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Sterne, Smollett and Scottish voices 187 companion, if you should think me somewhat sparing of my narrative on my first setting out – bear with me, – and let me go on, and tell my own story my own way: – Or, if I should seem now and then to trifle upon the road, – or should sometimes put on a fool’s cap with a bell to it, for a moment or two as we pass along, – don’t fly off, – but rather courteously give me credit for a little more wisdom than appears upon my outside; – and as we jog on, either laugh with me, or at me, or in short, do anything, – only keep your temper. (Tristram Shandy) The plot of the novel in the early eighteenth century followed the natural order of things: beginning, middle, and end. Sterne was the first to employ these ‘not necessarily in that order’. He also played with digressions, episodes going off at a tangent from the ‘main’ line of the plot. Tristram Shandy, in the novel that bears his name, is conceived right at the beginning, born in Volume III (some 130 pages into the book) – but the story ends four years before this birth. In a famous use of graphological effect, Sterne’s narrator, Tristram, displays the difficulty of keeping to one single line of his story (see Figure 4). ‘What passes in a man’s own mind’ is Sterne’s main concern; in this, his writing owes a great deal to John Locke’s Essay Concerning Human Understanding. This philosophical work had been published in 1690, and exercised a great influence on all the Augustans, including Addison and Richardson. But it was Sterne who took up Locke’s ideas – on the relativity of time, on random association, on the nature of sensation – to break the newly set rules of novel writing, and to escape from the moral and social restrictions of the genre. The association of language and thought is important here. The epistolary novel posited an imaginary addresser and an addressee, one person writing the letter and another reading it. Fielding’s omniscient author/narrator establishes a direct relationship with the ‘dear reader’. Sterne’s narrator uses no fictional intermediary device, and frequently addresses the reader directly. His thoughts ramble forward, backwards, sideways, where they will. He describes a wide
188 Restoration to Romanticism 1660–1789 Figure 4 Illustration from Tristram Shandy (page 347 from Everyman edition) range of characters, with all their obsessions and peculiarities. He covers every subject under the sun, from sex to science, from war to noses, in a conversational manner that rushes on headlong with no regard for consistency or coherence. Perhaps coincidentally, Sterne has no single ideological or moral position to enforce: his declared aim was to be unique, and to write a ‘civil, nonsensical good-humoured Shandean book’.
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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74 The Renaissance 1485-1660 Faustu
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76 The Renaissance 1485-1660 perfor
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78 The Renaissance 1485-1660 Greek
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80 The Renaissance 1485-1660 47); a
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82 The Renaissance 1485-1660 the Re
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84 The Renaissance 1485-1660 years
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86 The Renaissance 1485-1660 Renais
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88 The Renaissance 1485-1660 terms
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90 The Renaissance 1485-1660 Shakes
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92 The Renaissance 1485-1660 1601 2
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94 The Renaissance 1485-1660 The pu
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96 The Renaissance 1485-1660 Shakes
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98 The Renaissance 1485-1660 most o
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100 The Renaissance 1485-1660 And s
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102 The Renaissance 1485-1660 I all
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104 The Renaissance 1485-1660 In mu
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106 The Renaissance 1485-1660 my he
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108 The Renaissance 1485-1660 Thou
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110 The Renaissance 1485-1660 Trahe
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112 The Renaissance 1485-1660 Old T
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114 The Renaissance 1485-1660 misun
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116 The Renaissance 1485-1660 from
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118 The Renaissance 1485-1660 The t
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120 The Renaissance 1485-1660 Middl
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122 The Renaissance 1485-1660 GIOVA
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124 The Renaissance 1485-1660 SIR B
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126 The Renaissance 1485-1660 The s
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Thy wars brought nothing about; Thy
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Contexts and conditions 131 Sea; no
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Early Milton 133 Revolution was the
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Early Milton 135 good and evil as t
Page 158 and 159: Early Milton 137 the hero from the
Page 160 and 161: Restoration drama 139 many lives as
Page 162 and 163: Restoration drama 141 Revenge! PIER
Page 164 and 165: Restoration drama 143 One of the fi
Page 166 and 167: Restoration drama 145 prohibiting
Page 168 and 169: Restoration drama 147 LOVELESS No,
Page 170 and 171: Restoration drama 149 PRIM Do they
Page 172 and 173: Rochester 151 The Theatres Licensin
Page 174 and 175: Dryden 153 what it saw as the highe
Page 176 and 177: Dryden 155 his best, and his transl
Page 178 and 179: Pope 157 POPE True wit is nature to
Page 180 and 181: Journalism 159 And, spite of pride,
Page 182 and 183: Scottish Enlightenment, diarists an
Page 188 and 189: The novel 167 and the social awaren
Page 190 and 191: The novel 169 Each serial volume of
Page 192 and 193: The novel 171 paraphrase Pope: what
Page 194 and 195: The novel 173 polemic comes when he
Page 196 and 197: The novel 175 That kingdom he hath
Page 198 and 199: The novel 177 opportunity to set fo
Page 200 and 201: The novel 179 sentence of death. He
Page 202 and 203: Criticism 181 to do with that work.
Page 204 and 205: Johnson 183 (1712). Swift took the
Page 206 and 207: Johnson 185 There are some hostile
Page 210 and 211: Sterne, Smollett and Scottish voice
Page 216 and 217: Drama after 1737 195 MISS HARDCASTL
Page 218 and 219: Poetry after Pope 197 Thomas Gray
Page 220 and 221: Poetry after Pope 199 Nor rural sig
Page 222 and 223: Poetry after Pope 201 but by no mea
Page 224 and 225: Melancholy, madness and nature 203
Page 230 and 231: The Gothic and the sublime 209 Burk
Page 232 and 233: The Gothic and the sublime 211 conc
Page 234: The Gothic and the sublime 213 all
Page 238 and 239: Bliss was it in that dawn to be ali
Page 240 and 241: Contexts and conditions 219 and mor
Page 242 and 243: Contexts and conditions 221 economi
Page 244 and 245: Contexts and conditions 223 past, p
Page 246 and 247: Blake, Wordsworth and Coleridge 225
Page 256 and 257: Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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306 The nineteenth century there ca
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308 The nineteenth century Renaissa
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310 The nineteenth century of Doria
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312 The nineteenth century Most of
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314 The nineteenth century embellis
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316 The nineteenth century Irish; F
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318 The nineteenth century justifie
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320 The nineteenth century However,
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322 The nineteenth century mode of
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324 The nineteenth century the firs
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326 The nineteenth century Its titl
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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The twentieth century 1945 to the p
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448 The twentieth century: 1945 to
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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