It is somewhat more, I think, the business of the critic (who is here more especially bound not to look only at the stopwatch) to note the far more striking way in which Sterne borrowed, not actual passages and words, but manner and style. Here, perhaps, we shall find him accountant for a greater debt; and here also we may think that though his genius is indisputable, he gives more reason to those who should deny him the highest kind of genius. Beyond doubt not merely his reading, but his temper and his characteristics of all kinds, inclined him to the style to which the French fifteenth and sixteenth centuries gave the name of fatrasie , or pillar-to-post divagation, with more or less of a covert satiric aim. But if we compare the dealing of Swift with Cyrano de Bergerac, the dealing of Fielding with the romance and novel as it existed before his time, nay, the dealing of Shakespeare with the Marlowe drama, we shall note a marked difference in Sterne’s procedure. Nobody, even in his own day, who knew Rabelais at all could fail to detect the almost servile following of manner in great things and in small which Tristram displays. No one—a much smaller designation—who knows the strange, unedifying, but very far from commonplace book of which, as I have hinted, I never can quite believe that Beroalde de Verville was the author, can fail to detect an even closer, though a somewhat less obvious and, so to speak, less verifiable following here.
In another region—the purgatory of all Sterne’s commentators—we can trace this corrupt following as distinctly at least, though it has, I think, been less often definitely attributed. Sterne’s too celebrated indecency, is, with one exception, sui generis. No doubt much nonsense has been and is talked about “indecency” in general literature. When it is