observation (which is the infinitely higher and better). I fear I must except Widow Wadman, save in the sentry-box scene, from this encomium. But then Widow Wadman is not really a real person. She is partly an instrument to put my Uncle Toby through some new motions, and partly a cue to enable Sterne to indulge in his worst foible. As for Trim, quis vituperavit Trim? The lover of the “popish clergywoman” is simply perfect, with a not much less good heart and a much better head than his master’s, and in his own degree hardly less of a gentleman.
The manner in which these delightful persons (I observe with shame that I had omitted the modest worth of Mrs. Shandy, nearly the most delightful of them all) are introduced to the reader, may have suffered a little from that corrupt following of which enough has been said. I can only say, that I would compound for a good deal more corruption of the same kind, allied with a good deal less genius. It can scarcely be doubted that there was a real preestablished harmony between Sterne’s gifts and the fatrasie manner; certainly this manner, if it sometimes exhibited his weaknesses, gave rare opportunities to his strength. And the same may be said of his style. He might certainly have given us less of the typographical tricks with which he chose to bedizen and bedaub it, and sometimes in his ultra-Rabelaisian moods—I do not mean of gauloiserie but of sheer fooling—we feel the falsetto rather disastrously. It is constantly forgotten by unfavourable critics of Rabelais that his extravagances were to a great extent, at any rate, quite natural outbursts of animal spirits. The Middle Ages, though it has become the fashion with those who know nothing about them to represent them as ages of gloom, were probably the merriest time of this world’s history; and the Reformation and the Renaissance, with their pedantry and their puritanism, and worst of all their physical science, had not quite killed the merriment when Rabelais wrote. But though animal spirits still survived in Sterne’s day, it cannot be said that in England, any more than elsewhere, there was much genuine merriment of the honest, childish, medieval kind, and thus his manner perpetually jars. Still the style,