760-1767). The apparent plotlessness of Tristram Shandy, the endless digressions and wordplay, and the use of the narrator's psychological consciousness as the governing structure in the novel make Sterne unique among the early masters of the English novel and suggest a tie to the stream-of-consciousness novelists who appeared later.

Biography and Early Work

Sterne was born in Clonmel, Ireland, on Nov. 24, 1713, the son of an English army officer, Roger Sterne, and an Irish mother, Agnes. After spending his early years moving about with his father's regiment, he attended school in Yorkshire from 1723 to 1731. Sterne received a bachelor of arts degree from Jesus College, Cambridge, took orders in 1737, and in 1738 became the vicar at Sutton-in-the-Forest, near York, the first of several benefices in and near York that he held. His marriage to Elizabeth Lumley in 1741 proved unhappy.

In 1743 Sterne published his first verses, "The Unknown World, Verses Occasioned by Hearing a Pass-Bell," in the Gentleman's Magazine. But neither his verses nor his second work, A Political Romance (1759), later called The History of a Good Warm Watch, a work that had grown out of a quarrel with fellow clerics, had prepared the English reading audience for the first two volumes of Tristram Shandy, which were published early in 1760.

The enormous popularity of Sterne's unusual novel quickly made him a celebrity and gave him social access to the great houses of London and Bath. In 1762 the consumption that plagued his entire life forced him to abandon London society and to seek better health in France. During the last winter before his death, Sterne readied his A Sentimental Journey for the press and carried on a curious platonic affair with Mrs. Eliza Draper, the wife of a Bombay official in the East India Company. Sterne's letters to Mrs. Draper were collected in the Journal to Eliza.

Sterne's irascibility and bawdy humor were well known to his congregations and to the English public. His local reputation around York was based, at least in part, on his eccentric dress and habits, his mordant wit, and his fund of indecorous anecdotes. It is said that he preached sermons on brotherly love with unusual rancor and ill temper. He died in London on March 18, 1768.

Tristram Shandy

With the London publication of volumes 1 and 2 of Tristram Shandy on Jan. 1, 1760, Sterne was launched as a successful author. There were baffled readers, bored readers, and indignant readers, but as Sterne observed, even those who condemned the book bought it. Samuel Richardson found the work "too gross to be inflaming," and Horace Mann noted: "I don't understand it. It was probably the intention that nobody should." Within a few months, Sterne had become a literary lion in London. He admitted that he intended to publish additional volumes as part of the novel "as long as I live, 'tis, in fact, my hobbyhorse." Sterne published volumes 3-6 in 1761; volumes 7 and 8 appeared in 1765; and in 1767, not long before Sterne's death, volume 9 appeared. Although Dr. Samuel Johnson observed of Sterne's novel that "nothing odd will do long," it has survived both neglect and the attacks of critics, and it continues to please, puzzle, and attract more readers than any other 18th-century English novel.

The apparently chaotic structure and puzzling chronology of Tristram Shandy are easily clarified. For example, Tristram is born on Nov. 5, 1718; attends Jesus College, Cambridge; and begins his latest volume on or about Aug. 12, 1766. Parson Yorick dies in 1748. Sterne's intention, of course, was to experiment with the straight-forward chronological development of plot that had previously characterized English fiction. By dramatically scrambling chronological and psychological durations, he emphasized the dual nature of time, something to which an individual responds both by reason and by emotion. Despite the immediate confusions of the book, with its blank pages, marbled pages, squiggles, erudite references, footnotes, and puzzling time sequence (Tristram is not born until a third of the way through the work), the novel has an artistic structure of its own, a coherence that resides primarily in the character of Tristram, who holds together all of the elements of the novel, shifting his attention from character to character and from idea to idea. Influenced by the work of John Locke, Sterne concentrated less on the passage of time as the clock measures it than on mental time, in which events can move more or less quickly than clock time. Because the consciousness of the narrator is the unifying factor in the novel, Tristram Shandy can be considered a completed work.

The characters in Tristram Shandy deserve special note because of their idiosyncracies. Tristram himself seems so scatterbrained that he cannot organize his thoughts. He is quickly and easily diverted from whatever topic he is discussing to frequent digressions. While Mrs. Shandy, Obadiah, Susanna, and Dr. Slop never escape from actuality, "My Father" and Uncle Toby ride special "hobbyhorses." "My Father" believes that life should be presided over by theory, but he never troubles to see that life is so ordered. Indeed, life seems less important to him than the idea and contemplation of it. He propounds his theory of noses (the longer the better), of names (Tristram is the worst of all possible names), and of education (the Tristapedia) in the course of the novel. Although Uncle Toby is literally too sentimental to harm a fly, he is so obsessed with warfare, military campaigns, and battle strategy that he can regret that the Peace of Utrecht has ended war in Europe.

Tristram Shandy is bawdy, satiric, humorous, sentimental, filled with Sterne's extensive learning and crammed with footnotes and foreign languages. Much of the novel is made up of talk about Sterne's writing chores and his rhetorical relation to the reader. The book stands as a rich catalog of the possibilities of misunderstanding and confusion inherent in language.

A Sentimental Journey

Parson Yorick, who dies in Tristram Shandy, was habitually identified with Sterne, an identification that he himself promoted in 1760 and again in 1766 by publishing his sermons under the title The Sermons of Mr. Yorick. This identification is also apparent in the brief A Sentimental Journey through France and Italy (1768), a reworking of volume 7 of Tristram Shandy. In both works Parson Yorick is a whimsical, good-hearted, slightly daffy character. The Journey, employing typical Sternean techniques, follows Yorick on a tour through France and Italy punctuated with misadventures, sexual ploys, and the usual fill of digressions and abrupt shifts in topic and tone. Sterne's Sermons, from which he earned a considerable income, shows the development of a moral theory that is more imaginative than his orthodox religion and more complex as a philosophy.

Sterne's fiction exhibits his ability to give immediacy to a dialogue; to handle dramatic techniques with great skill; to capture idiom with delightful mimicry; to quote frequently—if not always accurately—from the Bible and William Shakespeare and other English authors; and to present his ideas with a witty indecision that charms the reader even as it goads his patience.

The small number of letters that form Sterne's correspondence exhibit his playfulness with language and provide an intensely personal view of him. Unfortunately, many of Sterne's letters were burned by John Botham or mutilated by Sterne's daughter, Lydia, before their first publication in 1775.

Further Reading on Laurence Sterne

Two important biographical studies of Sterne are Wilbur L. Cross, The Life and Times of Laurence Sterne (1908; 3d rev. ed. 1929), and Lodwick Hartley, This Is Laurence (1943). Major critical studies of Tristram Shandy include John L. Traugott, Tristram Shandy's World: Sterne's Philosophical Rhetoric (1954); William B. Piper, Laurence Sterne (1966); Melvyn Nero, Laurence Sterne as Satirist (1969); and William Holtz, Image and Immortality: A Study of Tristram Shandy (1970). Lodwick Hartley, Laurence Sterne in the Twentieth Century: An Essay and a Bibliography of Sternean Studies, 1900-1965 (1966), is an indispensable review of Sterne scholarship. Valuable essays on Sterne's works are included in Dorothy Van Ghent, The English Novel: Form and Function (1953); Ian P. Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (1957); and Wayne C. Booth, The Rhetoric of Fiction (1961).

Additional Biography Sources

Cash, Arthur H. (Arthur Hill), Laurence Sterne, the early & middle years, London; New York: Routledge, 1992.

Cash, Arthur H. (Arthur Hill), Laurence Sterne, the later years, London; New York: Routledge, 1992.

Connely, Willard, Laurence Sterne as Yorick, Westport, Conn.:Greenwood Press, 1979.

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