Introduction

indulged, as it has been, for instance, in French of late, it becomes a nuisance of the most loathsome kind. It is always perhaps better left alone. But if it be a sin to laugh now and then frankly at what were once called “gentlemen’s stories,” then not merely many a gallant, noble, and not unwise gentleman, but I fear not a few ladies, both fair and fine, are damned, with Shakespeare and Scott and Southey, with Margaret of Navarre and Marie de Sévigné, to keep them in countenance. Yet to merit indulgence, this questionable quality, in addition to being treated as genius treats, must have certain sub-qualities, or freedoms from quality, of its own. It must not be brutal and inhuman, since the quality of humanity is the main thing that saves it. It must not be underhand and sniggering. It must be frank and jovial, or frank and passionate. Perhaps, in some cases, it may be saved, as Swift’s is to a great extent, by the overmastering pessimism of despair, which enforces its contempt of man and man’s fate by bringing forward these evidences of his weakness. But Sterne can plead none of these exemptions. He has neither the frank laughter of Aristophanes and Rabelais, nor the frank passion of Catullus and Donne. He was incapable of feeling any saeva indignatio whatever. The attraction of the thing for him was, I fear, merely the attraction of the improper, because it is improper; because it shocks people, or makes them blush, or gives them an unholy little quiver of sordid shamefaced delectation. His famous apology