Chapter 7

OPPOSITION TO STERNE AND HIS TYPE OF SENTIMENTALISM

Sterne's influence in Germany lived its own life, and gradually and imperceptibly died out of letters, as an actuating principle. Yet its dominion was not achieved without some measure of opposition. The sweeping condemnation which the soberer critics heaped upon the incapacities of his imitators has been exemplified in the accounts already given of Schummel, Bock and others. It would be interesting to follow a little more closely this current of antagonism. The tone of protest was largely directed, the edge of satire was chiefly whetted, against the misunderstanding adaptation of Yorick's ways of thinking and writing, and only here and there were voices raised to detract in any way from the genius of Sterne. He never suffered in Germany such an eclipse of fame as was his fate in England. He was to the end of the chapter a recognized prophet, an uplifter and leader. The far-seeing, clear-minded critics, as Lessing, Goethe and Herder, expressed themselves quite unequivocally in this regard, and there was later no withdrawal of former appreciation. Indeed, Goethe's significant words already quoted came from the last years of his life, when the new century had learned to smile almost incredulously at the relation of a bygone folly.

In the very heyday of Sterne's popularity, 1772, a critic of Wieland's "Diogenes" in the _Auserlesene Bibliothek der neuesten deutschen Litteratur_[1] bewails Wieland's imitation of Yorick, whom the critic deems a far inferior writer, "Sterne, whose works will disappear, while Wieland's masterpieces are still the pleasure of latest posterity." This review of "Diogenes" is, perhaps, rather more an exaggerated compliment to Wieland than a studied blow at Sterne, and this thought is recognized by the reviewer in the _Frankfurter Gelehrte Anzeigen_,[2] who designates the compliment as "dubious" and "insulting," especially in view of Wieland's own personal esteem for Sterne. Yet these words, even as a relative depreciation of Sterne during the period of his most universal popularity, are not insignificant. Heinrich Leopold Wagner, a tutor at Saarbrücken, in 1770, records that one member of a reading club which he had founded "regarded his taste as insulted because I sent him "Yorick's Empfindsame Reise."[3] But Wagner regarded this instance as a proof of Saarbrücken ignorance, stupidity and lack of taste; hence the incident is but a wavering testimony when one seeks to determine the amount and nature of opposition to Yorick.

We find another derogatory fling at Sterne himself and a regret at the extent of his influence in an anonymous book entitled "Betrachtungen über die englischen Dichter,"[4] published at the end of the great Yorick decade. The author compares Sterne most unfavorably with Addison: "If the humor of the _Spectator_ and _Tatler_ be set off against the digressive whimsicality of Sterne," he says, "it is, as if one of the Graces stood beside a Bacchante. And yet the pampered taste of the present day takes more pleasure in a Yorick than in an Addison." But a reviewer in the _Allgemeine deutsche Bibliothek_[5] discounts this author's criticisms of men of established fame, such as Shakespeare, Swift, Yorick, and suggests youth, or brief acquaintance with English literature, as occasion for his inadequate judgments. Indeed, Yorick disciples were quick to resent any shadow cast upon his name. Thus the remark in a letter printed in the _Deutsches Museum_ that Asmus was the German Yorick "only a better moral character," called forth a long article in the same periodical for September, 1779, by L. H. N.,[6] vigorously defending Sterne as a man and a writer. The greatness of his human heart and the breadth and depth of his sympathies are given as the unanswerable proofs of his moral worth. This defense is vehemently seconded in the same magazine by Joseph von Retzer.

The one great opponent of the whole sentimental tendency, whose censure of Sterne's disciples involved also a denunciation of the master himself, was the Göttingen professor, Georg Christopher Lichtenberg.[7] In his inner nature Lichtenberg had much in common with Sterne and Sterne's imitators in Germany, with the whole ecstatic, eccentric movement of the time. Julian Schmidt[8] says: "So much is sure, at any rate, that the greatest adversary of the new literature was of one flesh and blood with it."[9] But his period of residence in England shortly after Sterne's death and his association then and afterwards with Englishmen of eminence render his attitude toward Sterne in large measure an English one, and make an idealization either of the man or of his work impossible for him.

The contradiction between the greatness of heart evinced in Sterne's novels and the narrow selfishness of the author himself is repeatedly noted by Lichtenberg. His knowledge of Sterne's character was derived from acquaintance with many of Yorick's intimate friends in London. In "Beobachtungen über den Menschen," he says: "I can't help smiling when the good souls who read Sterne with tears of rapture in their eyes fancy that he is mirroring himself in his book. Sterne's simplicity, his warm heart, over-flowing with feeling, his soul, sympathizing with everything good and noble, and all the other expressions, whatever they may be; and the sigh 'Alas, poor Yorick,' which expresses everything at once--have become proverbial among us Germans. . . . Yorick was a crawling parasite, a flatterer of the great, an unendurable burr on the clothing of those upon whom he had determined to sponge!"[10]

In "Timorus" he calls Sterne "ein scandalum Ecclesiae";[11] he doubts the reality of Sterne's nobler emotions and condemns him as a clever juggler with words, who by artful manipulation of certain devices aroused in us sympathy, and he snatches away the mask of loving, hearty sympathy and discloses the grinning mountebank. With keen insight into Sterne's mind and method, he lays down a law by which, he says, it is always possible to discover whether the author of a touching passage has really been moved himself, or has merely with astute knowledge of the human heart drawn our tears by a sly choice of touching features.[12]

Akin to this is the following passage in which the author is unquestionably thinking of Sterne, although he does not mention him: "A heart ever full of kindly feeling is the greatest gift which Heaven can bestow; on the other hand, the itching to keep scribbling about it, and to fancy oneself great in this scribbling is one of the greatest punishments which can be inflicted upon one who writes."[13] He exposes the heartlessness of Sterne's pretended sympathy: "A three groschen piece is ever better than a tear,"[14] and "sympathy is a poor kind of alms-giving,"[15] are obviously thoughts suggested by Yorick's sentimentalism.[16]

The folly of the "Lorenzodosen" is several times mentioned with open or covert ridicule[17] and the imitators of Sterne are repeatedly told the fruitlessness of their endeavor and the absurdity of their accomplishment.[18] His "Vorschlag zu einem Orbis Pictus für deutsche dramatische Schriftsteller, Romanendichter und Schauspieler"[19] is a satire on the lack of originality among those who boasted of it, and sought to win attention through pure eccentricities.

The Fragments[20] are concerned, as the editors say, with an evil of the literature in those days, the period of the Sentimentalists and the "Kraftgenies." Among the seven fragments may be noted: "Lorenzo Eschenheimers empfindsame Reise nach Laputa," a clever satirical sketch in the manner of Swift, bitterly castigating that of which the English people claim to be the discoverers (sentimental journeying) and the Germans think themselves the improvers. In "Bittschrift der Wahnsinnigen" and "Parakletor" the unwholesome literary tendencies of the age are further satirized. His brief essay, "Ueber die Vornamen,"[21] is confessedly suggested by Sterne and the sketch "Dass du auf dem Blockberg wärst,"[22] with its mention of the green book entitled "Echte deutsche Flüche und Verwünschungen für alle Stände," is manifestly to be connected in its genesis with Sterne's famous collection of oaths.[23] Lichtenberg's comparison of Sterne and Fielding is familiar and significant.[24] "Aus Lichtenbergs Nachlass: Aufsätze, Gedichte, Tagebuchblätter, Briefe," edited by Albert Leitzmann,[25] contains additional mention of Sterne.

The name of Helfreich Peter Sturz may well be coupled with that of Lichtenberg, as an opponent of the Sterne cult and its German distortions, for his information and point of view were likewise drawn direct from English sources. Sturz accompanied King Christian VII of Denmark on his journey to France and England, which lasted from May 6, 1768, to January 14, 1769[26]; hence his stay in England falls in a time but a few months after Sterne's death (March 18, 1768), when the ungrateful metropolis was yet redolent of the late lion's wit and humor. Sturz was an accomplished linguist and a complete master of English, hence found it easy to associate with Englishmen of distinction whom he was privileged to meet through the favor of his royal patron. He became acquainted with Garrick, who was one of Sterne's intimate friends, and from him Sturz learned much of Yorick, especially that more wholesome revulsion of feeling against Sterne's obscenities and looseness of speech, which set in on English soil as soon as the potent personality of the author himself had ceased to compel silence and blind opinion. England began to wonder at its own infatuation, and, gaining perspective, to view the writings of Sterne in a more rational light. Into the first spread of this reaction Sturz was introduced, and the estimate of Sterne which he carried away with him was undoubtedly colored by it. In his second letter written to the _Deutsches Museum_ and dated August 24, 1768, but strangely not printed till April, 1777,[27] he quotes Garrick with reference to Sterne, a notable word of personal censure, coming in the Germany of that decade, when Yorick's admirers were most vehement in their claims. Garrick called him "a lewd companion, who was more loose in his intercourse than in his writings and generally drove all ladies away by his obscenities."[28] Sturz adds that all his acquaintances asserted that Sterne's moral character went through a process of disintegration in London.

In the _Deutsches Museum_ for July, 1776, Sturz printed a poem entitled "Die Mode," in which he treats of the slavery of fashion and in several stanzas deprecates the influence of Yorick.[29]

"Und so schwingt sich, zum Genie erklärt, Strephon kühn auf Yorick's Steckenpferd. Trabt mäandrisch über Berg und Auen, Reist empfindsam durch sein Dorfgebiet, Oder singt die Jugend zu erbauen Ganz Gefühl dem Gartengott ein Lied. Gott der Gärten, stöhnt die Bürgerin, Lächle gütig, Rasen und Schasmin Haucht Gerüche! Fliehet Handlungssorgen, Dass mein Liebster heute noch in Ruh Sein Mark-Einsaz-Lomber spiele--Morgen, Schliessen wir die Unglücksbude zu!"

A passage at the end of the appendix to the twelfth Reisebrief is further indication of his opposition to and his contempt for the frenzy of German sentimentalism.

The poems of Goeckingk contain allusions[30] to Sterne, to be sure partly indistinctive and insignificant, which, however, tend in the main to a ridicule of the Yorick cult and place their author ultimately among the satirical opponents of sentimentalism. In the "Epistel an Goldhagen in Petershage," 1771, he writes:

"Doch geb ich wohl zu überlegen, Was für den Weisen besser sey: Die Welt wie Yorick mit zu nehmen? Nach Königen, wie Diogen, Sich keinen Fuss breit zu bequemen,"--

a query which suggests the hesitant point of view relative to the advantage of Yorick's excess of universal sympathy. In "Will auch 'n Genie werden" the poet steps out more unmistakably as an adversary of the movement and as a skeptical observer of the exercise of Yorick-like sympathy.

"Doch, ich Patronus, merkt das wohl, Geh, im zerrissnen Kittel, Hab' aber alle Taschen voll Yorickischer Capittel. Doch lass' ich, wenn mir's Kurzweil schafft, Die Hülfe fleh'nden Armen Durch meinen Schweitzer, Peter Kraft, Zerprügeln ohn' Erbarmen."

Goeckingk openly satirizes the sentimental cult in the poem "Der Empfindsame"

"Herr Mops, der um das dritte Wort Empfindsamkeit im Munde führet, Und wenn ein Grashalm ihm verdorrt, Gleich einen Thränenstrom verlieret-- . . . . . . . . Mit meinem Weibchen thut er schier Gleich so bekannt wie ein Franzose; All' Augenblicke bot er ihr Toback aus eines Bettlers Dose Mit dem, am Zaun in tiefem Schlaf Er einen Tausch wie Yorik traf. Der Unempfindsamkeit zum Hohn Hielt er auf eine Mück' im Glase Beweglich einen Leichsermon, Purrt' eine Flieg' ihm an der Nase, Macht' er das Fenster auf, und sprach: Zieh Oheim Toby's Fliege nach! Durch Mops ist warlich meine Magd Nicht mehr bey Trost, nicht mehr bey Sinnen So sehr hat ihr sein Lob behagt, Dass sie empfindsam allen Spinnen Zu meinem Hause, frank und frey Verstattet ihre Weberey. Er trat mein Hündchen auf das Bein, Hilf Himmel! Welch' ein Lamentiren! Es hätte mögen einen Stein Der Strasse zum Erbarmen rühren, Auch wedelt' ihm in einem Nu Das Hündgen schon Vergebung zu. Ach! Hündchen, du beschämst mich sehr, Denn dass mir Mops von meinem Leben Drey Stunden stahl, wie schwer, wie schwer, Wird's halten, das ihm zu vergeben? Denn Spinnen werden oben ein Wohl gar noch meine Mörder seyn."

This poem is a rather successful bit of ridicule cast on the over-sentimental who sought to follow Yorick's foot-prints.

The other allusions to Sterne[31] are concerned with his hobby-horse idea, for this seems to gain the poet's approbation and to have no share in his censure.

The dangers of overwrought sentimentality, of heedless surrender to the emotions and reveling in their exercise,--perils to whose magnitude Sterne so largely contributed--were grasped by saner minds, and energetic protest was entered against such degradation of mind and futile expenditure of feeling.

Joachim Heinrich Campe, the pedagogical theorist, published in 1779[32] a brochure, "Ueber Empfindsamkeit und Empfindelei in pädagogischer Hinsicht," in which he deprecates the tendency of "Empfindsamkeit" to degenerate into "Empfindelei," and explains at some length the deleterious effects of an unbridled "Empfindsamkeit" and an unrestrained outpouring of sympathetic emotions which finds no actual expression, no relief in deeds. The substance of this warning essay is repeated, often word for word, but considerably amplified with new material, and rendered more convincing by increased breadth of outlook and positiveness of assertion, the fruit of six years of observation and reflection, as part of a treatise, entitled, "Von der nöthigen Sorge für die Erhaltung des Gleichgewichts unter den menschlichen Kräften: Besondere Warnung vor dem Modefehler die Empfindsamkeit zu überspannen." It is in the third volume of the "Allgemeine Revision des gesammten Schul- und Erziehungswesens."[33] The differentiation between "Empfindsamkeit" and "Empfindelei" is again and more accessibly repeated in Campe's later work, "Ueber die Reinigung und Bereicherung der deutschen Sprache."[34] In the second form of this essay (1785) Campe speaks of the sentimental fever as an epidemic by no means entirely cured.

His analysis of "Empfindsamkeit" is briefly as follows: "Empfindsamkeit ist die Empfänglichkeit zu Empfindnissen, in denen etwas Sittliches d.i. Freude oder Schmerz über etwas sittlich Gutes oder sittlich Böses, ist;" yet in common use the term is applied only to a certain high degree of such susceptibility. This sensitiveness is either in harmony or discord with the other powers of the body, especially with the reason: if equilibrium is maintained, this sensitiveness is a fair, worthy, beneficent capacity (Fähigkeit); if exalted over other forces, it becomes to the individual and to society the most destructive and baneful gift which refinement and culture may bestow. Campe proposes to limit the use of the word "Empfindsamkeit" to the justly proportioned manifestation of this susceptibility; the irrational, exaggerated development he would designate "überspannte Empfindsamkeit." "Empfindelei," he says, "ist Empfindsamkeit, die sich auf eine kleinliche alberne, vernunftlose und lächerliche Weise, also da äussert, wo sie nicht hingehörte." Campe goes yet further in his distinctions and invents the monstrous word, "Empfindsamlichkeit" for the sentimentality which is superficial, affected, sham (geheuchelte). Campe's newly coined word was never accepted, and in spite of his own efforts and those of others to honor the word "Empfindsamkeit" and restrict it to the commendable exercise of human sympathy, the opposite process was victorious and "Empfindsamkeit," maligned and scorned, came to mean almost exclusively, unless distinctly modified, both what Campe designates as "überspannte Empfindsamkeit" and "Empfindelei," and also the absurd hypocrisy of the emotions which he seeks to cover with his new word. Campe's farther consideration contains a synopsis of method for distinguishing "Empfindsamkeit" from "Empfindelei:" in the first place through the manner of their incitement,--the former is natural, the latter is fantastic, working without sense of the natural properties of things. In this connection he instances as examples, Yorick's feeling of shame after his heartless and wilful treatment of Father Lorenzo, and, in contrast with this, the shallowness of Sterne's imitators who whimpered over the death of a violet, and stretched out their arms and threw kisses to the moon and stars. In the second place they are distinguished in the manner of their expression: "Empfindsamkeit" is "secret, unpretentious, laconic and serious;" the latter attracts attention, is theatrical, voluble, whining, vain. Thirdly, they are known by their fruits, in the one case by deeds, in the other by shallow pretension. In the latter part of his volume, Campe treats the problem of preventing the perverted form of sensibility by educative endeavor.

The word "Empfindsamkeit" was afterwards used sometimes simply as an equivalent of "Empfindung," or sensation, without implication of the manner of sensing: for example one finds in the _Morgenblatt_[35] a poem named "Empfindsamkeiten am Rheinfalle vom Felsen der Galerie abgeschrieben." In the poem various travelers are made to express their thoughts in view of the waterfall. A poet cries, "Ye gods, what a hell of waters;" a tradesman, "away with the rock;" a Briton complains of the "confounded noise," and so on. It is plain that the word suffered a generalization of meaning.

A poetical expression of Campe's main message is found in a book called "Winterzeitvertreib eines königlichen preussischen Offiziers."[36] A poem entitled "Das empfindsame Herz" (p. 210) has the following lines:

"Freund, ein empfindsames Herz ist nicht für diese Welt, Von Schelmen wird's verlacht, von Thoren wirds geprellt, Doch üb' im Stillen das, was seine Stimme spricht. Dein Lohn ist dir gewiss, nur hier auf Erden nicht."

In a similar vein of protest is the letter of G. Hartmann[37] to Denis, dated Tübingen, February 10, 1773, in which the writer condemns the affected sentimentalism of Jacobi and others as damaging to morals. "O best teacher," he pleads with Denis, "continue to represent these performances as unworthy."

Möser in his "Patriotische Phantasien"[38] represents himself as replying to a maid-in-waiting who writes in distress about her young mistress, because the latter is suffering from "epidemic" sentimentalism, and is absurdly unreasonable in her practical incapacity and her surrender to her feelings. Möser's sound advice is the substitution of genuine emotion. The whole section is entitled "Für die Empfindsamen."

Knigge, in his "Umgang mit Menschen," plainly has those Germans in mind who saw in Uncle Toby's treatment of the fly an incentive to unreasonable emphasis upon the relations between man and the animal world, when, in the chapter on the treatment of animals, he protests against the silly, childish enthusiasm of those who cannot see a hen killed, but partake of fowl greedily on the table, or who passionately open the window for a fly.[39] A work was also translated from the French of Mistelet, which dealt with the problem of "Empfindsamkeit:" it was entitled "Ueber die Empfindsamkeit in Rücksicht auf das Drama, die Romane und die Erziehung."[40] An article condemning exaggerated sentimentality was published in the _Deutsches Museum_ for February, 1783, under the title "Etwas über deutsche Empfindsamkeit."

Goethe's "Der Triumph der Empfindsamkeit" is a merry satire on the sentimental movement, but is not to be connected directly with Sterne, since Goethe is more particularly concerned with the petty imitators of his own "Werther." Baumgartner in his Life of Goethe asserts that Sterne's Sentimental Journey was one of the books found inside the ridiculous doll which the love-sick Prince Oronaro took about with him. This is not a necessary interpretation, for Andrason, when he took up the first book, exclaimed merely "Empfindsamkeiten," and, as Strehlke observes,[41] it is not necessary here to think of a single work, because the term was probably used in a general way, referring possibly to a number of then popular imitations.

The satires on "Empfindsamkeit" began to grow numerous at the end of the seventies and the beginning of the eighties, so that the _Allgemeine Litteratur-Zeitung_, in October, 1785, feels justified in remarking that such attempts are gradually growing as numerous as the "Empfindsame Romane" themselves, and wishes, "so may they rot together in a grave of oblivion."[42] Anton Reiser, the hero of Karl Philipp Moritz'sautobiographical novel (Berlin, 1785-90), begins a satire on affected sentimentalism, which was to bring shafts of ridicule to bear on the popular sham, and to throw appreciative light on the real manifestation of genuine feeling.[43] A kindred satire was "Die Geschichte eines Genies," Leipzig, 1780, two volumes, in which the prevailing fashion of digression is incidentally satirized.[44]

The most extensive satire on the sentimental movement, and most vehement protest against its excesses is the four volume novel, "Der Empfindsame,"[45] published anonymously in Erfurt, 1781-3, but acknowledged in the introduction to the fourth volume by its author, Christian Friedrich Timme. He had already published one novel in which he exemplified in some measure characteristics of the novelists whom he later sought to condemn and satirize, that is, this first novel, "Faramond's Familiengeschichte,"[46] is digressive and episodical. "Der Empfindsame" is much too bulky to be really effective as a satire; the reiteration of satirical jibes, the repetition of satirical motifs slightly varied, or thinly veiled, recoil upon the force of the work itself and injure the effect. The maintenance of a single satire through the thirteen to fourteen hundred pages which four such volumes contain is a Herculean task which we can associate only with a genius like Cervantes. Then, too, Timme is an excellent narrator, and his original purpose is constantly obscured by his own interest and the reader's interest in Timme's own story, in his original creations, in the variety of his characters. These obtrude upon the original aim of the book and absorb the action of the story in such a measure that Timme often for whole chapters and sections seems to forget entirely the convention of his outsetting.

His attack is threefold, the centers of his opposition being "Werther," "Siegwart" and Sterne, as represented by their followers and imitators. But the campaign is so simple, and the satirist has been to such trouble to label with care the direction of his own blows, that it is not difficult to separate the thrusts intended for each of his foes.

Timme's initial purpose is easily illustrated by reference to his first chapter, where his point of view is compactly put and the soundness of his critical judgment and the forcefulness of his satirical bent are unequivocally demonstrated: This chapter, which, as he says, "may serve instead of preface and introduction," is really both, for the narrative really begins only in the second chapter. "Every nation, every age," he says, "has its own doll as a plaything for its children, and sentimentality (Empfindsamkeit) is ours." Then with lightness and grace, coupled with unquestionable critical acumen, he traces briefly the growth of "Empfindsamkeit" in Germany. "Kaum war der liebenswürdige Sterne auf sein Steckenpferd gestiegen, und hatte es uns vorgeritten; so versammelten sich wie gewöhnlich in Teutschland alle Jungen an ihn herum, hingen sich an ihn, oder schnizten sich sein Steckenpferd in der Geschwindigkeit nach, oder brachen Stecken vom nächsten Zaun oder rissen aus einem Reissigbündel den ersten besten Prügel, setzten sich darauf und ritten mit einer solchen Wut hinter ihm drein, dass sie einen Luftwirbel veranlassten, der alles, was ihm zu nahe kam, wie ein reissender Strom mit sich fortris, wär es nur unter den Jungen geblieben, so hätte es noch sein mögen; aber unglücklicherweise fanden auch Männer Geschmack an dem artigen Spielchen, sprangen vom ihrem Weg ab und ritten mit Stok und Degen und Amtsperüken unter den Knaben einher. Freilich erreichte keiner seinen Meister, den sie sehr bald aus dem Gesicht verloren, und nun die possirlichsten Sprünge von der Welt machen und doch bildet sich jeder der Affen ein, er reite so schön wie der Yorick."[47]

This lively description of Sterne's part in this uprising is, perhaps, the best brief characterization of the phenomenon and is all the more significant as coming from the pen of a contemporary, and written only about a decade after the inception of the sentimental movement as influenced and furthered by the translation of the Sentimental Journey. It represents a remarkable critical insight into contemporaneous literary movements, the rarest of all critical gifts, but it has been overlooked by investigators who have sought and borrowed brief words to characterize the epoch.[48]

The contribution of "Werther" and "Siegwart" to the sentimental frenzy are even as succinctly and graphically designated; the latter book, published in 1776, is held responsible for a recrudescence of the phenomenon, because it gave a new direction, a new tone to the faltering outbursts of Sterne's followers and indicated a more comprehensible and hence more efficient, outlet for their sentimentalism. Now again, "every nook resounded with the whining sentimentality, with sighs, kisses, forget-me-nots, moonshine, tears and ecstasies;" those hearts excited by Yorick's gospel, gropingly endeavoring to find an outlet for their own emotions which, in their opinion were characteristic of their arouser and stimulator, found through "Siegwart" a solution of their problem, a relief for their emotional excess.

Timme insists that his attack is only on Yorick's mistaken followers and not on Sterne himself. He contrasts the man and his imitators at the outset sharply by comments on a quotation from the novel, "Fragmente zur Geschichte der Zärtlichkeit"[49] as typifying the outcry of these petty imitators against the heartlessness of their misunderstanding critics,--"Sanfter, dultender Yorick," he cries, "das war nicht deine Sprache! Du priesest dich nicht mit einer pharisäischen Selbstgenügsamkeit und schimpftest nicht auf die, die dir nicht ähnlich waren, 'Doch! sprachst Du am Grabe Lorenzos, doch ich bin so weichherzig wie ein Weib, aber ich bitte die Welt nicht zu lachen, sondern mich zu bedauern!' Ruhe deinem Staube, sanfter, liebevoller Dulter! und nur einen Funken deines Geistes deinen Affen."[50] He writes not for the "gentle, tender souls on whom the spirit of Yorick rests,"[51] for those whose feelings are easily aroused and who make quick emotional return, who love and do the good, the beautiful, the noble; but for those who "bei dem wonnigen Wehen und Anhauchen der Gottheithaltenden Natur, in huldigem Liebessinn und himmelsüssem Frohsein dahin schmelzt . . die ihr vom Sang der Liebe, von Mondschein und Tränen euch nährt," etc., etc.[52] In these few words he discriminates between the man and his influence, and outlines his intentions to satirize and chastise the insidious disease which had fastened itself upon the literature of the time. This passage, with its implied sincerity of appreciation for the real Yorick, is typical of Timme's attitude throughout the book, and his concern lest he should appear at any time to draw the English novelist into his condemnation leads him to reiterate this statement of purpose and to insist upon the contrast.

Brükmann, a young theological student, for a time an intimate of the Kurt home, is evidently intended to represent the soberer, well-balanced thought of the time in opposition to the feverish sentimental frenzy of the Kurt household. He makes an exception of Yorick in his condemnation of the literary favorites, the popular novelists of that day, but he deplores the effects of misunderstood imitation of Yorick's work, and argues his case with vehemence against this sentimental group.[53] Brükmann differentiates too the different kinds of sentimentalism and their effects in much the same fashion as Campe in his treatise published two years before.[54] In all this Brükmann may be regarded as the mouth-piece of the author. The clever daughter of the gentleman who entertains Pank at his home reads a satirical poem on the then popular literature, but expressly disclaims any attack on Yorick or "Siegwart," and asserts that her bitterness is intended for their imitators. Lotte, Pank's sensible and unsentimental, long-suffering fiancée, makes further comment on the "apes" of Yorick, "Werther," and "Siegwart."

The unfolding of the story is at the beginning closely suggestive of Tristram Shandy and is evidently intended to follow the Sterne novel in a measure as a model. As has already been suggested, Timme's own narrative powers balk the continuity of the satire, but aid the interest and the movement of the story. The movement later is, in large measure, simple and direct. The hero is first introduced at his christening, and the discussion of fitting names in the imposing family council is taken from Walter Shandy's hobby. The narrative here, in Sterne fashion, is interrupted by a Shandean digression[55] concerning the influence of clergymen's collars and neck-bands upon the thoughts and minds of their audiences. Such questions of chance influence of trifles upon the greater events of life is a constant theme of speculation among the pragmatics; no petty detail is overlooked in the possibility of its portentous consequences. Walter Shandy's hyperbolic philosophy turned about such a focus, the exaltation of insignificant trifles into mainsprings of action. Shandy bristles with such discussions.

In Shandy fashion the story doubles on itself after the introduction and gives minute details of young Kurt's family and the circumstances prior to his birth. The later discussion[56] in the family council concerning the necessary qualities in the tutor to be hired for the young Kurt is distinctly a borrowing from Shandy.[57] Timme imitates Sterne's method of ridiculing pedantry; the requirements listed by the Diaconus and the professor are touches of Walter Shandy's misapplied, warped, and undigested wisdom. In the nineteenth chapter of the third volume[58] we find a Sterne passage associating itself with Shandy rather more than the Sentimental Journey. It is a playful thrust at a score of places in Shandy in which the author converses with the reader about the progress of the book, and allows the mechanism of book-printing and the vagaries of publishers to obtrude themselves upon the relation between writer and reader. As a reminiscence of similar promises frequent in Shandy, the author promises in the first chapter of the fourth volume to write a book with an eccentric title dealing with a list of absurdities.[59]

But by far the greater proportion of the allusions to Sterne associate themselves with the Sentimental Journey. A former acquaintance of Frau Kurt, whose favorite reading was Shandy, Wieland's "Sympatien" and the Sentimental Journey, serves to satirize the influence of Yorick's ass episode; this gentleman wept at the sight of an ox at work, and never ate meat lest he might incur the guilt of the murder of these sighing creatures.[60]

The most constantly recurring form of satire is that of contradiction between the sentimental expression of elevated, universal sympathy and broader humanity and the failure to seize an immediately presented opportunity to embody desire in deed. Thus Frau Kurt,[61] buried in "Siegwart," refuses persistently to be disturbed by those in immediate need of a succoring hand. Pankraz and his mother while on a drive discover an old man weeping inconsolably over the death of his dog.[62] The scene of the dead ass at Nampont occurs at once to Madame Kurt and she compares the sentimental content of these two experiences in deprivation, finding the palm of sympathy due to the melancholy dog-bewailer before her, thereby exalting the sentimental privilege of her own experience as a witness. Quoting Yorick, she cries: "Shame on the world! If men only loved one another as this man loves his dog!"[63] At this very moment the reality of her sympathy is put to the test by the approach of a wretched woman bearing a wretched child, begging for assistance, but Frau Kurt, steeped in the delight of her sympathetic emotion, repulses her rudely. Pankraz, on going home, takes his Yorick and reads again the chapter containing the dead-ass episode; he spends much time in determining which event was the more affecting, and tears flow at the thought of both animals. In the midst of his vehement curses on "unempfindsame Menschen," "a curse upon you, you hard-hearted monsters, who treat God's creatures unkindly," etc., he rebukes the gentle advances of his pet cat Riepel, rebuffs her for disturbing his "Wonnegefühl," in such a heartless and cruel way that, through an accident in his rapt delight at human sympathy, the ultimate result is the poor creature's death by his own fault.

In the second volume[64] Timme repeats this method of satire, varying conditions only, yet forcing the matter forward, ultimately, into the grotesque comic, but again taking his cue from Yorick's narrative about the ass at Nampont, acknowledging specifically his linking of the adventure of Madame Kurt to the episode in the Sentimental Journey. Frau Kurt's ardent sympathy is aroused for a goat drawing a wagon, and driven by a peasant. She endeavors to interpret the sighs of the beast and finally insists upon the release of the animal, which she asserts is calling to her for aid. The poor goat's parting bleat after its departing owner is construed as a curse on the latter's hardheartedness. Frau Kurt embraces and kisses the animal. During the whole scene the neighboring village is in flames, houses are consumed and poor people rendered homeless, but Frau Kurt expresses no concern, even regarding the catastrophe as a merited affliction, because of the villagers' lack of sympathy with their domestic animals. The same means of satire is again employed in the twelfth chapter of the same volume.[65] Pankraz, overcome with pain because Lotte, his betrothed, fails to unite in his sentimental enthusiasm and persists in common-sense, tries to bury his grief in a wild ride through night and storm. His horse tramples ruthlessly on a poor old man in the road; the latter cries for help, but Pank, buried in contemplation of Lotte's lack of sensibility, turns a deaf ear to the appeal.

In the seventeenth chapter of the third volume, a sentimental journey is proposed, and most of the fourth volume is an account of this undertaking and the events arising from its complications. Pankraz's adventures are largely repetitions of former motifs, and illustrate the fate indissolubly linked with an imitation of Sterne's related converse with the fair sex.[66]

The journey runs, after a few adventures, over into an elaborate practical joke in which Pankraz himself is burlesqued by his contemporaries. Timme carries his poignancy and keenness of satire over into bluntness of burlesque blows in a large part of these closing scenes. Pankraz loses the sympathy of the reader, involuntarily and irresistibly conceded him, and becomes an inhuman freak of absurdity, beyond our interest.[67]

Pankraz is brought into disaster by his slavish following of suggestions aroused through fancied parallels between his own circumstances and those related of Yorick. He finds a sorrowing woman[68] sitting, like Maria of Moulines, beneath a poplar tree. Pankraz insists upon carrying out this striking analogy farther, which the woman, though she betrays no knowledge of the Sentimental Journey, is not loath to accede to, as it coincides with her own nefarious purposes. Timme in the following scene strikes a blow at the abjectly sensual involved in much of the then sentimental, unrecognized and unrealized.

Pankraz meets a man carrying a cage of monkeys.[69] He buys the poor creatures from their master, even as Frau Kurt had purchased the goat. The similarity to the Starling narrative in Sterne's volume fills Pankraz's heart with glee. The Starling wanted to get out and so do his monkeys, and Pankraz's only questions are: "What did Yorick do?" "What would he do?" He resolves to do more than is recorded of Yorick, release the prisoners at all costs. Yorick's monolog occurs to him and he parodies it. The animals greet their release in the thankless way natural to them,--a point already enforced in the conduct of Frau Kurt's goat.

In the last chapter of the third volume Sterne's relationship to "Eliza" is brought into the narrative. Pankraz writes a letter wherein he declares amid exaggerated expressions of bliss that he has found "Elisa," his "Elisa." This is significant as showing that the name Eliza needed no further explanation, but, from the popularity of the Yorick-Eliza letters and the wide-spread admiration of the relation, the name Eliza was accepted as a type of that peculiar feminine relation which existed between Sterne and Mrs. Draper, and which appealed to Sterne's admirers.

Pankraz's new Order of the Garter, born of his wild frenzy[70] of devotion over this article of Elisa's wearing apparel, is an open satire on Leuchsenring's and Jacobi's silly efforts noted elsewhere. The garter was to bear Elisa's silhouette and the device "Orden vom Strumpfband der empfindsamen Liebe."

The elaborate division of moral preachers[71] into classes may be further mentioned as an adaptation from Sterne, cast in Yorick's mock-scientific manner.

A consideration of these instances of allusion and adaptation with a view to classification, reveals a single line of demarkation obvious and unaltered. And this line divides the references to Sterne's sentimental influence from those to his whimsicality of narration, his vagaries of thought; that is, it follows inevitably, and represents precisely the two aspects of Sterne as an individual, and as an innovator in the world of letters. But that a line of cleavage is further equally discernible in the treatment of these two aspects is not to be overlooked. On the one hand is the exaggerated, satirical, burlesque; on the other the modified, lightened, softened. And these two lines of division coincide precisely.

The slight touches of whimsicality, suggesting Sterne, are a part of Timme's own narrative, evidently adapted with approval and appreciation; they are never carried to excess, satirized or burlesqued, but may be regarded as purposely adopted, as a result of admiration and presumably as a suggestion to the possible workings of sprightliness and grace on the heaviness of narrative prose at that time. Timme, as a clear-sighted contemporary, certainly confined the danger of Sterne's literary influence entirely to the sentimental side, and saw no occasion to censure an importation of Sterne's whimsies. Pank's ode on the death of Riepel, written partly in dashes and partly in exclamation points, is not a disproof of this assertion. Timme is not satirizing Sterne's whimsical use of typographical signs, but rather the Germans who misunderstood Sterne and tried to read a very peculiar and precious meaning into these vagaries. The sentimental is, however, always burlesqued and ridiculed; hence the satire is directed largely against the Sentimental Journey, and Shandy is followed mainly in those sections, which, we are compelled to believe, he wrote for his own pleasure, and in which he was led on by his own interest.

The satire on sentimentalism is purposeful, the imitation and adaptation of the whimsical and original is half-unconscious, and bespeaks admiration and commendation.

Timme's book was sufficiently popular to demand a second edition, but it never received the critical examination its merits deserved. Wieland's _Teutscher Merkur_ and the _Bibliothek der schönen Wissenschaften_ ignore it completely. The _Gothaische Gelehrte Zeitungen_ announces the book in its issue of August 2, 1780, but the book itself is not reviewed in its columns. The _Jenaische Zeitungen von gelehrten Sachen_ accords it a colorless and unappreciative review in which Timme is reproached for lack of order in his work (a censure more applicable to the first volume), and further for his treatment of German authors then popular.[72] The latter statement stamps the review as unsympathetic with Timme's satirical purpose. In the _Erfurtische gelehrte Zeitung_,[73] in the very house of its own publication, the novel is treated in a long review which hesitates between an acknowledged lack of comprehension and indignant denunciation. The reviewer fears that the author is a "Pasquillant oder gar ein Indifferentist" and hopes the public will find no pleasure (Geschmack) in such bitter jesting (Schnaken). He is incensed at Timme's contention that the Germans were then degenerate as compared with their Teutonic forefathers, and Timme's attack on the popular writers is emphatically resented. "Aber nun kömmt das Schlimme erst," he says, "da führt er aus Schriften unserer grössten Schenies, aus den Lieblings-büchern der Nazion, aus Werther's Leiden, dem Siegwart, den Fragmenten zur Geschichte der Zärtlichkeit, Müller's Freuden und Leiden, Klinger's Schriften u.s.w. zur Bestätigung seiner Behauptung, solche Stellen mit solcher Bosheit an, dass man in der That ganz verzweifelt wird, ob sie von einem Schenie oder von einem Affen geschrieben sind."

In the number for July 6, 1782, the second and third volumes are reviewed. Pity is expressed for the poor author, "denn ich fürchte es wird sich ein solches Geschrey wider ihn erheben, wovon ihm die Ohren gällen werden." Timme wrote reviews for this periodical, and the general tone of this notice renders it not improbable that he roguishly wrote the review himself or inspired it, as a kind of advertisement for the novel itself. It is certainly a challenge to the opposing party.

The _Allgemeine deutsche Bibliothek_[74] alone seems to grasp the full significance of the satire. "We acknowledge gladly," says the reviewer, "that the author has with accuracy noted and defined the rise, development, ever-increasing contagion and plague-like prevalence of this moral pestilence; . . . that the author has penetrated deep into the knowledge of this disease and its causes." He wishes for an engraving of the Sterne hobby-horse cavalcade described in the first chapter, and begs for a second and third volume, "aus deutscher Vaterlandsliebe." Timme is called "Our German Cervantes."

The second and third volumes are reviewed[75] with a brief word of continued approbation.

A novel not dissimilar in general purpose, but less successful in accomplishment, is Wezel's "Wilhelmine Arend, oder die Gefahren der Empfindsamkeit," Dessau and Leipzig, 1782, two volumes. The book is more earnest in its conception. Its author says in the preface that his desire was to attack "Empfindsamkeit" on its dangerous and not on its comic side, hence the book avoids in the main the lighthearted and telling burlesque, the Hudibrastic satire of Timme's novel. He works along lines which lead through increasing trouble to a tragic _dénouement_.

The preface contains a rather elaborate classification of kinds of "Empfindsamkeit," which reminds one of Sterne's mock-scientific discrimination. This classification is according to temperament, education, example, custom, reading, strength or weakness of the imagination; there is a happy, a sad, a gentle, a vehement, a dallying, a serious, a melancholy, sentimentality, the last being the most poetic, the most perilous.

The leading character, Wilhelmine, is, like most characters which are chosen and built up to exemplify a preconceived theory, quite unconvincing. In his foreword Wezel analyzes his heroine's character and details at some length the motives underlying the choice of attributes and the building up of her personality. This insight into the author's scaffolding, this explanation of the mechanism of his puppet-show, does not enhance the aesthetic, or the satirical force of the figure. She is not conceived in flesh and blood, but is made to order.

The story begins in letters,--a method of story-telling which was the legacy of Richardson's popularity--and this device is again employed in the second volume (Part VII). Wilhelmine Arend is one of those whom sentimentalism seized like a maddening pestiferous disease. We read of her that she melted into tears when her canary bird lost a feather, that she turned white and trembled when Dr. Braun hacked worms to pieces in conducting a biological experiment. On one occasion she refused to drive home, as this would take the horses out in the noonday sun and disturb their noonday meal,--an exorbitant sympathy with brute creation which owes its popularity to Yorick's ass. It is not necessary here to relate the whole story. Wilhelmine's excessive sentimentality estranges her from her husband, a weak brutish man, who has no comprehension of her feelings. He finds a refuge in the debasing affections of a French opera-singer, Pouilly, and gradually sinks to the very lowest level of degradation. This all is accomplished by the interposition and active concern of friends, by efforts at reunion managed by benevolent intriguers and kindly advisers.

The advice of Drs. Braun and Irwin is especially significant in its sane characterization of Wilhelmine's mental disorders, and the observations upon "Empfindsamkeit" which are scattered through the book are trenchant, and often markedly clever. Wilhelmine holds sentimental converse with three kindred spirits in succession, Webson, Dittmar, and Geissing. The first reads touching tales aloud to her and they two unite their tears, a sentimental idea dating from the Maria of Moulines episode. The part which the physical body, with its demands and desires unacknowledged and despised, played as the unseen moving power in these three friendships is clearly and forcefully brought out. Allusion to Timme's elucidation of this principle, which, though concealed, underlay much of the sentimentalism of this epoch, has already been made. Finally Wilhelmine is persuaded by her friends to leave her husband, and the scene is shifted to a little Harz village, where she is married to Webson; but the unreasonableness of her nature develops inordinately, and she is unable ever to submit to any reasonable human relations, and the rest of the tale is occupied with her increasing mental aberration, her retirement to a hermit-like seclusion, and her death.

The book, as has been seen, presents a rather pitiful satire on the whole sentimental epoch, not treating any special manifestation, but applicable in large measure equally to those who joined in expressing the emotional ferment to which Sterne, "Werther" and "Siegwart" gave impulse, and for which they secured literary recognition. Wezel fails as a satirist, partly because his leading character is not convincing, but largely because his satirical exaggeration, and distortion of characteristics, which by a process of selection renders satire efficient, fails to make the exponent of sentimentalism ludicrous, but renders her pitiful. At the same time this satirical warping impairs the value of the book as a serious presentation of a prevailing malady. The book falls between two stools.

A precursor of "Wilhelmine Arend" from Wezel's own hand was "Die unglückliche Schwäche," which was published in the second volume of his "Satirische Erzählungen."[76] In this book we have a character with a heart like the sieve of the Danaids, and to Frau Laclerc is attributed "an exaggerated softness of heart which was unable to resist a single impression, and was carried away at any time, wherever the present impulse bore it." The plot of the story, with the intrigues of Graf. Z., the Pouilly of the piece, the separation of husband and wife, their reunion, the disasters following directly in the train of weakness of heart in opposing sentimental attacks, are undoubtedly children of the same purpose as that which brought forth "Wilhelmine Arend."

Another satirical protest was, as one reads from a contemporary review, "Die Tausend und eine Masche, oder Yoricks wahres Shicksall, ein blaues Mährchen von Herrn Stanhope" (1777, 8vo). The book purports to be the posthumous work of a young Englishman, who, disgusted with Yorick's German imitators, grew finally indignant with Yorick himself. The _Almanach der deutschen Musen_ (1778, pp. 99-100) finds that the author misjudges Yorick. The book is written in part if not entirely in verse.

In 1774 a correspondent of Wieland's _Merkur_ writes, begging this authoritative periodical to condemn a weekly paper just started in Prague, entitled "Wochentlich Etwas," which is said to be written in the style of Tristram Shandy and the Sentimental Journey, M . . . R . . . and "die Beyträge zur Geheimen Geschichte des menschlichen Herzens und Verstandes," and thereby is a shame to "our dear Bohemia."

In this way it is seen how from various sources and in various ways protest was made against the real or distorted message of Laurence Sterne.

[Footnote 1: I, p. 103, Lemgo.]

[Footnote 2: 1772, July 7.]

[Footnote 3: See Erich Schmidt's "Heinrich Leopold Wagner, Goethe's Jugendgenosse," 2d edition, Jena, 1879, p. 82.]

[Footnote 4: Berlin, 1779, pp. 86.]

[Footnote 5: XLIV, 1, p. 105.]

[Footnote 6: Probably Ludwig Heinrich von Nicolay, the poet and fable-writer (1727-1820). The references to the _Deutsches Museum_ are respectively VI, p. 384; VIII, pp. 220-235; X, pp. 464 ff.]

[Footnote 7: "Georg Christoph Lichtenberg's Vermischte Schriften," edited by Ludwig Christian Lichtenberg and Friedrich Kries, new edition, Göttingen, 1844-46, 8 vols.]

[Footnote 8: "Geschichte des geistigen Lebens in Deutschland," Leipzig, 1862, II, p. 585.]

[Footnote 9: See also Gervinus, "Geschichte der deutschen Dichtung," 5th edition, 1874, V. p. 194. "Ein Original selbst und mehr als irgend einer befähigt die humoristischen Romane auf deutschen Boden zu verpflanzen." Gervinus says also (V, p. 221) that the underlying thought of Musäus in his "Physiognomische Reisen" would, if handled by Lichtenberg, have made the most fruitful stuff for a humorous novel in Sterne's style.]

[Footnote 10: I, p. 184 f.]

[Footnote 11: III, p. 112.]

[Footnote 12: II, 11-12: "Im ersten Fall wird er nie, nach dem die Stelle vorüber ist, seinen Sieg plötzlich aufgeben. So wie bei ihm sich die Leidenschaft kühlt, kühlt sie sich auch bei uns und er bringt uns ab, ohne dass wir es wissen. Hingegen im letztern Fall nimmt er sich selten die Mühe, sich seines Sieges zu bedienen, sondern wirft den Leser oft mehr zur Bewunderung seiner Kunst, als seines Herzens in eine andere Art von Verfassung hinein, die ihn selbst nichts kostet als Witz, den Leser fast um alles bringt, was er vorher gewonnen hatte."]

[Footnote 13: V, 95.]

[Footnote 14: I, p. 136.]

[Footnote 15: I, p. 151.]

[Footnote 16: See also I, p. 139.]

[Footnote 17: II, p. 209; III, p. 11; VII, p. 133.]

[Footnote 18: I, p. 136; II, pp. 13, 39, 209; 165, "Die Nachahmer Sterne's sind gleichsam die Pajazzi desselben."]

[Footnote 19: In _Göttingisches Magazin_, 1780, Schriften IV, pp. 186-227: "Thöricht affectirte Sonderbarkeit in dieser Methode wird das Kriterium von Originalität und das sicherste Zeichen, dass man einen Kopf habe, dieses wenn man sich des Tages ein Paar Mal darauf stellt. Wenn dieses auch eine Sternisch Kunst wäre, so ist wohl so viel gewiss, es ist keine der schwersten."]

[Footnote 20: II, pp. 199-244.]

[Footnote 21: V, p. 250.]

[Footnote 22: VI, p. 195.]

[Footnote 23: Tristram Shandy, I, pp. 172-180.]

[Footnote 24: II, p. 12.]

[Footnote 25: Weimar, 1899.]

[Footnote 26: These dates are of the departure from and return to Copenhagen; the actual time of residence in foreign lands would fall somewhat short of this period.]

[Footnote 27: _Deutsches Museum_, 1777, p. 449, or Schriften, I, pp. 12-13; "Bibliothek der deutschen Klassiker," Vol. VI, p. 652.]

[Footnote 28: English writers who have endeavored to make an estimate of Sterne's character have ignored this part of Garrick's opinion, though his statement with reference to the degeneration of Sterne's moral nature is frequently quoted.]

[Footnote 29: _Deutsches Museum_, II, pp. 601-604; Schriften, II, pp. 288-291.]

[Footnote 30: Gedichte von L. F. G. Goeckingk, 3 Bde., 1780, 1781, 1782, Leipzig.]

[Footnote 31: I, pp. 94, 116, 160.]

[Footnote 32: Hamburg, pp. 44.]

[Footnote 33: Hamburg, Bohn, 1785.]

[Footnote 34: Published in improved and amplified form, Braunschweig, 1794.]

[Footnote 35: II, Nr. 204, August 25, 1808, Tübingen.]

[Footnote 36: Breslau, 1779, 2d edition, 1780, by A. W. L. von Rahmel.]

[Footnote 37: See M. Denis, "Literarischer Nachlass," edited by Retzer, Wien, 1801, II, p. 196.]

[Footnote 38: "Sämmtliche Werke," edited by B. R. Abeken, Berlin, 1858, III, pp. 61-64.]

[Footnote 39: First American edition as "Practical Philosophy," Lansingburgh, 1805, p. 331. Sterne is cited on p. 85.]

[Footnote 40: Altenburg, 1778, p. 90. Reviewed in _Gothaische Gelehrte Zeitungen_, 1779, p. 169, March 17, and in _Allg. deutsche Bibl._, XXXVII, 2, p. 476.]

[Footnote 41: Hempel, VIII, p. 354.]

[Footnote 42: In a review of "Mamsell Fieckchen und ihr Vielgetreuer, ein Erbauungsbüchlein für gefühlvolle Mädchen," which is intended to be a warning to tender-hearted maidens against the sentimental mask of young officers. Another protest against excess of sentimentalism was "Philotas, ein Versuch zur Beruhigung und Belehrung für Leidende und Freunde der Leidenden," Leipzig, 1779. See _Allg. deutsche. Bibl._, XLIV. 1, pp. 128-9.]

[Footnote 43: See Erich Schmidt's "Richardson, Rousseau und Goethe," Jena, 1875, p. 297.]

[Footnote 44: See _Jenaische Zeitungen von Gel. Sachen_, 1780, pp. 627, 761.]

[Footnote 45: The full title is "Der Empfindsame Maurus Pankrazius Ziprianus Kurt auch Selmar genannt, ein Moderoman," published by Keyser at Erfurt, 1781-83, with a second edition, 1785-87.]

[Footnote 46: "Faramonds Familiengeschichte, in Briefen," Erfurt, Keyser, 1779-81. _Allg. deutsche Bibl._, XLIV, 1, p. 120; _Jenaische Zeitungen von Gel. Sachen_, 1780, pp. 273, 332; 1781, pp. 113, 314.]

[Footnote 47: Pp. 8-9.]

[Footnote 48: Goethe's review of Schummel's "Empfindsame Reise" in _Frankfurter Gel. Anz._ represents the high-water mark of understanding criticism relative to individual work, but represents necessarily no grasp of the whole movement.]

[Footnote 49: Frankfurt, 1778, _Allg. deutsche Bibl._, XL, 1, 119. This is by Baker incorrectly ascribed J. F. Abel, the author of "Beiträge zur Geschichte der Liebe," 1778.]

[Footnote 50: P. 15.]

[Footnote 51: P. 17.]

[Footnote 52: P. 18.]

[Footnote 53: I, pp. 313 ff.]

[Footnote 54: This distinction between Empfindsamkeit and Empfindelei is further given II, p. 180.]

[Footnote 55: Pp. 33-39.]

[Footnote 56: I, pp. 88 ff.]

[Footnote 57: See discussion concerning Tristram's tutor, Tristram Shandy, II, p. 217.]

[Footnote 58: III, pp. 318 ff.]

[Footnote 59: Vol. IV, p. 12. "Zoologica humana," and treating of Affen, Gekken, Narren, Schelmen, Schurken, Heuchlern, Schlangen, Schafen, Schweinen, Ochsen und Eseln.]

[Footnote 60: I, p. 72.]

[Footnote 61: I, pp. 225 ff.]

[Footnote 62: I, pp. 245 ff.]

[Footnote 63: A substitution merely of another animal for the passage in "Empfindsame Reise," Bode's translation, edition of 1769 (2d ed.), I, p. 109.]

[Footnote 64: pp. 241 ff.]

[Footnote 65: Vol. II, pp. 333 ff.]

[Footnote 66: See the record of Pankraz's sentimental interview with the pastor's wife.]

[Footnote 67: For example, see Pankraz's prayer to Riepel, the dead cat, when he learns that another has done more than he in raising a lordlier monument to the feline's virtues: "Wenn du itz in der Gesellschaft reiner, verklärter Kazengeister, Himnen miaust, O so sieh einen Augenblick auf diese Welt herab! Sieh meinen Schmerz, meine Reue!" His sorrow for Riepel is likened to the Nampont pilgrim's grief for his dead ass.]

[Footnote 68: IV, pp. 222-235.]

[Footnote 69: IV, pp. 253 ff.]

[Footnote 70: IV, pp. 113 ff.: "Wenn ich so denke, wie es Elisen berührt, so wird mir schwindlich . . . . Ich möchte es umschlingen wie es Elisen's Bein umschlungen hat, mögt mich ganz verweben mit ihm," etc.]

[Footnote 71: IV, pp. 214 ff.]

[Footnote 72: 1781, p. 573: "Dass er einzelne Stellen aus unsern angesehensten Schriftstellern heraus rupfet und in eine lächerliche Verbindung bringt."]

[Footnote 73: 1781, pp. 265-7.]

[Footnote 74: LI, I, p. 234.]

[Footnote 75: LII, 1, p. 149.]

[Footnote 76: Reviewed in _Almanach der deutscher Musen_, 1779, p. 41. The work was published in Leipzig, I, 1777; II, 1778.]

A BRIEF BIBLIOGRAPHY OF LAURENCE STERNE

The Case of Elijah and the Widow of Zerephath considered: A charity sermon preach'd on Good Friday, April 17, 1747. York, 1747.

The Abuses of Conscience set forth in a sermon preached in the Cathedral Church of St. Peter's, York, July 29, 1750. York, 1750.

The Life and Opinions of Tristram Shandy, vols. I, II, York, 1759. 2d. ed. London, 1760. Vols. III, IV, London, 1761. Vols. V, VI, London, 1762. Vols. VII, VIII, London, 1765. Vol. IX, London, 1767.

Sermons of Mr. Yorick. Vols. I, II, London, 1760. Vols. III, IV, London, 1766. Vols. V, VI, VII, London, 1769.

A Sentimental Journey through France and Italy, 2 vols. London, 1768.

A Political Romance addressed to ----, esq., of York, 1769. The first edition of the Watchcoat story.

Letters from Yorick to Eliza. London, 1775.

Twelve Letters to his Friends on Various Occasions, to which is added his history of a Watchcoat, with explanatory notes. London, 1775.

Letters of the Late Reverend Laurence Sterne to his most intimate Friends with a Fragment in the Manner of Rabelais to which are prefixed Memoirs of his life and family written by himself, published by his daughter, Lydia Sterne de Medalle. London, 1775.

Seven Letters written by Sterne and his Friends, edited by W. Durrant Cooper. 1844.

Unpublished Letters of Laurence Sterne. In Philobiblon Society Miscellanies. 1855, Vol. II. The Kitty Correspondence.

Works of Laurence Sterne. 10 vols. London, Dodsley, etc., 1793.

Works. Edited by G. E. B. Saintsbury, 6 vols. London, 1894.

These two editions have been chiefly used in the preparation of this work. Because of its general accessibility references to Tristram Shandy and the Sentimental Journey are made to the latter.

Illustrations of Sterne, by Dr. John Ferriar. Manchester, 1798. 2d edition: London, 1812.

Life of Laurence Sterne, by Percy Fitzgerald. 1864. Revised edition, London, 1896. 2 vols.

Sterne, in English Men of Letters Series, by H. D. Traill. 1883.

Sir Walter Scott. Lives of the Novelists, Vol. I, p. 156-186.

Paul Stapfer. Laurence Sterne, sa personne et ses ouvrages étude précédée d'un fragment inédit de Sterne. Paris, 1882.

William M. Thackeray. Sterne and Goldsmith, in English Humorists, 1858, pp. 286-341.

J. B. Montégut, Essais sur la Littérature anglaise. 1883, pp. 279-364.

Walter Bagehot, Sterne and Thackeray, in Literary Studies. 1902, Vol. II, pp. 282-325.

E. Scherer. Laurence Sterne or the Humorist, in Essays on English Literature. 1891, pp. 150-173.

Sir Leslie Stephen. Hours in a Library. 1852. Vol. III, pp. 139-174.

Herbert Paul. Men and Letters. 1901. Pp. 67-89.

Whitwell Elwin. Some XVIII Century Men of Letters. 1902. Vol. II, pp. 1-81.

Sidney Lee. Article on Sterne in the National Dictionary of Biography.

A BIBLIOGRAPHY OF STERNE IN GERMANY

It cannot be assumed that the following list of reprints and translations is complete. The conditions of the book trade then existing were such that unauthorized editions of popular books were very common.

I. GERMAN EDITIONS OF STERNE'S WORKS INCLUDING SPURIOUS OR DOUBTFUL WORKS PUBLISHED UNDER HIS NAME.

_a. Tristram Shandy_

The Life and Opinions of Tristram Shandy, Gentleman, 6 vols. Altenburg, 1772. (Richter.)

The same. Altenburg, 1776.

The Life and Opinions of Tristram Shandy, Gentleman. A new edition. Basil, 1792. (Legrand).

The Life and Opinions of Tristram Shandy, 2 vols gr. 8vo. Gotha, 1792. (Ettinger). Identical with the preceding.

Life and Opinions of Tristram Shandy, 4 vols. (with 4 engravings). Wien, 1798. (Sammer.)

The Life and Opinions of Tristram Shandy, 4 vols. Gotha, 1805-6. (Stendel and Keil.)

The Life and Opinions of Tristram Shandy, Schneeburg, 1833. Pocket edition of the most eminent English authors of the preceding century, of which it is vols. XI-XIII.

The Life and Opinions of Tristram Shandy, 2 vols., gr. 8vo. Basel. (Thurneisen), without date.

_b. The Sentimental Journey_

A Sentimental Journey through France and Italy, 2 vols. 8vo. Altenburg, 1771. (Richter.)

The same with cuts, 2 vols, 8vo. Altenburg, 1772. (Richter.)

The same. Altenburg, 1776. (Richter.)

The same. Göttingen, 1779. (Diederich). Pp. 199. No introduction or notes.

A Sentimental Journey through France and Italy in two books. Göttingen, 1787. (Dietrich.)

A Sentimental Journey with a continuation by Eugenius and an account of the life and writings of L. Sterne, gr. 8vo. Basel, 1792. (Legrand, Ettinger in Gotha.)

Sentimental Journey through France and Italy mit Anmerkungen und Wortregister, 8vo. Halle, 1794. (Renger).

A sentimental Journey through France and Italy. 4 parts complete in 2 vols. 2d edition to which are now added several other pieces by the same author. (With four engravings) 12mo. Wien, 1798. (Sammer.)

A Sentimental Journey through France and Italy and the continuation by Eugenius, 2 parts, 8vo. Halle, 1806. (Hendel).

A Sentimental Journey through France and Italy by Mr. Yorick. In Two Books. Göttingen, 1806. (Dietrich). Pp. 271.

A Sentimental Journey. New edition, 12mo. Altenburg, 1815. (Brockhaus in Leipzig.)

A Sentimental Journey through France and Italy, gr. 12mo. Jena, 1826. (Schmid.)

A Sentimental Journey through France and Italy, 16mo. Nürnberg, 1828. (Campe.)

A Sentimental Journey through France and Italy. Schneeberg, 1830. Pocket edition of the most eminent English authors of the preceding century, of which it is Vol. IV.

A Sentimental Journey through France and Italy. Basil (Thurneisen), without date.

A Sentimental Journey through France and Italy. London. Cooke. Campe in Hamburg, without date.

Tauchnitz has published editions of both Shandy and the Journey.

_c. Letters, Sermons and Miscellaneous_

Yorick's letters to Eliza, Eliza's letters to Yorick. Sterne's letters to his Friends. Altenburg, 1776. (Richter.)

Letters to his most intimate Friends, with a fragment in the manner of Rabelais published by his Daughter, Mme. Medalle. 3 vols., 8vo. Altenburg, 1776. (Richter.)

Letters written between Yorick and Eliza with letters to his Friends. Nürnberg, 8vo, 1788. (Schneider.)

Letters written between Yorick and Eliza. 12mo. Vienna, 1795.

Letters between Yorick and Eliza, 12mo. Wien, 1797. (Sammer.)

Letters of the late Rev. Mr. Laurence Sterne, to his most intimate friends, on various occasions, as published by his daughter, Mrs. Medalle, and others, including the letters between Yorick and Eliza. To which are added: An appendix of XXXII Letters never printed before; A fragment in the manner of Rabelais, and the History of a Watchcoat. With explanatory notes. 2 vols. Vienna, 1797. (Sammer.)

Letters written between Yorick and Eliza, mit einem erklärenden Wortregister zum Selbstunterricht von J. H. Emmert. Giessen, 1802.

Sermons by Laurence Sterne. 7 vols. Altenburg, 1777. (Richter) 8vo.

The Koran, or Essays, Sentiments and Callimachies, etc. 1 vol. Wien, 1795. (Sammer.)

The Koran, etc. Wien, 1798. (Sammer). 12mo, pp. 275.

Gleanings from the works of Laurence Sterne. Campe's edition. Nürnberg and New York. Without date.

II. GERMAN TRANSLATIONS OF STERNE.

_a. Tristram Shandy_

Das Leben und die Meynungen des Herrn Tristram Shandy. Berlin und Stralsund, 1763. Parts I-VI. Translation by Johann Friedrich Zückert.

The same. Parts VII-VIII. 1763.

The same. Part IX (spurious). 1767.

Das Leben und die Meynungen des Herrn Tristram Shandy. Nach einer neuen Uebersetzung. Berlin und Stralsund, 1769-1772. (Lange.) A revised edition of the previous translation.

Das Leben und die Meinungen des Herrn Tristram Shandy aus dem Englischen übersetzt, nach einer neuen Uebersetzung auf Anrathen des Hrn. Hofrath Wielands verfasst. Neun Theile. Berlin, 1774.

Another edition of the same translation.

Tristram Schandi's Leben und Meynungen. Hamburg, 1774. Bey Bode. Translation by J. J. C. Bode. Nine parts. I, pp. 185; II, pp. 191; III, pp. 210; IV, pp. 226; V, pp. 166; VI, pp. 164; VII, pp. 148; VIII, pp. 144; IX, pp. 128.

The same. Zweite verbesserte Auflage. Hamburg, 1776.

The same, 1777.

The same, 1778.

The same. Nachdruck, Hanau und Höchst. 1776-7.

The same. Nachdruck. Berlin, 1778.

Tristram Shandy's Leben und Meinungen, von neuem verdeutscht. 3 vols. Leipzig, 1801. (Linke.) A revision of Bode's translation by J. L. Benzler.

The same. Hannover. 1810. (Hahn.)

Leben und Meinungen des Tristram Shandy von Sterne--neu übertragen von W. H., Magdeburg, 1831. Sammlung der ausgezeichnetsten humoristischen und komischen Romane des Auslands in neuen zeitgemässen Bearbeitungen. Bd. X, I, pp. 188; II, pp. 192; III, pp. 151; IV, pp. 168; V, pp. 256; V, pp. 257-264, Ueber Laurence Sterne und dessen Werke. Another revision of Bode's work.

Tristram Shandy's Leben und Meinungen, von Lorenz Sterne, aus dem Englischen von Dr. G. R. Bärmann. Berlin, 1856.

Tristram Shandy's Leben und Meinungen, aus dem Englischen übersetzt von F. A. Gelbcke. Nos. 96-99 of "Bibliothek ausländischer Klassiker." Leipzig, 1879. (Bibliographisches Institut.)

Leben und Meinungen des Herrn Tristram Shandy. Deutsch von A. Seubert. Leipzig, 1881. (Reclam.)

_b. The Sentimental Journey_

Yorick's emfindsame Reise durch Frankreich und Italien. Hamburg und Bremen, 1768. Translated by J. J. C. Bode.

The same, with parts III, IV (Stevenson's continuation), 1769.

The same. Hamburg und Bremen, 1770, 1771, 1772, 1776, 1777, 1804.

The same. Mannheim. 1780.

The same. Leipzig, 1797, 1802. (Rabenhorst.)

Versuch über die menschliche Natur in Herrn Yoricks, Verfasser des Tristram Shandy Reisen durch Frankreich und Italien. Braunschweig, 1769. (Fürstliche Waisenhausbuchhandlung), pp. 248. Translation by Hofprediger Mittelstedt.

Herrn Yoricks, Verfasser des Tristram Shandy, Reisen durch Frankreich und Italien, als ein Versuch über die menschliche Natur. Braunschweig, 1769. Is a second edition of the former.

The same, 1774.

Yoricks empfindsame Reise von neuem verdeutscht. 2 vols. Leipzig, 1801. A revision of Bode's work by Johann Lorenz Benzler.

Empfindsame Reise durch Frankreich und Italien übersetzt von Ch. C. Meissner. Zwickau, 1825. (Schumann.)

Eine Empfindsame Reise . . . übersetzt, mit Lebensbeschreibung des Autors und erläuternden Bemerkungen von H. A. Clemen. Essen, 1827.

A Sentimental Journey through France and Italy. Yorick's Empfindsame Reise durch Frankreich und Italien, mit erläuternden Anmerkungen von W. Gramberg. 8vo. Oldenburg, 1833. (Schulze.) Since both titles are given, it is not evident whether this is a reprint, a translation, or both.

Laurence Sterne--Yoricks Empfindsame Reise durch Frankreich und Italien. Halle. (Hendel.) A revision of Bode's translation, with a brief introductory note by E. Suchier.

Yorick's empfindsame Reise durch Frankreich und Italien, übersetzt von A. Lewald. Pforzheim, 1842.

Yorick's empfindsame Reise, übersetzt von K. Eitner. Bibliothek ausländischer Klassiker. Bd. 75. Hildburghausen.

Empfindsame Reise durch Frankreich und Italien Deutsch von Friedrich Hörlek. Leipzig, 1859. (Reclam.)

_c. Letters, Sermons and Miscellaneous_

Briefe von (Yorick) Sterne an seine Freunde Nebst seiner Geschichte eines Ueberrocks, Aus dem Englischen. Hamburg, 1775. (Bohn.) Pp. VIII, 144.

Yorick's Briefe an Elisa. Hamburg, 1775. (Bohn.) Pp. XX, 75.

Briefe von Elisa an Yorick. Aus dem Engl. Hamburg, 1775. Pp. XVI, 64.

Translation of the above three probably by Bode.

Briefwechsel mit Elisen und seinen übrigen Freunden. Leipzig, 1775. (Weidmann.)

Elisens ächte Briefe an Yorik. Leipzig, 1775.

Briefe an seine vertrauten Freunde nebst Fragment im Geschmack des Rabelais und einer von ihm selbst verfassten Nachricht von seinem Leben und seiner Familie, herausgegeben von seiner Tochter Madame Medalle. Leipzig, 1776. (Weidmann.) Pp. XXVIII, 391. Translation probably by Chr. Felix Weisse.

The same. 1785.

Yorick's Briefe an Elisa. Leipzig, 1785. (Göschen.) A new edition of Bode's rendering.

Briefe von Lorenz Sterne, dem Verfasser von Yorik's empfindsame Reisen. Englisch und Deutsch zum erstenmal abgedruckt. London, 1787. Is probably the same as "Hinterlassene Briefe. Englisch und Deutsch." Leipzig, 1787. (Nauck.)

Predigten von Laurenz Sterne oder Yorick. Zürich. I, 1766; II, 1767. (Fuesslin und Comp.)

The same, III, under the special title "Reden an Esel."

Predigten. Zürich, 1773. (Orell.)

Neue Sammlung von Predigten: Leipsig, 1770. (Hahn.) Translation by Prof. A. E. Klausing.

Reden an Esel. Mit Einleitung und Anmerkungen. Hamburg, 1795. (Herold, jun.)

Reden an Esel, von Lorenz Sterne. Thorn, 1795.

Lorenz Sterne des Menschenkenners Benutzung einiger Schriftsteller. Basel, 1781. (Flick.) An abridged edition of his sermons.

Buch der Predigten oder 100 Predigten und Reden aus den verschiedenen Zeiten by R. Nesselmann. Elbing, 1868. Contains Sterne's sermon on St. Luke X, 23-37.

Yorick's Nachgelassene Werke. Leipzig, 1771. Translation of the Koran, by J. G. Gellius.

Der Koran, oder Leben und Meinungen des Tria Juncta in Uno, M. N. A. Ein hinterlassenes Werk von dem Verfasser des Tristram Shandy. Hamburg, 1778. Translation probably by Bode.

Yorick's Betrachtungen über verschiedene wichtige und angenehme Gegenstände. Frankfurt und Leipzig, 1769.

Betrachtungen über verschiedene Gegenstände. Braunschweig, 1789. (Schulbuchhandlung.)

Nachlese aus Laurence Sterne's Werken in's Deutsche übersetzt von Julius Voss. Thorn, 1854.

French translations of Sterne's works were issued at Bern and Strassburg, and one of his "Sentimental Journey" at Kopenhagen and an Italian translation of the same in Dresden (1822), and in Prague (1821).

III. MISCELLANEOUS AUTHORITIES.

The following list contains (a) books or articles treating particularly, or at some length, the relation of German authors to Laurence Sterne; (b) books of general usefulness in determining literary conditions in the eighteenth century, to which frequent reference is made; (c) periodicals which are the sources of reviews and criticisms cited in the text. Other works to which only incidental reference is made are noted in the text itself.

Allgemeine deutsche Bibliothek. Berlin und Stettin, 1765-92. Edited by Nicolai.

Allgemeine Litteratur Zeitung. Jena, Leipzig, Wien, 1781.

Almanach der deutschen Musen. Leipzig, 1770-1781. Edited by Chr. Heinr. Schmid.

Altonaer Reichs-Postreuter. 1750. Editor 1772-1786 was Albrecht Wittenberg.

Altonischer Gelehrter Mercurius. Altona, 1763-1772.

Appell, Joh. Wilhelm. Werther und Seine Zeit. 4 Aufl. Oldenburg, 1896.

Auserlesene Bibliothek der neuesten deutschen Litteratur. Lemgo, 1772-1778.

Baker, Thomas Stockham. The Influence of Laurence Sterne upon German Literature. In Americana Germanica. Vol. II, No. 4, pp. 41-56.

Bauer, F. Sternescher Humor in Immermanns Münchhausen. Programm. Wien, 1896.

Bauer, F. Ueber den Einfluss Laurence Sternes auf Chr. M. Wieland. Programm. Karlsbad. 1898.

Behmer, Karl August. Laurence Sterne und C. M. Wieland. Forschungen zur neueren Literaturgeschichte, No. 9 München, 1899. Ein Beitrag zur Erforschung fremder Einflüsse auf Wielands Dichtungen.

Berlinische Monatsschrift, 1783-1796, edited by Gedike and Biester.

Bibliothek der schönen Wissenschaften und der freyen Künste. Leipzig, 1757-65. 12 vol. I-IV edited by Nicolai and Mendelssohn, V-XII edited by Chr. Felix Weisse.

J. J. C. Bode's Literarisches Leben. Nebst dessen Bildniss von Lips. Berlin, 1796. First published in Vol. VI of Bode's translation of Montaigne, "Michael Montaigne's Gedanken und Meinungen." Berlin, 1793-1795. The life of Bode is Vol. VI, pp. III-CXLIV.

Bremisches Magazin zur Ausbreitung der Wissenschaften, Künste und Tugend. Bremen und Leipzig, 1757-66.

Büchner, Alex. Sternes Coran und Makariens Archiv. Goethe ein Plagiator? Morgenblatt, No. 39, p. 922 f.

Czerny, Johann, Sterne, Hippel und Jean Paul. Berlin, 1904.

Deutsche Bibliothek der schönen Wissenschaften. Halle, 1767-1771. Edited by Klotz.

Deutsches Museum. Leipzig, 1776-1788. Edited by Dohm and Boie and continued to 1791 as Neues deutsches Museum.

Ebeling, Friedrich W. Geschichte der komischen Literatur in Deutschland während der 2. Hälfte des 18. Jahrhunderts. Leipzig, 1869. 3 vols.

Elze, Frederich Karl. Die englische Sprache und Litteratur in Deutschland. Dresden, 1864.

Erfurtische Gelehrte Zeitung. Erfurt, 1781-1796.

Frankfurter Gelehrte Anzeigen. Frankfurt. Published under several titles, 1736-1790. Editors, Merck, Bahrdt and others.

Gervinus, G. G. Geschichte der deutschen Dichtung. Edited by Karl Bartsch. 5 vols. Leipzig, 1871-74.

Goedeke, Karl. Grundriss zur Geschichte der deutschen Dichtung. Dresden, 1884-1900.

Gothaische gelehrte Zeitungen. Gotha, 1774-1804. Published and edited by Ettinger.

Göttingische Anzeigen von Gelehrten Sachen 1753. Michaelis was editor 1753-1770, then Christian Gottlob Heyne.

Hamburger Adress-Comptoir Nachrichten, 1767. Edited by Joh. Wm. Dumpf.

Hamburgischer unpartheyischer Correspondent. Full title, Staats- und Gelehrte Zeitung des Hamburgischen unpartheyischen Correspondenten. Editor, 1763-3, Bode; 1767-1770, Albrecht Wittenberg.

Hédouin, Alfred. Goethe plagiaire de Sterne, in Le Monde Maçonnique. July, 1863.

Heine, Carl. Der Roman in Deutschland von 1774 bis 1778. Halle, 1892.

Hettner, Hermann. Geschichte der deutschen Literatur im achtzehnten Jahrhundert. 4te Auflage. Braunschweig, 1893-94. This is the third division of his Literaturgeschichte des achtzehnten Jahrhunderts.

Hillebrand, Joseph. Die deutsche Nationalliteratur seit dem Anfange des achtzehnten Jahrhunderts, besonders seit Lessing bis auf die Gegenwart. 2te Ausgabe. Hamburg und Gotha, 1850.

Hirsching, Friedr. Carl Gottlob. Historisch-litterarisches Handbuch berühmter und denkwürdiger Personen, welche in dem 18. Jahrhundert gelebt haben. Vol. XIII. Leipzig, 1809.

Jenaische Zeitungen von gelehrten Sachen. Jena, 1765-1781.

Jördens, Karl Heinrich. Lexikon deutscher Dichter und Prosaisten. Leipzig, 1806-1811.

Koberstein, Karl August. Geschichte der deutschen Nationalliteratur. Leipzig, 1872-73.

Koch, Max. Ueber die Beziehungen der englischen Literatur zur deutschen im 18. Jahrhundert. Leipzig, 1883.

Kurz, Heinrich. Geschichte der deutschen Literatur. Leipzig, 1876-81.

Leipziger Musen-Almanach. Leipzig, 1776-87. Editor, 1776-78, Friedrich Traugott Hase.

Longo, Joseph. Laurence Sterne und Johann Georg Jacobi. Programm. Krems, 1898.

Magazin der deutschen Critik. Halle, 1772-1776. Edited by Gottlob Benedict Schirach.

Mager, A. Wielands Nachlass des Diogenes von Sinope und das englische Vorbild. Abhandlung. Marburg, 1890.

Meusel, Johann Georg. Das gelehrte Deutschland, oder Lexicon der jetzt lebenden deutschen Schriftsteller. Lemgo, 1796-1806.

Meusel, Johann Georg. Lexicon der von 1750 bis 1800 verstorbenen teutschen Schriftsteller. Leipzig, 1802-16.

Neue Allgemeine deutsche Bibliothek. Kiel, 1793-1800. Edited by Bohn. Berlin und Stettin, 1801-1805. Edited by Nicolai.

Neue Bibliothek der schönen Wissenschaften und der freyen Künste. Leipzig, 1765-1806. Edited first by Chr. Felix Weisse, then by the publisher Dyk.

Neue Critische Nachrichten. Greifswald, 1750-1807. Editor from 1779 was Georg Peter Möller, professor of history at Greifswald.

Neues Bremisches Magazin. Bremen, 1766-1771.

Neue Hallische Gelehrte Zeitung. Founded by Klotz in 1766, and edited by him 1766-71, then by Philipp Ernst Bertram, 1772-77.

Neue litterarische Unterhaltungen. Breslau, bey Korn der ä 1774-75.

Neue Mannigfaltigkeiten. Eine gemeinnützige Wochenschrift, follows Mannigfaltigheiten which ran from Sept., 1769 to May, 1773, and in June 1773, the new series began. Berlin. Vol. II, pp. 97-106. Life of Sterne.

Neue Zeitungen von Gelehrten Sachen. 1715-1785. At the latter date the title was changed to Neue Litteratur Zeitung. Leipzig.

Schmidt, Julian. Bilder aus dem geistigen Leben unserer Zeit. Leipzig, 1870. Vol. IV, 1875. Vol. IV, pp. 272 ff, Studien über den Englischen Roman.

Schmidt, Julian. Geschichte der deutschen Litteratur von Leibnitz bis auf unsere Zeit. Berlin, 1886-96.

Schmidt, Julian. Geschichte des geistigen Lebens in Deutschland von Leibnitz bis auf Lessing's Tod, 1681-1781. Leipzig, I, 1862; II, 1864.

Schröder, Lexicon Hamburgischer Schriftsteller. Hamburg, 1851-83, 8 vols.

Springer, Robert. Essays zur Kritik und zur Goethe-Literatur. "War Goethe ein Plagiarius Lorenz Sternes?" Minden i. W., 1885.

Teutscher Mercur. Weimar, 1773-89. And Neuer deutscher Merkur. Weimar, 1790-1810. Edited by Wieland, Reinhold and Böttiger.

Unterhaltungen. Hamburg bey Bock, 1767-70. Edited by J. J. Eschenburg, I-IV; Albrecht Wittenberg, V; Christoph Dan. Ebeling, VI-X.

(Der) Wandsbecker Bothe. Edited by Matthias Claudius. Wandsbeck, 1771-75.

INDEX OF PROPER NAMES

Abbt, 43. Abel, J. F., 170. Addison, 157. Alberti, 26, 27, 46.

Behrens, Johanna Friederike, 87. Benzler, J. L., 61, 62. Blankenburg, 5, 8, 139. Bock, Joh. Chr., 93, 127, 129-133, 136. Bode, J. J. C., 15, 16, 24, 34, 37, 38, 40-62, 67, 76, 90, 94, 106, 115. Bodmer, 75. Boie, 59, 131. Bondeli, Julie v., 30, 31. Bonstetten, 89. Böttiger, C. A., 38, 42-44, 48, 49, 52, 58, 77, 81. Brandon, J., 82. Brockes, 37. Burney, Frances, 37. Burton, 77. Butler, 6, 29.

Campe, J. H., 43, 164-166. Carr, John, 14. Cervantes, 6, 23, 26, 60, 168, 178. Chappelle, 35, 112. Claudius, 59, 133, 157-158. Combe, Wm., 69.

Defoe, 3. Denis, 10, 75, 166. Draper, Eliza, 64-70, 89, 114, 176.

Eberhard, 5. Ebert, 10, 26, 44-46, 59, 62. Eckermann, 98, 101, 104. Einsiedel, 59. Eschenburg, 2.

Ferber, J. C. C., 84. Ferriar, 77, 78. Fielding, 4, 6, 10, 23, 58, 60, 96, 145, 154. Forster, 12. Frenais, 60.

Garrick, 66, 161. Garve, 22, 135. Gay, 92. Gebler, 90. Gellert, 32, 37, 120. Gellius, 76, 92. Gerstenberg, 59. Gleim, 2, 3, 59, 85-87, 112, 152. Göchhausen, 88, 140-144, 181. Göchhausen, Fräulein v., 59. Goeckingk, 162-3. Goethe, 40, 41, 59, 75, 77, 85, 91, 97-109, 126, 153, 156, 167, 168, 170, 180. Goeze, 27, 48. Goldsmith, 10, 98. Göschen, Georg. Joachim, 134-135. Griffith, Richard, 74-75. Grotthus, Sara v., 40-41.

Hamann, 28, 29, 59, 69, 71, 97, 153. Hartknoch, 28, 32, 97. Hebbel, 88, 153. Hedemann, 136-138. Heine, H., 103. Heinse, 152. Herder, 5, 7, 8, 28, 29, 32, 59, 97, 99, 156. Herder, Caroline Flachsland, 89, 99, 152. Hermes, 2, 8, 109. Hippel, 6, 59, 101, 155. Hofmann, J. C., 88. Hopffgarten, 93. Hopfner, 69. Hume, 63.

Ireland, 80.

Jacobi, 59, 85-90, 112-114, 131, 136, 139, 142, 143. Jung-Stilling, 99.

Kästner, 30. Kaufmann, 88. Kirchberger, 30. Kirsten, 93. Klausing, A. E., 72. Klopstock, 37, 51, 59. Klotz, 21, 114. Knebel, 109, 152. Knigge, 91, 93, 110, 154, 166. Kölbele, 52. Koran, 74-76, 92, 95, 103-108, 153. Kotzebue, 133-34. Krummacher, 153.

Lenz, 152. Lessing, 24-28, 40-46, 59, 62, 77, 97, 109, 156. Leuchsenring, 88. Lichtenberg, 4, 78, 84, 158-60. Liscow, 3, 24.

Matthison, 60, 89, 152. de Medalle, Lydia Sterne, 64, 68, 69. Medicus, Wilhelm Ludwig, 69. Mendelssohn, 24, 43, 109, 110. Merck, 89, 99, 139. Meyer, Aug. Wilh., 83. Miller, J. M., 168, 170, 173, 180. Mittelstedt, 46-47, 55-57, 115. Montaigne, 60. Moritz, K. P., 168. Möser, 7, 166. Müchler, K. F., 79. Murray, Rev. James, 71. Musäus, 10, 91, 138, 152, 153, 158.

Nicolai, 27, 40, 43, 77, 78, 110; Sebaldus Nothanker, 6, 88, 110, 150. Nicolay, Ludwig Heinrich v., 158. Nonne, 93.

Opitz, Christian, 127. Ossian, 10.

Paterson, Sam'l, 79. Percy, Bishop, 2, 10.

Raabe, Wilhelm, 153. Rabelais, 60. Rabenau, A. G. F., 138. Rahmel, A. W. L., 166. Ramler, 90. Richardson, 4, 10, 31, 43, 96, 179. Richter, Jean Paul, 75, 91, 155. Riedel, 29-30, 32, 54, 109, 125. la Roche, Sophie, 139. Rousseau, 4, 71.

Sattler, J. P., 8. Schiller, 135, 153. Schink, J. F., 80-82. Schirach, 109. Schmidt, Klamer, 60. Schubart, 107. Schummel, 59, 93, 114-129, 136, 140. Schwager, 138. Seidelinn, 153. Shadwell, 25. Smollett, 63. Sonnenfels, 125. Stephanie, d. j., 153. Stevenson, J. H., 44-53, 57, 64, 81, 105. Stolberg, 61. Sturz, 160-162. Swift, 69, 146, 157, 160.

v. Thümmel, 93, 135, 155. Timme, 168-179.

Usteri, 30.

Wagner, H. L., 41, 157. Wegener, 150-151. Weisse, Chr. Felix, 68. Wezel, 110, 138, 144-150, 179-181. Wieland, 10, 14, 31, 32, 42, 59, 61, 73, 90, 93-99, 103, 146, 156, 181. Wilkes, 64. Wittenberg, 53, 87. v. Wolzogen, 153.

Young, 7, 10, 149-150.

Zelter, 98, 102. Ziegler, Louise v. (Lila), 89. Zimmermann, 31, 59. Zückert, 12-18, 22, 31, 32, 37, 58-60, 99.

* * * * * * * * *

Errors and Inconsistencies

German text is unchanged unless there was an unambiguous error, or the text could be checked against other sources. Most quoted material is contemporary with Sterne; spellings such as "bey" and "Theil" are standard.

Missing letters or punctuation marks are genuinely absent, not merely invisible. Ellipsis (. . .) is shown as printed, as is any adjoining punctuation.

The variation between "title page" and "title-page" is unchanged. Punctuation of "ff" is unchanged; at mid-sentence there is usually no following period. Hyphenization of phrases such as "a twelve-year old" is consistent.