Sterne, Laurence

born Nov. 24, 1713, Clonmel, County Tipperary, Ire.

died March 18, 1768, London, Eng.

English novelist and humorist.

Sterne was a clergyman in York for many years before his talents became apparent when he wrote a Swiftian satire in support of his dean in a church squabble. Turning his parishes over to a curate, he began to write Tristram Shandy (1759–67), an experimental novel issued in nine parts in which the story is subordinate to its narrator's free associations and digressions. It is considered one of the most important ancestors of psychological and stream of consciousness fiction. Long afflicted with tuberculosis, Sterne fled the damp air of England and undertook the travels that inspired his unfinished Sentimental Journey Through France and Italy (1768), a comic novel that defies conventional expectations of a travel book.

Laurence Sterne, detail of an oil painting by Sir Joshua Reynolds, 1760; in the National Portrait ...

National Portrait Gallery, London

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▪ British writer

Introduction

born Nov. 24, 1713, Clonmel, County Tipperary, Ire.

died March 18, 1768, London, Eng.

 Irish-born English novelist and humorist, author of Tristram Shandy (1759–67), an early novel in which story is subordinate to the free associations and digressions of its narrator. He is also known for the novel A Sentimental Journey (1768).

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 (Dodsley, Robert), 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 Journey Through 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 moral sentiments. 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

Additional Reading

Arthur H. Cash, Laurence Sterne: The Early & Middle Years (1975, reissued 1992), and Laurence Sterne: The Later Years (1986, reissued 1992), are the definitive studies of his life. Alan B. Howes, Yorick and the Critics (1958, reissued 1971), is an invaluable account of his reception and reputation. Critical studies include D.W. Jefferson, Laurence Sterne (1954, reissued 1968), a very brief treatment; John Traugott, Tristram Shandy's World: Sterne's Philosophical Rhetoric (1954); John M. Stedmond, The Comic Art of Laurence Sterne (1967); Melvyn New, Laurence Sterne as Satirist: A Reading of “Tristram Shandy” (1969); William V. Holtz, Image and Immortality: A Study of Tristram Shandy (1970); and Max Byrd, Tristram Shandy (1985).

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