The use of the epithet "empfindsam" for "sentimental" is then the occasion for some discussion, and its source is one of the facts involved in Sterne's German vogue which seem to have fastened themselves on the memory of literature. Bode had in the first place translated the English term by "sittlich," amanifestly insufficient if not flatly incorrect rendering, but his friend coined the word "empfindsam" for the occasion and Bode quotes Lessing's own words on the subject:

"Bemerken Sie sodann dass sentimental ein neues Wort ist. War es Sternen erlaubt, sich ein neues Wort zu bilden, so muss es eben darum auch seinem Uebersetzer erlaubt seyn. Die Englnder hatten gar kein Adjectivum von Sentiment: wir haben von Empfindung mehr als eines, empfindlich, empfindbar, empfindungsreich, aber diese sagen alle etwas anders. Wagen Sie, empfindsam! Wenn eine mhsame Reise eine Reise heisst, bey der viel Mhe ist: so kann ja auch eine empfindsame Reise eine Reise heissen, bey der viel Empfindung war. Ich will nicht sagen, dass Sie die Analogie ganz auf ihrer Seite haben drften. Aber was die Leser vors erste bey dem Worte noch nicht denken mgen, sie sich nach und nach dabey zu denken gewhnen."[21]

The statement that Sterne coined the word "sentimental" is undoubtedly incorrect,[22] but no one seems to have discovered and corrected the error till Nicolai's article on Sterne in the Berlinische Monatsschrift for February, 1795, in which it is shown that the word had been used in older English novels, in "Sir Charles Grandison" indeed.[23] It may well be that, as Bttiger hints,[24] the coining of the word "empfindsam" was suggested to Lessing by Abbt's similar formation of "empfindnisz."[25]

[Transcriber's Note: The reference is to Bttinger, not to the present text.]

The preface to this first edition of Bode's translation of the Sentimental Journey contains, further, asketch of Sterne's life,[26] his character and his works. Bode relates the familiar story of the dog, but misses the point entirely in rendering "puppy" by "Geck" in Sterne's reply, "So lang er ein Geck ist." The watchcoat episode is narrated, and a brief account is given of Sterne's fortunes in London with Tristram Shandy and the sermons. Allusion has already been made to the hints thrown out in this sketch relative to the reading of Sterne in Germany. Atranslation from Shandy of the passage descriptive of Parson Yorick serves as a portrait for Sterne.

A second edition of Bode's work was published in 1769. The preface, which is dated "Anfang des Monats Mai, 1769," is in the main identical with the first, but has some significant additions. Aword is said relative to his controversy with a critic, which is mentioned later.[27] Bode confesses further that the excellence of his work is due to Ebert and Lessing,[28] though modesty compelled his silence in the previous preface concerning the source of his aid. Bode admits that even this disclosure is prompted by the clever guess of a critic in the Hamburgischer unpartheyischer Correspondent,[29] who openly named Lessing as the scholar referred to in the first introduction. The addition and prominence of Ebert's name is worthy of note, for in spite of the plural mention[30] in the appendix to the introduction, his first acknowledgment is to one friend only and there is no suggestion of another counselor. Ebert's connection with the Bode translation has been overlooked in the distribution of influence, while the memorable coining of the new word, supplemented by Bttiger's unsubstantiated statements, has emphasized Lessing's service in this regard. Ebert is well-known as an intelligent and appreciative student of English literature, and as a translator, but his own works betray no trace of imitation or admiration of Sterne.

The final words of this new preface promise a translation of the continuation of the Sentimental Journey; the spurious volumes of Eugenius are, of course, the ones meant here. This introduction to the second edition remains unchanged in the subsequent ones. The text of the second edition was substantially an exact reproduction of the first, but Bode allowed himself frequent minor changes of word or phrase, an alteration occurring on an average once in about three pages. Bode's changes are in general the result of a polishing or filing process, in the interest of elegance of discourse, or accuracy of translation. Bode acknowledges that some of the corrections were those suggested by a reviewer,[31] but states that other passages criticised were allowed to stand as they were. He says further that he would have asked those friends who had helped him on his translation itself to aid him in the alterations, if distance and other conditions had allowed. The reference here is naturally to his separation from Ebert, who was in Braunschweig, but the other "conditions" which could prevent a continuation of Lessing's interest in the translation and his assistance in revision are not evident. Lessing was in Hamburg during this period, and hence his advice was available.

Bode's retranslation of the passage with which Sterne's work closed shows increased perception and appreciation for the subtleness of Sterne's indecent suggestions, or, perhaps, agrowing lack of timidity or scruple in boldly repeating them. It is probable that the continuation by Eugenius, which had come into his hands during this period, had, with its resumption of the point, reminded Bode of the inadequacy and inexactness of his previous rendering.

At almost precisely the same time that Bode's translation appeared, another German rendering was published, afact which in itself is significant for the determination of the relative strength of appeal as between Sterne's two works of fiction. The title[32] of this version was "Versuch ber die menschliche Natur in Herrn Yoricks, Verfasser des Tristram Shandy, Reisen durch Frankreich und Italien, aus dem Englischen." It was dated 1769 and was published at the "Frstliche Waisenhausbuchhandlung," in Braunschweig. The preface is signed Braunschweig, September 7, 1768, and the book was issued in September or October. The anonymous translator was Pastor Mittelstedt[33] in Braunschweig (Hirsching und Jrdens say Hofprediger), whom the partisan Bttiger calls the ever-ready manufacturer of translations (der allezeit fertige Uebersetzungsfabrikant). Behmer tentatively suggests Weis as the translator of this early rendering, an error into which he is led evidently by a remark in Bode's preface in which the apologetic translator states the rumor that Weis was engaged in translating the same book, and that he (Bode) would surely have locked up his work in his desk if the publisher had not thereby been led to suffer loss. Nothing was ever heard of this third translation.

This first edition of the Mittelstedt translation contains 248 pages and is supplied with a preface which is, like Bode's, concerned in considerable measure with the perplexing problem of the translation of Sterne's title. The English title is given and the word "sentimental" is declared a new one in England and untranslatable in German. Mittelstedt proposes "Gefhlvolle Reisen," "Reisen frs Herz," "Philosophische Reisen," and then condemns his own suggestions as indeterminate and forced. He then goes on to say, "So I have chosen the title which Yorick himself suggests in the first part."[34] He speaks of the lavish praise already bestowed on this book by the learned journals, and turns at last aside to do the obvious: he bemoans Sterne's death by quoting Hamlet and closes with an apostrophe to Sterne translated from the April number of the Monthly Review for 1768.[35] In 1769, the year when the first edition was dated, the Mittelstedt translation was published under a slightly altered title, as already mentioned. This second edition of the Mittelstedt translation in the same year as the first is overlooked by Jrdens and Hirsching,[36] both of whom give a second and hence really a third edition in 1774. Bttiger notes with partisan zeal that Bode's translation was made use of in some of the alterations of this second edition, and further records the fact that the account of Sterne's life, added in this edition, was actually copied from Bode's preface.[37]

The publication of the Mittelstedt translation was the occasion of a brief controversy between the two translators in contemporary journals. Mittelstedt printed his criticism of Bode's work in a home paper, the Braunschweiger Intelligenzbltter, and Bode spoke out his defense in the Neue Hamburger Zeitung. That Bode in his second edition adopted some of the reviewer's suggestions and criticisms has been noted, but in the preface to this edition he declines to resume the strife in spite of general expectation of it, but, as a final shot, he delivers himself of "an article from his critical creed," that the "critic is as little infallible as author or translator," which seems, at any rate, arather pointless and insignificant contribution to the controversy.

Bode's translation of the third and fourth volumes of Yorick's Journey,[38] that is, the continuation by Eugenius, followed directly after the announcement in the preface to the second edition of the first two volumes, as already mentioned. Bttiger states that Bode had this continuation from Alberti and knew it before anyone else in Germany. It was published in England in the spring of 1769, and was greeted with a disapproval which was quite general, and it never enjoyed there any considerable genuine popularity or recognition. Bode published this translation of Stevenson's work without any further word of comment or explanation whatsoever, afact which easily paved the way for a misunderstanding relative to the volumes, for Bode was frequently regarded as their author and held responsible for their defects. Bode himself never made any satisfactory or adequate explanation of his attitude toward these volumes, and the reply to Goeze in the introduction to his translation of Shandy is the nearest approach to a discussion of his position. But there Bode is concerned only with the attack made by the Hamburg pastor upon his character, an inference drawn from the nature of the book translated, and the character of the translation; in the absence of a new edition in which "Mine and His shall be marked off by distinct boundaries," he asks Goeze only to send to him, and beg "for original and translation," naturally for the purpose of comparison. This evasive reply is Bode's only defense or explanation. Bttiger claims that the review of Bode's translation in the Allgemeine deutsche Bibliothek did much to spread the idea of Bode's authorship, though the reviewer in that periodical[39] only suggests the possibility of German authorship, asuspicion aroused by the substitution of German customs and motif and word-play, together with contemporary literary allusion, allusion to literary mediocrities and obscurities, of such a nature as to preclude the possibility of the book's being a literal translation from the English.

The exact amount and the nature of Bode's divergence from the original, his alterations and additions, have never been definitely stated by anyone. The reviewer in the Allgemeine deutsche Bibliothek is manifestly ignorant of the original. Bttiger is indefinite and partisan, yet his statement of the facts has been generally accepted and constantly repeated. He admits the German coloring given the translation by Bode through German allusions and German word-plays: he says that Bode allowed himself these liberties, feeling that he was no longer dealing with Sterne, astatement of motive on Bode's part which the latter never makes and never hints at. The only absolute additions which Bttiger mentions as made by Bode to the narrative of Eugenius are the episode, "Das Hndchen," and the digression, "Die Moral." The erroneous idea herein implied has been caught up and repeated by nearly everyone who has mentioned Bode's translation of the work.[40] The less certain allusion to "Die Moral" has been lost sight of, and "Das Hndchen" alone has been remembered as representing this activity on Bode's part. In fact this episode is only one of many pure creations on Bode's part and one of the briefer. In the first pages of these volumes Bode is faithful to the original, afact suggesting that examination or comparison of the original text and Bode's translation was never carried beyond the first two-score pages; yet here, it would seem, Bode's rendering was less careful, more open to censure for inaccuracy, than in the previous volumes.[41]

This method of translation obtains up to page 48, then Bode omits a half-page of half-innocent, half-revolting suggestion, the story of the Cordelier, and from the middle of page 49 to page 75, twenty-five pages, the translator adds material absolutely his own. This fiction, introducing Yorick's sentimental attitude toward the snuff-box, resuming a sentimental episode in Sterne's work, full of tears and sympathy, is especially characteristic of Yorick, as the Germans conceived him. The story is entitled "Das Mndel,"[42] "The Ward," and is evidently intended as a masculine companion-piece to the fateful story of Maria of Moulines, linked to it even in the actual narrative itself. An unfortunate, half-crazed man goes about in silence, performing little services in an inn where Yorick finds lodging. The hostess tells his story. He was once the brilliant son of the village miller, was well-educated and gifted with scholarly interests and attainments. While instructing some children at Moulines, he meets a peasant girl, and love is born between them. An avaricious brother opposes Jacques's passion and ultimately confines him in secret, spreading the report in Moulines of his faithlessness to his love. After a tragedy has released Jacques from his unnatural bondage, he learns of his loved one's death and loses his mental balance through grief. Such an addition to the brief pathos of Maria's story, as narrated by Sterne, such a forced explanation of the circumstances, is peculiarly commonplace and inartistic. Sterne instinctively closed the episode with sufficient allowance for the exercise of the imagination.

Following this addition, the section "Slander" of the original is omitted. The story of the adventure with the opera-girl is much changed. The bald indecency of the narrative is somewhat softened by minor substitutions and omissions. Nearly two pages are inserted here, in which Yorick discourses on the difference between a sentimental traveler and an avanturier. On pages 122-126, the famous "Hndchen" episode is narrated, an insertion taking the place of the hopelessly vulgar "Rue Tireboudin." According to this narrative, Yorick, after the fire, enters a home where he finds a boy weeping over a dead dog and refusing to be comforted with promises of other canine possessions. The critics united in praising this as being a positive addition to the Yorick adventures, as conceived and related in Sterne's finest manner. After the lapse of more than a century, one can acknowledge the pathos, the humanity of the incident, but the manner is not that of Sterne. It is a simple, straight-forward relation of the touching incident, introducing that element of the sentimental movement which bears in Germany a close relation to Yorick, and was exploited, perhaps, more than any other feature of his creed, as then interpreted, i.e., the sentimental regard for the lower animals.[43] But there is lacking here the inevitable concomitant of Sterne's relation of a sentimental situation, the whimsicality of the narrator in his attitude at the time of the adventure, or reflective whimsicality in the narration. Sterne is always whimsically quizzical in his conduct toward a sentimental condition, or toward himself in the analysis of his conduct.

After the "Vergebene Nachforschung" (Unsuccessful Inquiry), which agrees with the original, Bode adds two pages covering the touching solicitude of La Fleur for his master's safety. This addition is, like the "Hndchen" episode, just mentioned, of considerable significance, for it illustrates another aspect of Sterne's sentimental attitude toward human relations, which appealed to the Germany of these decades and was extensively copied; the connection between master and man. Following this added incident, Bode omits completely three sections of Eugenius's original narrative, "The Definition," "Translation of a Fragment" and "An Anecdote;" all three are brief and at the same time of baldest, most revolting indecency. In all, Bode's direct additions amount in this first volume to about thirty-three pages out of one hundred and forty-two. The divergences from the original are in the second volume (the fourth as numbered from Sterne's genuine Journey) more marked and extensive: above fifty pages are entirely Bode's own, and the individual alterations in word, phrase, allusion and sentiment are more numerous and unwarranted. The more significant of Bode's additions are here noted. "Die Moral" (pages 32-37) contains a fling at Collier, the author of a mediocre English translation of Klopstock's "Messias," and another against Klbele, acontemporary German novelist, whose productions have long since been forgotten.[44]

Eugenius's chapter, "Vendredi-Saint," Bode sees fit to alter in a rather extraordinary way, by changing the personnel and giving it quite another introduction. He inserts here a brief account of Walter Shandy, his disappointment at Tristram's calamitous nose and Tristram's name, and his resolve to perfect his son's education; and then he makes the visit to M'lle Laborde, as narrated by Eugenius, an episode out of Walter Shandy's book, which was written for Tristram's instruction, and, according to Bode, was delivered for safe-keeping into Yorick's hands. Bode changes M'lle Laborde into M'lle Gillet, and Walter Shandy is her visitor, not Yorick. Bode allows himself some verbal changes and softens the bald suggestion at the end. Bode's motive for this startling change is not clear beyond question. The most plausible theory is that the open and gross suggestion of immoral relation between Yorick, the clergyman and moralist, and the Paris maiden, seemed to Bode inconsistent with the then current acceptation of Yorick's character; and hence he preferred by artifice to foist the misdemeanor on to the elder Shandy.

The second extensive addition of Bode's in this volume is the section called "Die Erklrung," and its continuation in the two following divisions, astory which unites itself with the "Fragment" in Sterne's original narration. Yorick is ill and herbs are brought to him in paper wrappings which turn out to contain the story of the decayed gentleman, which, according to Sterne's relation, the Notary was beginning to write. It will be remembered that the introduction in Sterne was also brought by La Fleur as a bit of wrapping paper. This curious coincidence, this prosaic resumption of the broken narrative, is nave at least, but can hardly commend itself to any critic as being other than commonplace and bathetic. The story itself, as related by the dying man is a tale of accidental incest told quietly, earnestly, but without a suggestion of Sterne's wit or sentiment.

In the next section, emanating entirely from Bode, "Vom Gesundheitstrinken," the author is somewhat more successful in catching the spirit of Sterne in his buoyancy, and in his whimsical anecdote telling: it purports to be an essay by the author's friend, Grubbius. The last addition made by Bode[45] introduces once more Yorick's sentiment relative to man's treatment of the animal world. Yorick, walking in the garden of an acquaintance, shoots a sparrow and meets with reproof from the owner of the garden. Yorick protests prosaically that it was only a sparrow, yet on being assured that it was also a living being, he succumbs to vexation and self-reproof at his own failure to be true to his own higher self. Asimilar regret, asimilar remorse at sentimental thoughtlessness, is recorded of the real Yorick in connection with the Franciscan, Lorenzo. But there is present in Sterne's story the inevitable element of caprice in thought or action, the whimsical inconsistency of varying moods, not a mere commonplace lapse from a sentimental creed. In one case, Yorick errs through whim, in the other, merely through heedlessness.

Bode's attitude toward the continuation of Eugenius and the general nature of his additions have been suggested by the above account. Arsum of the omissions and the verbal changes would indicate that they were made frequently because of the indecency of the original; the transference of the immorality in the episode of M'lle. Laborde and Walter Shandy, if the reason above suggested be allowed, is further proof of Bode's solicitude for Yorick's moral reputation. Yet the retention of the episode "Les Gants d'Amour" in its entirety, and of parts of the continued story of the Piedmontese, may seem inconsistent and irreconcilable with any absolute objection on Bode's part other than a quantitative one, to this loathesome element of the Eugenius narrative.

Albrecht Wittenberg[46] in a letter to Jacobi, dated Hamburg, April 21, 1769, says he reads that Riedel is going to continue "Yorick's Reisen," and comments upon the exceedingly difficult undertaking. Nothing further is known of this plan of Riedel's.

[Footnote 1: Various German authorities date the Sentimental Journey erroneously 1767. Jrdens, V, p.753; Koberstein, III, p.463; Hirsching, XIII, pp. 291-309.]

[Footnote 2: The reviewer in the Allg. deutsche Bibl. (Anhang I-XII, vol. II, p.896) implies a contemporary cognizance of this aid to its popularity. He notes the interest in accounts of travels and fears that some readers will be disappointed after taking up the book. Some French books of travel, notably Chapelle's "Voyage en Provence," 1656, were read with appreciation by cultivated Germany and had their influence parallel and auxiliary to Sterne's.]

[Footnote 3: In the Seventh Book of Tristram Shandy. III, pp. 47-110.]

[Footnote 4: III, pp. 210-213.]

[Footnote 5: The emotional groundwork in Germany which furthered the appreciation of the Journey, and the sober sanity of British common sense which choked its English sweep, are admirably and typically illustrated in the story of the meeting of Fanny Burney and Sophie la Roche, as told in the diary of the former ("The Diary and Letters of Frances Burney, Madame D'Arblay," Boston, 1880, I, p.291), entries for September 11 and 17, 1786. On their second meeting Mme. D'Arblay writes of the German sentimentalist: "Madame la Roche then rising and fixing her eyes filled with tears on my face, while she held both my hands, in the most melting accents exclaimed, 'Miss Borni, la plus chre, la plus digne des Anglaises, dites—moi—m'aimez vous?'" Miss Burney is quite sensibly frank in her inability to fathom this imbecility. Ludmilla Assing ("Sophie la Roche," Berlin, 1859, pp. 273-280) calls Miss Burney cold and petty.]

[Footnote 6: So heartily did the Germans receive the Sentimental Journey that it was felt ere long to be almost a German book. The author of "Ueber die schnen Geister und Dichter des 18ten Jahrhunderts vornehmlich unter den Deutschen," by J.C. Fritsch (?) (Lemgo, 1771), gives the book among German stories and narratives (pp. 177-9) along with Hagedorn, Gellert, Wieland and others. He says of the first parts of the Sentimental Journey, "zwar .... aus dem Englischen bersetzt; kann aber fr national passieren."]

[Footnote 7: Michael Montaigne's "Gedanken und Meinungen ber Allerley Gegenstnde. Ins Deutsch bersetzt." Berlin (Lagarde) 1793-5. Bode's life is in Vol. VI, pages III-CXLIV. For a review of Bode's Life see Neue Bibl. der schnen Wissenschaften, LVIII, p.93.]

[Footnote 8: Supplementband fr 1790-93, pp. 350-418.]

[Footnote 9: The references to the Hamburgische Adress-Comptoir-Nachrichten are as follows: 1768, pages 241, 361 and 369 respectively.]

[Footnote 10: Pp. 71-74.]

[Footnote 11: Pp. 101-104. "The Temptation" and the "Conquest." The Unterhaltungen is censured by the Deutsche Bibliothek der schnen Wissenschaften, III, p.266, for printing a poor translation from Yorick when two translations had already been announced. The references to Unterhaltungen are respectively pp. 12-16, and 209-213.]

[Footnote 12: See below, p. 42-3.]

[Footnote 13: It was reviewed in the Hamburgischer unpartheyischer Correspondent, Oct.29.]

[Footnote 14: I, pp. XX, 168; II, p. 168.]

[Footnote 15: Lachmann's edition, 1840, XII, p.199.]

[Footnote 16: See Goethe-Jahrbuch, XIV (1893), pp. 51-52.]

[Footnote 17: "Heinrich Leopold Wagner, Goethe's Jugendgenosse," 2d ed. Jena, Frommann, 1879, p.104.]

[Footnote 18: It is not possible to date with absolute certainty the time of Lessing's conversation with Sara Meyer, but it was after the publication of "Werther," and must have been on one of his two visits to Berlin after that, that is, in March, 1775, on his way to Vienna, or in February, 1776, on his return from Italy.]

[Footnote 19: Bode must have come to Lessing with the information before this public announcement, for Lessing could hardly have failed to learn of it when once published in a prominent Hamburg periodical.]

[Footnote 20: Bttiger in his biographical sketch of Bode is the first to make this statement (p.lxiii), and the spread of the idea and its general acceptation are directly traceable to his authority. The Neue Bibl. der schnen Wissenschaften in its review of Bttiger's work repeats the statement (LVIII, p.97), and it is again repeated by Jrdens (I, p.114, edition of 1806), by Danzel-Guhrauer with express mention of Bttiger ("Lessing, sein Leben und seine Werke," II. Erste Abtheilung, p.287), and by Erich Schmidt ("Lessing, Geschichte seines Lebens und seiner Schriften," Berlin, 1899, I, p.674). The editor of the Hempel edition, VII, p.553 claims Lessing as responsible for the translation of the Journey, and also of Shandy. The success of the "Empfindsame Reise" and the popularity of Sterne are quite enough to account for the latter translation and there is no evidence of urging on Lessing's part. Asimilar statement is found in Gervinus (V, p.194). The Frankfurter Gel. Anz. (Apr. 21, 1775), p.267, credits Wieland with having urged Bode to translate Shandy. The Neue Critische Nachrichten, Greifswald, IX, p.279, makes the same statement. The article, however, in the Teutscher Merkur (1773, II, pp. 228-30) expresses merely a great satisfaction that Bode is engaged upon the work, and gives some suggestions to him aboutit.]

[Footnote 21: See Bode's Introduction, p.iii, iv. Also Allg. deutsche Bibl., Anhang, I-XII, Vol. II, pp. 896-9.]

[Footnote 22: Strangely enough the first use of this word which has been found is in one of Sterne's letters, written in 1740 to the lady who subsequently became his wife. (Letters, p.25). But these letters were not published till 1775, long after the word was in common use. An obscure Yorkshire clergyman can not be credited with its invention.]

[Footnote 23: Bttiger refers to Campe's work, "Ueber die Bereicherung und Reinigung der deutschen Sprache," p.297ff., for an account of the genesis of this word, but adds that Campe is incorrect in his assertion that Sterne coined the word. Campe does not make the erroneous statement at all, but Bode himself puts it in the mouth of Lessing.]

[Footnote 24: See foot note to page lxiii.]

[Footnote 25: For particulars concerning this parallel formation see Mendelssohn's Schriften, ed. by G.B. Mendelssohn, Leipzig, 1844. V, pp. 330, 335-7, letters between Abbt, Mendelssohn, Nicolai.]

[Footnote 26: The source of Bode's information is the article by Dr. Hill, first published in the Royal Female Magazine for April, 1760, and reprinted in the London Chronicle, May 5, 1760 (pp. 434-435), under the title, "Anecdotes of a fashionable Author." Bode's sketch is an abridged translation of this article. This article is referred to in Sterne's letters, I, pp. 38-9,42.]

[Footnote 27: See p. 47.]

[Footnote 28: "Dass ich das Gute, was man an meiner Uebersetzung findet, grssten Theils denen Herren Ebert und Lessing zu verdanken habe."]

[Footnote 29: Hamburgischer Unpartheyischer Correspondent, October 29, 1768.]

[Footnote 30: "Verschwieg ich die Namen dieser Mnner."]

[Footnote 31: See p. 47.]

[Footnote 32: Jrdens gives this title, which is the correct one. Appell in "Werther und seine Zeit," (p.247) calls it "Herrn Yoricks, Verfasser (sic) des Tristram Shandy Reisen durch Frankreich und Italien, als ein Versuch ber die menschliche Natur," which is the title of the second edition published later, but with the same date. See Allg. deutsche Bibliothek, Anhang, I-XII, Vol. II, pp. 896-9. Kayser and Heinsius both give "Empfindsame Reisen durch Frankreich und Italien, oder Versuch ber die menschliche Natur," which is evidently a confusion with the better known Bode translation, an unconscious effort to locate the book.]

[Footnote 33: Through some strange confusion, areviewer in the Jenaische Zeitungen von Gelehrten Sachen (1769, p.574) states that Ebert is the author of this translation; he also asserts that Bode and Lessing had translated the book; it is reported too that Bode is to issue a new translation in which he makes use of the work of Lessing and Ebert, amost curious record of uncertain rumor.]

[Footnote 34: See p. 31, "In the Street, Calais." "If this won't turn out something, another will. No matter,—'tis an essay upon human nature."]

[Footnote 35: Monthly Review, XXXVIII, p.319: "Gute Nacht, bewunderungswrdiger Yorick! Dein Witz, Deine Menschenliebe! Dein redliches Herz! ein jedes untadelhafte Stck deines Lebens und deiner Schriften msse in einem unsterblichen Gedchtnisse blhen,—und O! mgte der Engel, der jenes aufgezeichnet hat, ber die Unvollkommenheiten von beiden eine Thrne des Mitleidens fallen lassen und sie auf ewig auslschen."]

[Footnote 36: Jrdens, V, p. 753. Hirsching, Historisch-litterarisches Handbuch, XIII, pp. 291-309 (1809).]

[Footnote 37: It has not been possible to examine this second edition, but the information concerning Sterne's life may quite possibly have been taken not from Bode's work but from his sources as already given.]

[Footnote 38: "Yoriks empfindsame Reise, aus dem Englischen bersetzt," 3ter und 4ter Theil, Hamburg und Bremen, bei Cramer, 1769.]

[Footnote 39: See Allg. deutsche Bibl. Anhang, I-XII, Vol. II, pp. 896-9. Hirsching (Hist.-Litt. Handbuch) says confusedly that Bode wrote the fourth and fifth parts.]

[Footnote 40: See Neue Bibl. der schnen Wissenschaften, LVIII, p.98, "Im dritten Bande ist die rhrende Geschichte, das Hndchen, ganz von ihm." Also Jrdens, I, 114, Heine, "Der deutsche Roman," p.23.]

[Footnote 41: The following may serve as examples of inadequate, inexact or false renderings:

ORIGINAL BODE'S TRANSLATION

Like a stuck pig. P. 5: Eine arme Hexe, die Feuer-Probe machen soll.

Dress as well as undress. P. 9: Der Kleidung als der Einkleidung.

Chance medley of sensation. P. 11: Unschuldiges Verbrechen der Sinne.

Where serenity was wont to fix her reign. P. 13: Wo die Heiterkeit ihren Sitz aufgeschlagen hatte.

Wayward shades of my canvas. P. 20: Die harten Schattirungen meines Gewebes.

Caterpillars. P. 22: Heuschrecken.

The chance medley of existence. P. 23: Das unschuldige Verbrechen des Daseyns.]

[Footnote 42: Bode's story, "Das Mndel" was printed in the Hamburgische Adress-Comptoir-Nachrichten, 1769, p.729 (November 23) and p.753 (December4).]

[Footnote 43: There will be frequent occasion to mention this impulse emanating from Sterne, in the following pages. One may note incidentally an anonymous book "Freundschaften" (Leipzig, 1775) in which the author beholds a shepherd who finds a torn lamb and indulges in a sentimental reverie upon it. Allg. deutsche Bibl., XXXVI,1, 139.]

[Footnote 44: Bode inserts "Miss Judith Meyer" and "Miss Philippine Damiens," two poor novels by this Klbele in place of Eugenius's "Pilgrim's Progress." Bttiger comments, "statt des im englischen Original angefhrten schalen Romans 'The Pilgrim's Progress.'" Bode, in translating Shandy several years later, inserts for the same book, "Thousand and one Nights." In speaking of this, Bttiger calls "Pilgrim's Progress" "die schale englndische Robinsonade," an eloquent proof of Bttiger's ignorance of English literature.]

[Footnote 45: Pp. 166 ff.]

[Footnote 46: Quellen und Forschungen, XXII, p.129.]



CHAPTER IV

STERNE IN GERMANY AFTER THE PUBLICATION OF THE SENTIMENTAL JOURNEY

The publication of the Sentimental Journey, as implied in the previous chapter, brought Sterne into vital connection with literary impulses and emotional experiences in Germany, and his position as a leader was at once recognized. Because of the immediate translations, the reviews of the English original are markedly few, even in journals which gave considerable attention to English literary affairs. The Neue Bibliothek der schnen Wissenschaften[1] purposely delays a full review of the book because of the promised translation, and contents itself with the remark, "that we have not read for a long time anything more full of sentiment and humor." Yet, strangely enough, the translation is never worthily treated, only the new edition of 1771 is mentioned,[2] with especial praise of Fger's illustrations.

Other journals devote long reviews to the new favorite: according to the Jenaische Zeitungen von Gelehrten Sachen[3] all the learned periodicals vied with one another in lavish bestowal of praise upon these Journeys. The journals consulted go far toward justifying this statement.

The Allgemeine deutsche Bibliothek reviews both the Bode and Mittelstedt renderings, together with Bode's translation of Stevenson's continuation, in the second volume of the Anhang to Volumes I-XII.[4] The critique of Bode's work defines, largely in the words of the book itself, the peculiar purpose and method of the Journey, and comments briefly but with frank enthusiasm on the various touching incidents of the narrative: "Nur ein von der Natur verwahrloseter bleibt dabei kalt und gleichgltig," remarks the reviewer. The conception of Yorick's personal character, which prevailed in Germany, obtained by a process of elimination and misunderstanding, is represented by this critic when he records without modifying his statement: "Various times Yorick shows himself as the most genuine foe of self-seeking, of immoral double entendre, and particularly of assumed seriousness, and he scourges them emphatically." The review of the third and fourth parts contains a similar and perhaps even more significant passage illustrating the view of Yorick's character held by those who did not know him and had the privilege of admiring him only in his writings and at a safe distance. "Yorick," he says, "although he sometimes brings an event, so to speak, to the brink of an indecorous issue, manages to turn it at once with the greatest delicacy to a decorous termination. Or he leaves it incomplete under such circumstances that the reader is impressed by the rare delicacy of mind of the author, and can never suspect that such a man, who never allows a double entendre to enter his mind without a blush, has entertained an indecent idea." This view is derived from a somewhat short-sighted reading of the Sentimental Journey: the obvious Sterne of Tristram Shandy, and the more insidiously concealed creator of the Journey could hardly be characterized discriminatingly by such a statement. Sterne's cleverness consists not in suggesting his own innocence of imagination, but in the skill with which he assures his reader that he is master of the situation, and that no possible interpretation of the passage has escaped his intelligence. To the Mittelstedt translation is accorded in this review the distinction of being, in the rendering of certain passages, more correct than Bode's. Areviewer in the Hallische Neue Gelehrte Zeitung[5] treats of the Sentimental Journey in the Mittelstedt translation. He is evidently unfamiliar with the original and does not know of Bode's work, yet his admiration is unbounded, though his critique is without distinction or discrimination. The Neue Critische Nachrichten[6] of Greifswald gives a review of Bode's rendering in which a parallel with Shakespeare is suggested. The original mingling of instruction and waggery is commented upon, imitation is discouraged, and the work is held up as a test, through appreciation or failure to appreciate, of a reader's ability to follow another's feelings, to understand far-away hints and allusions, to follow the tracks of an irregular and errant wit.

The Hamburgischer unpartheyischer Correspondent for October 29, 1768, regards the book in Bode's translation as an individual, unparalleled work of genius and discourses at length upon its beneficent medicinal effects upon those whose minds and hearts are perplexed and clouded. The wanton passages are acknowledged, but the reviewer asserts that the author must be pardoned them for the sake of his generous and kind-hearted thoughts. The Mittelstedt translation is also quoted and parallel passages are adduced to demonstrate the superiority of Bode's translation.

The Germans naturally learned to know the continuation of Eugenius chiefly through Bode's translation, designated as the third and fourth volumes of the work, and thus because of the sanction of the intermediary, were led to regard Stevenson's tasteless, tedious and revolting narrative with a larger measure of favor than would presumably have been accorded to the original, had it been circulated extensively in Germany. After years the Allgemeine Literatur Zeitung[7] implies incidentally that Bode's esteeming this continuation worthy of his attention is a fact to be taken into consideration in judging its merits, and states that Bode beautified it. Bode's additions and alterations were, as has been pointed out, all directly along the line of the Yorick whom the Germans had made for themselves. It is interesting to observe that the reviewer of these two volumes of the continuation in the Neue Critische Nachrichten,[8] while recognizing the inevitability of failure in such a bold attempt, and acknowledging that the outward form of the work may by its similarity be at first glance seductive, notes two passages of sentiment "worthy even of a Yorick,"—the episode "Das Hndchen" and the anecdote of the sparrows which the traveler shot in the garden: both are additions on Bode's part, and have no connection with the original. The reviewer thus singled out for especial approval two interpolations by the German translator, incidents which in their conception and narration have not the true English Yorick ring.

The success of the Sentimental Journey increased the interest in the incomprehensible Shandy. Lange's new edition of Zckert's translation has been noted, and before long Bode[9] was induced to undertake a German rendering of the earlier and longer novel. This translation was finished in the summer of 1774, the preface being dated "End of August." The foreword is mainly concerned with Goeze's attack on Bode's personal character, athrust founded on Bode's connection with the Sentimental Journey and its continuation. At the close of this introduction Bode says that, without undervaluing the intelligence of his readers, he had regarded notes as essential, but because of his esteem for the text, and a parental affection for the notes, he has foreborne to insert them here. "So they still lie in my desk, as many as there are of them, but upon pressing hints they might be washed and combed, and then be published under the title perhaps of a 'Real und Verballexicon ber Tristram Shandy's Leben und Meinungen.'" This hint of a work of his own, serving as a commentary to Tristram Shandy, has been the occasion of some discussion. Areviewer in the Allgemeine deutsche Bibliothek,[10] in an account of Bode's and Wichmann's renderings of "Tom Jones," begs Bode to fulfill the hopes thus raised, saying he could give Yorick's friends no more valuable or treasured gift. Bttiger in his biographical sketch of Bode expressed regret that the work never saw the light, adding that the work contained so many allusions to contemporary celebrities and hits upon Bode's acquaintance that wisdom had consigned to oblivion.[11] Acorrespondent, writing to the Teutscher Merkur,[12] minimizes the importance of this so-called commentary, saying "er hatte nie einen Kommentar der Art, ... auch nur angefangen auszuarbeiten. Die ganze Sache grndet sich auf eine scherzhafte Aeusserung gegen seinem damaligen Freund in Hamburg, welchen er oft mit der ihm eignen Ironie mit diesem Kommentar zu drohen pflegte."

The list of subscribers to Bode's translation contained upwards of 650 names, among which are Boie, Claudius, Einsieder, Gerstenberg, Gleim, Frulein von Gchhausen, Goethe, Hamann, Herder, Hippel, Jacobi, Klopstock, Schummel, Wieland (five copies), and Zimmermann. The names of Ebert and Lessing are not on the list. The number of subscribers in Mitau (twelve) is worthy of note, as illustrating the interest in Sterne still keenly alive in this small and far away town, undoubtedly a direct result of the admiration so lavishly expressed in other years by Herder, Hamann and their circle.

The translation was hailed then as a masterly achievement of an arduous task, the difficulties of which are only the less appreciated because of the very excellence of the performance. It contrasts most strikingly with its clumsy predecessor in its approximation to Sterne's deftness of touch, his delicate turns of phrase, his seemingly obvious and facile, but really delicate and accurate choice of expression. Zckert was heavy, commonplace, uncompromisingly literal and bristling with inaccuracies. Bode's work was unfortunately not free from errors in spite of its general excellence, yet it brought the book within reach of those who were unable to read it in English, and preserved, in general with fidelity, the spirit of the original. The reviews were prodigal of praise. Wieland's expressions of admiration were full-voiced and extensive.[13]

The Wandsbecker Bothe for October 28, 1774, asserts that many readers in England had not understood the book as well as Bode, afrequent expression of inordinate commendation; that Bode follows close on the heels of Yorick on his most intimate expeditions. The Frankfurter Gelehrte Anzeigen[14] copies in full the translation of the first chapter as both Zckert and Bode rendered it, and praises the latter in unqualified terms; Bode appears as "Yorick's rescuer." Several years later, in the Deutsches Museum, the well-known French translation of Shandy by Frenais is denounced as intolerable (unertrglich) to a German who is acquainted with Bode's,[15] an opinion emphasized later in the same magazine[16] by Joseph von Retzer. Indeed, upon these two translations from Sterne rests Bode's reputation as a translator. His "Tom Jones" was openly criticised as bearing too much of Sterne,[17] so great was the influence of Yorick upon the translator. Klamer Schmidt in a poem called "Klamersruh, eine lndlich malerische Dichtung,"[18] dilating upon his favorite authors during a country winter, calls Bode "our Sterne" and "the ideal translator," and in some verses by the same poet, quoted in the article on Bode in Schlichtegroll's "Nekrolog,"[19] is found a very significant stanza expressing Sterne's immeasurable obligation to his German translator:

"Er geht zu dir nun, unser Bode! Empfang ihn, Yoriks Geist! Auch dein Erbarmt er sich, Errettete vom Tode Der Uebersetzer dich!"

Matthison in his "Gruss aus der Heimath,"[20] pays similar tribute in a vision connected with a visit to Bode's resting-place in Weimar. It is a fanciful relation: as Bode's shade is received with jubilation and delight in the Elysian Fields by Cervantes, Rabelais, Montaigne, Fielding and Sterne, the latter censures Bode for distrusting his own creative power, indicating that he might have stood with the group just enumerated, that the fame of being "the most excellent transcriber" of his age should not have sufficed.

In view of all this marked esteem, it is rather surprising to find a few years later a rather sweeping, if apologetic, attack on the rendering of Shandy. J.L. Benzler, the librarian of Graf Stolberg at Wernigerode, published in 1801 a translation of Shandy which bore the legend "Newly translated into German," but was really a new edition of Bode's work with various corrections and alterations.[21] Benzler claims in his preface that there had been no translation of the masterpiece worthy of the original, and this was because the existing translation was from the pen of Bode, in whom one had grown to see the very ideal of a translator, and because praise had been so lavishly bestowed on the work by the critics. He then asserts that Bode never made a translation which did not teem with mistakes; he translated incorrectly through insufficient knowledge of English, confusing words which sound alike, made his author say precisely the opposite of what he really did say, was often content with the first best at hand, with the half-right, and often erred in taste;—awholesale and vigorous charge. After such a disparagement, Benzler disclaims all intention to belittle Bode, or his service, but he condescendingly ascribes Bode's failure to his lowly origin, his lack of systematic education, and of early association with the cultured world. Benzler takes Bode's work as a foundation and rewrites. Some of his changes are distinctly advantageous, and that so few of these errors in Bode's translation were noted by contemporary critics is a proof of their ignorance of the original, or their utter confidence in Bode.[22] Benzler in his preface of justification enumerates several extraordinary blunders[23] and then concludes with a rather inconsistent parting thrust at Bode, the perpetrator of such nonsense, at the critics who could overlook such errors and praise the work inordinately, and at the public who ventured to speak with delight of the work, knowing it only in such a rendering. Benzler was severely taken to task in the Neue Allgemeine deutsche Bibliothek[24] for his shamelessness in rewriting Bode's translation with such comparatively insignificant alterations, for printing on the title page in brazen effrontery "newly translated into German," and for berating Bode for his failure after cursing him with condescension. Passages are cited to demonstrate the comparative triviality of Benzler's work. Abrief comparison of the two translations shows that Benzler often translates more correctly than his predecessor, but still more often makes meaningless alterations in word-order, or in trifling words where nothing is to be gained by such a change.

The same year Benzler issued a similar revision of the Sentimental Journey,[25] printing again on the title page "newly translated into German." The Neue Allgemeine deutsche Bibliothek[26] greets this attempt with a similar tart review, containing parallel quotations as before, proving Benzler's inconsiderate presumption. Here Benzler had to face Bode's assertion that both Lessing and Ebert had assisted in the work, and that the former had in his kindness gone through the whole book. Benzler treats this fact rather cavalierly and renews his attack on Bode's rendering. Benzler resented this review and replied to it in a later number of the same periodical.[27]

Now that a century and more has elapsed, and personal acrimony can no longer play any part in criticism, one may justly admit Benzler's service in calling attention to inaccurate and inadequate translation, at the same time one must condemn utterly his manner of issuing his emendations. In 1831 there appeared a translation of Tristram Shandy which was again but a revision of Bode's work. It bore on the title page "Neu bertragen von W.H.," and contained a sketch of Sterne's life.[28]

In the nineties there seemed to be a renewal of Yorick enthusiasm, and at this time was brought forth, at Halle in 1794, aprofusely annotated edition of the Sentimental Journey,[29] which was, according to the anonymous editor, abook not to be read, but to be studied. Claim is made that the real meaning of the book may be discovered only after several careful readings, that "empfindsam" in some measure was here used in the sense of philosophical, that the book should be treated as a work of philosophy, though clad in pleasing garb; that it should be thought out according to its merits, not merely read. Yorick's failure to supply his chapters with any significant or alluring chapter-headings (probably the result of indolence on his part) is here interpreted as extraordinary sagacity, for he thereby lessens the expectations and heightens the effect. "Eine Empfindungs-reise" is declared to be a more suitable name than "Empfindsame Reise," and comment is made upon the purpose of the Journey, the gathering of material for anatomical study of the human heart. The notes are numerous and lengthy, constituting a quarter to a third of the book, but are replete with padding, pointless babble and occasional puerile inaccuracies. They are largely attempts to explain and to moralize upon Yorick's emotions,—averbose, childish, witless commentary. The Wortregister contains fourteen pages in double columns of explanations, in general differing very little from the kind of information given in the notes. The Allgemeine Litteratur Zeitung[30] devotes a long review chiefly to the explanation of the errors in this volume, not the least striking of which is the explanation of the reference to Smelfungus, whom everyone knows to have been Smollett: "This learned Smelfungus appears to have written nothing but the Journey which is here mentioned."[31] As an explanation of the initial "H" used by Sterne for Hume, the note is given, "The author 'H' was perhaps a poor one."[32]

Sterne's letters were issued first in London in 1775, arather surprisingly long time after his death, when one considers how great was Yorick's following. According to the prefatory note of Lydia Sterne de Medalle in the collection which she edited and published, it was the wish of Mrs. Sterne that the correspondence of her husband, which was in her possession, be not given to the world, unless other letters bearing his name should be published. This hesitation on her part must be interpreted in such a way as to cast a favorable light on this much maligned gentlewoman, as a delicate reticence on her part, adesire to retain these personal documents for herself.[33] The power of this sentiment must be measured by her refraining from publishing during the five years which intervened between her husband's death and her own, March, 1768 to January, 1773—years which were embittered by the distress of straitened circumstances. It will be remembered that an effort was made by Mrs. Sterne and her daughter to retrieve their fortunes by a life of Sterne which was to be a collaboration by Stevenson and Wilkes, and urgent indeed was Lydia Sterne's appeal to these friends of her father to fulfill their promises and lend their aid. Even when this hope had to be abandoned early in 1770, through the faithlessness of Sterne's erstwhile companions, the widow and daughter turned to other possibilities rather than to the correspondence, though in the latter lay a more assured means of accomplishing a temporary revival of their prosperity. This is an evidence of fine feeling on the part of Sterne's widow, with which she has never been duly credited.

But an anonymous editor published early in 1775[34] avolume entitled "Letters from Yorick to Eliza," abrief little collection, the source of which has never been clear, but whose genuineness has never been questioned. The editor himself waives all claim to proof "which might be drawn concerning their authenticity from the character of the gentleman who had the perusal of them, and with Eliza's permission, faithfully copied them at Bombay."

In July of this same year[35] was published a volume entitled "Sterne's Letters to His Friends on Various Occasions, to which is added his History of a Watchcoat with Explanatory Notes," containing twelve letters (one by Dr. Eustace) and the watchcoat story. Some of these letters had appeared previously in British magazines, and one, copied from the London Magazine, was translated in the Wandsbecker Bothe for April 16, 1774.[36] Atranslation of the same letter was given in the Gothaische Gelehrte Zeitungen, 1774, pp. 286-7. Three of these letters only are accepted by Prof. Saintsbury (Nos.7, 124, the letter of Dr. Eustace, and 125). Of the others, Nos.4-11 have been judged as of doubtful authenticity. Two of them, Nos. 11 and 12 ("I beheld her tender look" and "Ifeel the weight of obligation") are in the standard ten-volume edition of Sterne,[37] but the last letter is probably spurious also.

The publication of the letters from Yorick to Eliza was the justification afforded Lydia Sterne de Medalle for issuing her father's correspondence according to her mother's request: the other volume was not issued till after it was known that Sterne's daughter was engaged in the task of collecting and editing his correspondence. Indeed, the editor expressly states in his preface that it is not the purpose of the book to forestall Mme. Medalle's promised collection; that the letters in this volume are not to be printed in hers.[38] Mme. Medalle added to her collection the "Fragment in the manner of Rabelais" and the invaluable, characteristic scrap of autobiography, which was written particularly for "my Lydia." The work appeared at Becket's in three volumes, and the dedication to Garrick was dated June, 1775; but, as the notice in the Monthly Review for October[39] asserts that they have "been published but a few days," this date probably represents the time of the completion of the task, or the inception of the printer's work.[40] During the same year the spurious letters from Eliza to Yorick were issued.

Naturally Sterne's letters found readers in Germany, the Yorick-Eliza correspondence being especially calculated to awaken response.[41] The English edition of the "Letters from Yorick to Eliza" was reviewed in the Neue Bibliothek der schnen Wissenschaften,[42] with a hint that the warmth of the letters might easily lead to a suspicion of unseemly relationship, but the reviewer contends that virtue and rectitude are preserved in the midst of such extraordinary tenderness, so that one may interpret it as a Platonic rather than a sensual affection. Yet this review cannot be designated as distinctive of German opinion, for it contains no opinion not directly to be derived from the editor's foreword, and that alone; indeed, the wording suggests decidedly that source. The Gothaische Gelehrte Zeitung[43] for April 15, 1775, reviews the same English edition, but the notice consists of an introductory statement of Eliza's identity and translation of parts of three letters, the "Lord Bathurst letter," the letter involving the criticism of Eliza's portraits,[44] and the last letter to Eliza. The translation is very weak, abounding in elementary errors; for example, "She has got your picture and likes it" becomes "Sie hat Ihr Bildniss gemacht, es ist hnlich," and "Ibeheld you ... as a very plain woman" is rendered "und hielt Sie fr nichts anders als eine Frau." The same journal,[45] August 5, reviews the second collection of Sterne's letters, but there is no criticism, merely an introductory statement taken from the preface, and the translation of two letters, the one to Mistress V., "Of two bad cassocs, fair lady," and the epistle beginning, "Isnatch half an hour while my dinner is getting ready." The Gttingische Gelehrte Anzeigen, 1776, p.382, also gives in a review information concerning this anonymous collection, but no criticism.

One would naturally look to Hamburg for translations of these epistles. In the very year of their appearance in England we find "Yorick's Briefe an Eliza," Hamburg, bey C.E. Bohn, 1775;[46] "Briefe von Eliza an Yorick," Hamburg, bey Bode, 1775; and "Briefe von (Yorick) Sterne an seine Freunde nebst seiner Geschichte eines Ueberrocks," Hamburg, bey Bohn, 1775. The translator's name is not given, but there is every reason to suppose that it was the faithful Bode, though only the first volume is mentioned in Jrdens' account of him, and under his name in Goedeke's "Grundriss." Contemporary reviewers attributed all three books to Bode, and internal evidence goes to prove it.[47]

The first volume contains no translator's preface, and the second, the spurious Eliza letters, only a brief footnote to the translation of the English preface. In this note Bode's identity is evident in the following quotation: He says he has translated the letters "because I believe that they will be read with pleasure, and because I fancy I have a kind of vocation to give in German everything that Sterne has written, or whatever has immediate relation to his writings." This note is dated Hamburg, September 16, 1775. In the third volume, the miscellaneous collection, there is a translator's preface in which again Bode's hand is evident. He says he knows by sure experience that Sterne's writings find readers in Germany; he is assured of the authenticity of the letters, but is in doubt whether the reader is possessed of sufficient knowledge of the attending circumstances to render intelligible the allusion of the watchcoat story. To forfend the possibility of such dubious appreciation, the account of the watchcoat episode is copied word for word from Bode's introduction to the "Empfindsame Reise."[48]

In this same year, an unknown translator issued in a single volume a rendering of these three collections.[49] The following year Mme. Medalle's collection was brought out in Leipzig in an anonymous translation, which has been attributed to Christian Felix Weisse.[50] Its title was "Lorenz Sterne's Briefe an seine vertrautesten Freunde nebst einem Fragment im Geschmack des Rabelais und einer von ihm selbst verfassten Nachricht von seinem Leben und seiner Familie, herausgegeben von seiner Tochter Mad. Medalle," Leipzig, 1776, pp. xxviii, 391. Weidmanns Erben und Reich.

Bode's translation of Yorick's letters to Eliza is reviewed in the Gothaische Gelehrte Zeitung, August 9, 1775, with quotation of the second letter in full. The same journal notes the translation of the miscellaneous collection, November 4, 1775, giving in full the letter of Dr. Eustace and Sterne's reply.[51] The Allgemeine deutsche Bibliothek[52] reviews together the three Hamburg volumes (Bode) and the Leipzig volume containing the same letters. The utter innocence, the unquestionably Platonic character of the relations between Yorick and Eliza is accepted fully. With keen, critical judgment the reviewer is inclined to doubt the originality of the Eliza letters. Two letters by Yorick are mentioned particularly, letters which bear testimony to Yorick's practical benevolence: one describing his efforts in behalf of a dishonored maiden, and one concerning the old man who fell into financial difficulties.[53] Both the translations win approval, but Bode's is preferred; they are designated as doubtless his. The "Briefe an Elisa" (Bode's translation) are noticed in the Frankfurter Gelehrte Anzeigen, October 3 and 6, 1775, with unrestrained praise of the translator, and vigorous asseveration of their authenticity. It is recognized fully that the relation as disclosed was extraordinary among married people, even Sterne's amazing statement concerning the fragile obstacles which stood in the way of their desires is noted. Yet the Yorick of these letters is accorded undisguised admiration. His love is exalted above that of Swift for Stella, Waller for Sacharissa, Scarron for Maintenon,[54] and his godly fear as here exhibited is cited to offset the outspoken avowal of dishonoring desire.[55] Hamann in a letter to Herder, June 26, 1780, speaks of the Yorick-Eliza correspondence quite disparagingly.[56]

In 1787 another volume of Sterne letters was issued in London, giving English and German on opposite pages.[57] There are but six letters and all are probably spurious.

In 1780 there was published a volume of confessedly spurious letters entitled "Briefe von Yorick und Elisen, wie sie zwischen ihnen konnten geschrieben werden."[58] The introduction contains some interesting information for the determination of the genuineness of the Sterne letters.[59] The editor states that the author had written these letters purely as a diversion, that the editor had proposed their publication, but was always met with refusal until there appeared in London a little volume of letters which their editor emphatically declared to be genuine. This is evidently the volume published by the anonymous editor in 1775, and our present editor declares that he knows Nos.4-10 were from the same pen as the present confessedly spurious collection. They were mere efforts originally, but, published in provincial papers, found their way into other journals, and the editor goes on to say, that, to his astonishment, he saw one of these epistles included in Lydia Medalle's collection. This is, of course, No.5, the one beginning, "The first time I have dipped my pen in the ink-horn." These events induced the author to allow the publication. The book itself consists mostly of a kind of diary kept by Yorick to send to Eliza at Madeira and later to India, and a corresponding journal written by Eliza on the vessel and at Madeira.

Yorick's sermons were inevitably less potent in their appeal, and the editions and translations were less numerous. In spite of obvious effort, Sterne was unable to infuse into his homiletical discourses any considerable measure of genuine Shandeism, and his sermons were never as widely popular as his two novels, either among those who sought him for whimsical pastime or for sentimental emotion. They were sermons. The early Swiss translation has been duly noted.

The third volume of the Zrich edition, which appeared in 1769, contained the "Reden an Esel," which the reviewer in the Allgemeine deutsche Bibliothek[60] with acute penetration designates as spurious. Another translation of these sermons was published at Leipzig, according to the editor of a later edition[61] (Thorn, 1795), in the same year as the Zrich issue, 1769.

The Berlinische Monatsschrift[62] calls attention to the excellence of the work and quotes the sermons at considerable length. The comment contains the erroneous statement that Sterne was a dissenter, and opposed to the established church. The translation published at Thorn in 1795, evidently building on this information, continues the error, and, in explanation of English church affairs, adds as enlightenment the thirty-nine articles. This translation is confessedly a working-over of the Leipzig translation already mentioned. It is difficult to discover how these sermons ever became attached to Sterne's name, and one can hardly explain the fact that such a magazine as the Berlinische Monatsschrift[63] should at that late date publish an article so flatly contradictory to everything for which Sterne stood, so diametrically opposed to his career, save with the understanding that gross ignorance attended the original introduction and early imitation of Yorick, and that this incomprehension, or one-sided appreciation of the real Sterne persisted in succeeding decades. The German Yorick was the champion of the oppressed and downtrodden. The author of the "Sermons to Asses" appeared as such an opponent of coercion and arbitrary power in church and state, an upholder of human rights; hence, possibly, the authorship of this book was attributed to Sterne by something the same process as that which, in the age of heroic deeds, associated a miscellaneous collection of performances with a popular hero. The "Sermons to Asses" were written by Rev. James Murray (1732-1782), anoted dissenting minister, long pastor of High Bridge Chapel in Newcastle-on-Tyne. They were published in London in 1768 and dedicated to G.W., J.W., W.R. and M.M.—George Whitfield, John Wesley, William Romaine and Martin Madan. The English people are represented as burden-bearing asses laden with oppression in the shape of taxes and creeds.[64] They are directed against the power of the established church. It is needless to state that England never associated these sermons with Sterne.[65] The English edition was also briefly reviewed in the Hamburgische Adress-Comptoir-Nachrichten[66] without connecting the work with Sterne. The error was made later, possibly by the translator of the Zrich edition.

The new collection of Sterne's sermons published by Cadell in 1769, Vols. V, VI, VII, is reviewed by Unterhaltungen.[67] Aselection from Sterne's sermon on the Prodigal Son was published in translation in the Hamburgische Adress-Comptoir-Nachrichten for April 13, 1768. The new collection of sermons was translated by A.E. Klausing and published at Leipzig in 1770, containing eighteen sermons.[68]

Both during Sterne's life and after his death books were published claiming him as their author. In England contemporary criticism generally stigmatized these impertinent attempts as dubious, or undoubtedly fraudulent. The spurious ninth volume of Shandy has been mentioned.[69] The "Sermons to Asses" just mentioned also belong here, and, with reservation, also Stevenson's continuation of the Sentimental Journey, with its claim to recognition through the continuator's statement of his relation to Yorick. There remain also a few other books which need to be mentioned because they were translated into German and played their part there in shaping the German idea of Yorick. In general, it may be said that German criticism was never acute in judging these products, partially perhaps because they were viewed through the medium of an imperfectly mastered foreign tongue, amediocre or an adapted translation. These books obtained relatively a much more extensive recognition in Germany than in England.

In 1769 a curious conglomerate was brought over and issued under the lengthy descriptive title: "Yoricks Betrachtungen ber verschiedene wichtige und angenehme Gegenstnde. Nemlich ber Nichts, Ueber Etwas, Ueber das Ding, Ueber die Regierung, Ueber den Toback, Ueber die Nasen, Ueber die Quaksalber, Ueber die Hebammen, Ueber den Homunculus, Ueber die Steckenpferde, Ueber das Momusglas, Ueber die Ausschweifungen, Ueber die Dunkelkeit im Schreiben, Ueber den Unsinn, Ueber die Verbindung der Ideen, Ueber die Hahnreiter, Ueber den Mann in dem Monde, Ueber Leibnitzens Monaden, Ueber das was man Vertu nennt, Ueber das Gewissen, Ueber die Trunkenheit, Ueber den Nachtstuhl, Betrachtungen ber Betrachtungen.—neque—cum lectulus, aut me Porticus excepit, desum mihi, Horat." Frankfurt und Leipzig, 1769,8vo. The book purported to be a collection of Sterne's earliest lucubrations, and the translator expresses his astonishment that no one had ever translated them before, although they were first issued in 1760. It is without doubt the translation of an English volume entitled "Yorick's Meditations upon interesting and important subjects," published by Stevens in London, 1760.[70] It had been forgotten in England long before some German chanced upon it. The preface closes with a long doggerel rhyme, which, the translator says, he has purposely left untranslated. It is, however, beyond the shadow of a doubt original with him, as its contents prove. Yorick in the Elysian Fields is supposed to address himself, he "anticipates his fate and perceives beforehand that at least one German critic would deem him worthy of his applause."

"Go on, poor Yorik, try once more In German Dress, thy fate of yore, Expect few Critics, such, as by The bucket of Philosophy From out the bottom of the well May draw the Sense of what you tell And spy what wit and Morals sound Are in thy Rambles to be found."

After a passage in which the rhymester enlarges upon the probability of distorted judgment, he closes with these lines:

"Dire Fate! but for all that no worse, You shall be WIELAND'S Hobby-Horse, So to HIS candid Name, unbrib'd These meditations be inscrib'd."

This was at the time of Wieland's early enthusiasm, when he was probably contemplating, if not actually engaged upon a translation of Tristram Shandy. "Thy fate of yore" in the second line is evidently a poetaster's acceptation of an obvious rhyme and does not set Yorick's German experience appreciably into the past. The translator supplies frequent footnotes explaining the allusions to things specifically English. He makes occasional comparison with German conditions, always with the claim that Germany is better off, and needs no such satire. The Hallische Neue Gelehrte Zeitungen for June 1, 1769, devotes a review of considerable length to this translation; in it the reviewer asserts that one would have recognized the father of this creation even if Yorick's name had not stood on its forehead; that it closely resembles its fellows even if one must place it a degree below the Journey. The Allgemeine Deutsche Bibliothek[71] throws no direct suspicion on the authenticity, but with customary insight and sanity of criticism finds in this early work "agreat deal that is insipid and affected." The Deutsche Bibliothek der schnen Wissenschaften, however, in a review which shows a keen appreciation of Sterne's style, openly avows an inclination to question the authenticity, save for the express statement of the translator; the latter it agrees to trust.[72] The book is placed far below the Sentimental Journey, below Shandy also, but far above the artificial tone of many other writers then popular. This relative ordering of Sterne's works is characteristic of German criticism. In the latter part of the review its author seizes on a mannerism, the exaggerated use of which emphatically sunders the book from the genuine Sterne, the monotonous repetition of the critic's protests and Yorick's verbal conflicts with them. Sterne himself used this device frequently, but guardedly, and in ever-changing variety. Its careless use betrays the mediocre imitator.[73]

The more famous Koran was also brought to German territory and enjoyed there a recognition entirely beyond that accorded it in England. This book was first given to the world in London as the "Posthumous Works of a late celebrated Genius deceased;"[74] awork in three parts, bearing the further title, "The Koran, or the Life, Character and Sentiments of Tria Juncta in Uno, M.N.A., Master of No Arts." Richard Griffith was probably the real author, but it was included in the first collected edition of Sterne's works, published in Dublin, 1779.[75] The work purports to be, in part, an autobiography of Sterne, in which the late writer lays bare the secrets of his life, his early debauchery, his father's unworthiness, his profligate uncle, the ecclesiastic, and the beginning of his literary career by advertising for hack work in London, being in all a confused mass of impossible detail, loose notes and disconnected opinion, which contemporary English reviews stigmatize as manifestly spurious, "an infamous attempt to palm the united effusions of dullness and indecency upon the world as the genuine production of the late Mr. Sterne."[76]

In France the book was accepted as genuine and it was translated (1853) by Alfred Hdouin as an authentic work of Sterne. In Germany, too, it seems to have been recognized with little questioning as to its genuineness; even in recent years Robert Springer, in an article treating of Goethe's relation to the Koran, quite openly contends for its authenticity.[77]

Since a German translation appeared in the following year (1771), the German reviews do not, in the main, concern themselves with the English original. The Neues Bremisches Magazin,[78] however, censures the book quite severely, but the Neue Bibliothek der schnen Wissenschaften[79] welcomes it with unquestioning praise. The German rendering was by Johann Gottfried Gellius, and the title was "Yorick's Nachgelassene Werke."[80] The Deutsche Bibliothek der schnen Wissenschaften[81] does acknowledge the doubtful authorship but accepts completely its Yorick tone and whim—"one cannot tell the copyist from the original." Various characteristics are cited as common to this work and Yorick's other writings, the contrast, change, confusion, conflict with the critics and the talk about himself. For the collection of aphorisms, sayings, fragments and maxims which form the second part of the Koran, including the "Memorabilia," the reviewer suggests the name "Sterniana." The reviewer acknowledges the occasional failure in attempted thrusts of wit, the ineffective satire, the immoral innuendo in some passages, but after the first word of doubt the review passes on into a tone of seemingly complete acceptation.

In 1778 another translation of this book appeared, which has been ascribed to Bode, though not given by Goedeke, Jrdens or Meusel. Its title was "Der Koran, oder Leben und Meynungen des Tria Juncta in Uno."[82] The Almanach der deutschen Musen[83] treats this work with full measure of praise. The Allgemeine deutsche Bibliothek[84] accepts the book in this translation as a genuine product of Sterne's genius. Sammer reprinted the "Koran" (Vienna, 1795, 12mo) and included it in his nine volume edition of Sterne's complete works (Vienna, 1798).

Goethe's connection with the "Koran," which forms the most interesting phase of its German career, will be treated later.

Sterne's unacknowledged borrowings, his high-handed and extensive appropriation of work not his own, were noted in Germany, the natural result of Ferriar's investigations in England, but they seem never to have attracted any considerable attention or aroused any serious concern among Sterne's admirers so as to imperil his position: the question in England attached itself as an ungrateful but unavoidable concomitant of every discussion of Sterne and every attempt to determine his place in letters. Bttiger tells us that Lessing possessed a copy of Burton's "Anatomy of Melancholy," from which Sterne filched so much wisdom, and that Lessing had marked in it several of the passages which Ferriar later advanced as proof of Sterne's theft. It seems that Bode purchased this volume at Lessing's auction in Hamburg. Lessing evidently thought it not worth while to mention these discoveries, as he is entirely silent on the subject. Bttiger is, in his account, most unwarrantedly severe on Ferriar, whom he calls "the bilious Englishman" who attacked Sterne "with so much bitterness." This is very far from a veracious conception of Ferriar's attitude.

The comparative indifference in Germany to this phase of Sterne's literary career may well be attributed to the medium by which Ferriar's findings were communicated to cultured Germany. The book itself, or the original Manchester society papers, seem never to have been reprinted or translated, and Germany learned their contents through a rsum written by Friedrich Nicolai and published in the Berlinische Monatsschrift for February, 1795, which gives a very sane view of the subject, one in the main distinctly favorable to Sterne. Nicolai says Sterne is called with justice "One of the most refined, ingenious and humorous authors of our time." He asserts with capable judgment that Sterne's use of the borrowed passages, the additions and alterations, the individual tone which he manages to infuse into them, all preclude Sterne from being set down as a brainless copyist. Nicolai's attitude may be best illustrated by the following passages:

"Germany has authors enough who resemble Sterne in lack of learning. Would that they had a hundredth part of the merits by which he made up for this lack, or rather which resulted from it." "We would gladly allow our writers to take their material from old books, and even many expressions and turns of style, and indeed whole passages, even if like Sterne .... they claimed it all as their own: only they must be successful adapters; they must add from their own store of observation and thought and feeling. The creator of Tristram Shandy does this in rich measure."

Nicolai also contends that Sterne was gifted with two characteristic qualities which were not imitation,—his "Empfindsamkeit" and "Laune"—and that by the former his works breathe a tender, delicate beneficence, acharacter of noble humanity, while by the latter a spirit of fairest mirth is spread over his pages, so that one may never open them without a pleasant smile. "The investigation of sources," he says, "serves as explanation and does not mean depreciation of an otherwise estimable author."

By this article Nicolai choked the malicious criticism of the late favorite which might have followed from some sources, had another communicated the facts of Sterne's thievery. Lichtenberg in the "Gttingischer Taschenkalender," 1796, that is, after the publication of Nicolai's article, but with reference to Ferriar's essay in the Manchester Memoirs, Vol. IV, under the title of "Gelehrte Diebsthle" does impugn Sterne rather spitefully without any acknowledgment of his extraordinary and extenuating use of his borrowings. "Yorick," he says, "once plucked a nettle which had grown upon Lorenzo's grave; that was no labor for him. Who will uproot this plant which Ferriar has set on his?" Ferriar's book was reviewed by the Neue Bibliothek der schnen Wissenschaften, LXII, p.310.

Some of the English imitations of Sterne, which did not actually claim him as author, also found their way to Germany, and there by a less discriminating public were joined in a general way to the mass of Yorick production, and the might of Yorick influence. These works represent almost exclusively the Sterne of the Sentimental Journey; for the shoal of petty imitations, explanations and protests which appeared in England when Shandy was first issued[85] had gone their own petty way to oblivion before Germany awakened to Sterne's influence.

One of the best known of the English Sentimental Journeys was the work of Samuel Paterson, entitled, "Another Traveller: or Cursory Remarks and Critical Observations made upon a Journey through Part of the Netherlands,—by Coriat Junior," London, 1768, two volumes. The author protested in a pamphlet published a little later that his work was not an imitation of Sterne, that it was in the press before Yorick's book appeared; but a reviewer[86] calls his attention to the sentimental journeying already published in Shandy. This work was translated into German as "Empfindsame Reisen durch einen Theil der Niederlande," Btzow, 1774-1775,2 Parts,8vo. The translator was Karl Friedrich Mchler, who showed his bent in the direction of wit and whim by the publication of several collections of humorous anecdotes, witty ideas and satirical skits.[87]

Much later a similar product was published, entitled "Launige Reise durch Holland in Yoricks[88] Manier, mit Charakterskizzen und Anekdoten ber die Sitten und Gebruche der Hollnder aus dem Englischen," two volumes, Zittau und Leipzig, 1795. The translation was by Reichel in Zittau.[88] This may possibly be Ireland's "APicturesque Tour through Holland, Brabant and part of France, made in 1789," two volumes, London, 1790.[89] The well-known "Peter Pennyless" was reproduced as "Empfindsame Gedanken bey verschiedenen Vorfllen von Peter Pennyless," Leipzig, Weidmann, 1770.

In 1788 there appeared in England a continuation of the Sentimental Journey[90] in which, to judge from the reviewers, the petty author outdid Sterne in eccentricities of typography, breaks, dashes, scantily filled and blank pages. This is evidently the original of "Die neue empfindsame Reise in Yoriks Geschmack," Leipzig, 1789,8vo, pp. 168, which, according to the Allgemeine Litteratur-Zeitung bristles with such extravagances.[91]

A much more successful attempt was the "Sentimental Journey, Intended as a Sequel to Mr. Sterne's, Through Italy, Switzerland and France, by Mr. Shandy," two volumes, 12mo, 1793. This was evidently the original of Schink's work;[92] "Empfindsame Reisen durch Italien, die Schweiz und Frankreich, ein Nachtrag zu den Yorikschen. Aus und nach dem Englischen," Hamburg, Hoffmann, 1794, pp. 272,8vo. The translator's preface, which is dated Hamburg, March 1794, explains his attitude toward the work as suggested in the expression "Aus und nach dem Englischen," that is, "aus, so lange wie Treue fr den Leser Gewinn schien und nach, wenn Abweichung fr die deutsche Darstellung notwendig war." He claims to have softened the glaring colors of the original and to have discarded, or altered the obscene pictures. The author, as described in the preface, is an illegitimate son of Yorick, named Shandy, who writes the narrative as his father would have written it, if he had lived. This assumed authorship proves quite satisfactorily its connection with the English original, as there, too, in the preface, the narrator is designated as a base-born son of Yorick. The book is, as a whole, afairly successful imitation of Yorick's manner, and it must be judged as decidedly superior to Stevenson's attempt. The author takes up the story where Sterne left it, in the tavern room with the Piedmontese lady; and the narrative which follows is replete with allusions to familiar episodes and sentiments in the real Journey, with sentimental adventures and opportunities for kindly deeds, and sympathetic tears; motifs used originally are introduced here, abegging priest with a snuff-box, aconfusion with the Yorick in Hamlet, apoor girl with wandering mind seated by the wayside, and others equally familiar.

It is not possible to determine the extent of Schink's alterations to suit German taste, but one could easily believe that the somewhat lengthy descriptions of external nature, quite foreign to Sterne, were original with him, and that the episode of the young German lady by the lake of Geneva, with her fevered admiration for Yorick, and the compliments to the German nation and the praise for great Germans, Luther, Leibnitz and Frederick the Great, are to be ascribed to the same source. He did not rid the book of revolting features, as one might suppose from his preface.[93] Previous to the publication of the whole translation, Schink published in the February number of the Deutsche Monatsschrift[94] two sections of his book, "Die Schne Obstverkuferin" and "Elisa." Later, in the May number, he published three other fragments, "Turin, Hotel del Ponto," "Die Verlegenheit," "Die Unterredung."[95]

A few years later Schink published another and very similar volume with the title, "Launen, Phantasieen und Schilderungen aus dem Tagebuche eines reisenden Englnders,"[96] Arnstadt und Rudolstadt, 1801, pp. 323. It has not been possible to find an English original, but the translator makes claim upon one, though confessing alterations to suit his German readers, and there is sufficient internal evidence to point to a real English source. The traveler is a haggard, pale-faced English clergyman, who, with his French servant, La Pierre, has wandered in France and Italy and is now bound for Margate. Here again we have sentimental episodes, one with a fair lady in a post-chaise, another with a monk in a Trappist cloister, apostrophes to the imagination, the sea, and nature, anew division of travelers, adebate of personal attributes, constant appeals to his dear Sophie, who is, like Eliza, ever in the background, occasional references to objects made familiar through Yorick, as Dessein's Hotel, and a Yorick-like sympathy with the dumb beast; in short, an open imitation of Sterne, but the motifs from Sterne are here more mixed and less obvious. There is, as in the former book, much more enthusiasm for nature than is characteristic of Sterne; and there is here much more miscellaneous material, such, for example, as the tale of the two sisters, which betrays no trace of Sterne's influence. The latter part of the volume is much less reminiscent of Yorick and suggests interpolation by the translator.[97]

Near the close of the century was published "Fragments in the manner of Sterne,"8vo, Debrett, 1797, which, according to the Monthly Review,[98] caught in large measure the sentimentality, pathos and whimsicality of Sterne's style. The British Museum catalogue suggests J.Brandon as its author. This was reprinted by Nauck in Leipzig in 1800, and a translation was given to the world by the same publisher in the same year, with the added title: "Ein Seitenstck zu Yoricks empfindsamen Reisen." The translation is attributed by Kayser to Aug. Wilhelmi, the pseudonym of August Wilhelm Meyer.[99] Here too belongs "Mariens Briefe nebst Nachricht von ihrem Tode, aus dem Englischen,"[100] which was published also under the title: "Yoricks Empfindsame Reisen durch Frankreich und Italien," 5th vol.,8vo, Weissenfels, Severin, Mitzky in Leipzig, 1795.

[Footnote 1: VI, 1, p. 166. 1768.]

[Footnote 2: XII, 1, p. 142.]

[Footnote 3: August 28, 1769. P. 574.]

[Footnote 4: Pp. 896-9.]

[Footnote 5: III, pp. 689-91, October 31, 1768.]

[Footnote 6: V, No. 5, p. 37, 1769, review is signed "Z."]

[Footnote 7: 1794, IV, p. 62, October 7.]

[Footnote 8: Greifswald, VI, p. 300.]

[Footnote 9: See p. 42.]

[Footnote 10: Anhang LIII-LXXXVI. Vol. V, pp. 2611-2614.]

[Footnote 11: This is repeated by Jrdens.]

[Footnote 12: 1799. I, p. 36.]

[Footnote 13: Teut. Merkur, VIII, pp. 247-251.]

[Footnote 14: April 21, 1775, pp. 267-70.]

[Footnote 15: Hirsching (see above) says it rivals the original.]

[Footnote 16: The references to the Deutsches Museum are respectively IX, pp. 273-284, April, 1780, and X, pp. 553-5.]

[Footnote 17: See Jrdens I, p. 117, probably depending on the critique in the Allg. deutsche Bibl. Anhang, LIII-LXXXVI, Vol. V, pp. 2611-2614.]

[Footnote 18: Erholungen III, pp. 1-51.]

[Footnote 19: Supplementband fr 1790-93, p.410.]

[Footnote 20: Werke, Zrich, 1825-29, pp. 312ff.]

[Footnote 21: "Tristram Shandy's Leben und Meynungen von neuem verdeutscht, Leipzig, 1801, I, pp. 572; II, pp. 532; III, pp. 430. Mit 3 Kupfern und 3 Vignetten nach Chodowiecki von J.F. Schrter." Anew edition appeared at Hahn's in Hanover in 1810. This translation is not given by Goedeke under Benzler's name.]

[Footnote 22: Wieland does modify his enthusiasm by acknowledgment of inadequacies and devotes about a page of his long review to the correction of seven incorrect renderings. Teut. Merkur, VIII, pp. 247-51, 1774,IV.]

[Footnote 23: The following may serve as examples of Bode's errors. He translated, "Pray, what was your father saying?" (I,6) by "Was wollte denn Ihr Vater damit sagen?" arendering obviously inadequate. "It was a little hard on her" (I, p.52) becomes in Bode, "Welches sie nun freilich schwer ablegen konnte;" and "Great wits jump" (I, 168) is translated "grosse Meister fehlen auch."]

[Footnote 24: LXXIII, pp. 75-81.]

[Footnote 25: Leipzig, 1801, 8vo, I, 168; II, 170.2 Kupf. und 2 Vignetten nach Chodowiecki von G.Bttiger.]

[Footnote 26: LXXIX, pp. 371-377.]

[Footnote 27: LXXXII, I, p. 199.]

[Footnote 28: Magdeburg, I, pp. 188; II, pp. 192; III, pp. 154; IV, pp. 168; V, pp. 236.]

[Footnote 29: A Sentimental Journey, mit erluternden Anmerkungen und einem Wortregister.]

[Footnote 30: Jena, 1795, II, pp. 427-30.]

[Footnote 31: P. 49.]

[Footnote 32: The edition is also reviewed in the Erfurtische Gelehrte Zeitung (1796, p.294.)]

[Footnote 33: The threat of Mrs. Sterne and her daughter to publish the letters to Mrs. Draper would seem to be at variance with this idea of Mrs. Sterne's character, but her resentment or indignation, and a personal satisfaction at her former rival's discomfiture are inevitable, and femininely human.]