true pathos of the famous deathbed letter to Mrs. James, not in the, as it seems to me, by no means wholly true pathos of the Le Fever episode, does he pierce to “the accepted hells beneath.” He has an unmatched command of the lesser and lower varieties of the humorous contrast—over the odd, the petty, the queer, above all, over what the French untranslatably call the saugrenu . His forte is the foible; his cheval de bataille , the hobbyhorse. If you want to soar into the heights, or plunge into the depths of humour, Sterne is not for you. But if you want what his own generation called a frisk on middle, very middle-earth, a hunt in curiosity-shops (especially of the technically “curious” description), a peep into all manner of coulisses and behind-scenes of human nature, a ride on a sort of intellectual switchback, a view of moral, mental, religious, sentimental dancing of all the kinds that have delighted man, from the rope to the skirt, then have with Sterne in any direction he pleases. He may sometimes a very little disgust you, but you will seldom have just cause to complain that he disappoints and deceives.
The Life and Opinions of Tristram Shandy, Gent. (which, as it has been excellently observed, is in reality based on the life of the gent’s uncle, and the opinions of the gent’s father), is the largest and in every way the