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Updated: May 6, 2025
"About her bein' who she is." P. Sybarite subjected the open, naïf countenance of the shipping clerk to a prolonged and doubting scrutiny. "No, I ain't crazy in the head, neither," George asseverated with some heat. "I suspicioned somethin' was queer about that girl right along, but now I know it." "Explain yourself." "Ah, it ain't nothin' against her! You don't have to scorch your collar.
We must let it choose its own pace, and hold our breath lest it should lose its balance. It 's dealt out in different doses, in big cups and little, and when you have consumed your portion it 's as naif to ask for more as it was for Oliver Twist to ask for more porridge.
Especially are they wanting in the art of discerning and seizing those naïf, simple, and yet singular movements of character, which always please and astonish, and render the imitation at once true and piquant." Criticism has really nothing to add to these few lines, and if Diderot in his last years read The School for Scandal, or The Rivals, he would have found no reason to alter his judgment.
Subtle as is Sterne's humour, and true as, in its proper moods, is his pathos, it is not to these but to the parent gift from which they sprang, and perhaps to only one special display of that gift, that he owes his immortality. We are accustomed to bestow so lightly this last hyperbolic honour hyperbolic always, even when we are speaking of a Homer or a Shakspeare, if only we project the vision far enough forward through time that the comparative ease with which it is to be earned has itself come to be exaggerated. There are so many "deathless ones" about if I may put the matter familiarly in conversation and in literature, that we get into the way of thinking that they are really a considerable body in actual fact, and that the works which have triumphed over death are far more numerous still. The real truth, however, is, that not only are "those who reach posterity a very select company indeed," but most of them have come much nearer missing their destiny than is popularly supposed. Of the dozen or score of writers in one century whom their own contemporaries fondly decree immortal, one-half, perhaps, may be remembered in the next; while of the creations which were honoured with the diploma of immortality a very much smaller proportion as a rule survive. Only some fifty per cent, of the prematurely laurel-crowned reach the goal; and often even upon their brows there flutter but a few stray leaves of the bay. A single poem, a solitary drama nay, perhaps one isolated figure, poetic or dramatic avails, and but barely avails, to keep the immortal from putting on mortality. Hence we need think it no disparagement to Sterne to say that he lives not so much in virtue of his creative power as of one great individual creation. His imaginative insight into character in general was, no doubt, considerable; his draughtsmanship, whether as exhibited in the rough sketch or in the finished portrait, is unquestionably most vigorous; but an artist may put a hundred striking figures upon his canvas for one that will linger in the memory of those who have gazed upon it; and it is, after all, I think, the one figure of Captain Tobias Shandy which has graven itself indelibly on the memory of mankind. To have made this single addition to the imperishable types of human character embodied in the world's literature may seem, as has been said, but a light matter to those who talk with light exaggeration of the achievements of the literary artist; but if we exclude that one creative prodigy among men, who has peopled a whole gallery with imaginary beings more real than those of flesh and blood, we shall find that very few archetypal creations have sprung from any single hand. Now, My Uncle Toby is as much the archetype of guileless good nature, of affectionate simplicity, as Hamlet is of irresolution, or Iago of cunning, or Shylock of race-hatred; and he contrives to preserve all the characteristics of an ideal type amid surroundings of intensely prosaic realism, with which he himself, moreover, considered as an individual character in a specific story, is in complete, accord. If any one be disposed to underrate the creative and dramatic power to which this testifies, let him consider how it has commonly fared with those writers of prose fiction who have attempted to personify a virtue in a man. Take the work of another famous English humourist and sentimentalist, and compare Uncle Toby's manly and dignified gentleness of heart with the unreal "gush" of the Brothers Cheeryble, or the fatuous benevolence of Mr. Pickwick. We do not believe in the former, and we cannot but despise the latter. But Captain Shandy is reality itself, within and without; and though we smile at his naïveté, and may even laugh outright at his boyish enthusiasm for his military hobby, we never cease to respect him for a moment. There is no shirking or softening of the comic aspects of his character; there could not be, of course, for Sterne needed him more, and used him more, for his purposes as a humourist than for his purposes as a sentimentalist. Nay, it is on the rare occasions when he deliberately sentimentalizes with Captain Shandy that the Captain is the least delightful; it is then that the hand loses its cunning, and the stroke strays; it is then, and only then, that the benevolence of the good soldier seems to verge, though ever so little, upon affectation. It is a pity, for instance, that Sterne should, in illustration of Captain Shandy's kindness of heart, have plagiarized (as he is said to have done) the incident of the tormenting fly, caught and put out of the window with the words "Get thee gone, poor devil! Why should I harm thee? The world is surely large enough for thee and me." There is something too much of self-conscious virtue in the apostrophe. This, we feel, is not the real Uncle Toby of Sterne's objective mood; it is the Uncle Toby of the subjectifying sentimentalist, surveying his character through the false medium of his own hypertrophied sensibilities. These lapses, however, are, fortunately, rare. As a rule we see the worthy Captain only as he appeared to his creator's keen dramatic eye, and as he is set before us in a thousand exquisite touches of dialogue the man of simple mind and soul, profoundly unimaginative and unphilosophical, but lacking not in a certain shrewd common-sense; exquisitely naïf, and delightfully mal-
Indeed, she felt herself in one respect his superior, for his confidence in Sarah Gailey's housewifely skill, his conviction that it was unique and would be irreplaceable, struck her as somewhat naif, as being yet another example of the absurd family pride which she and her mother had often noticed in the Five Towns.
Conroy found himself saying, baldly, awkwardly, but unable, for the life of him, to keep the eagerness out of his voice. Upon the instant the music struck up. The two rose and made ready for the dance; Conroy placing Johnnie in waltzing position, and instructing her solicitously. Gray Stoddard looking on, was amazed at the naïf simple jealousy that swept over him at the sight.
One has a grim, naïf, virile humor, the other a dead, even beauty. One is hot, the other cold. The Dark Ages were sulphitic there were wild deeds then; men exploded. The Renaissance was essentially bromidic; Art danced in fetters, men looked back at the Past for inspiration and chewed the cud of Greek thought. For the Sulphite, fancy; for the Bromide, imagination.
These trees prevail here greatly, as they want neither water nor anything else, and grow with incredible rapidity. A thief, a liar, a glutton, a drunkard but you can't resent it; he has a naif, half-foolish, half-knavish buffoonery, a total want of self-respect, which disarms you. I sent him to the post to inquire for letters, and the postmaster had been tipsy over-night and was not awake.
The judge hardly needed any confirmation Abram's story was too straightforward and naïf to have been coined but, telling him to call at his house toward evening, and that he would have the necessary papers there, and make them out if satisfied as to the eligibility of the parties for such a contract, he dismissed the aspirant for marital honors.
They were written rather en noir than couleur de rose by an experienced, and, we might almost perhaps say, a disillusioned traveller, and not by a naif or a niais. The statement that they were to a certain extent the work of an invalid is, of course, true, and explains much. Smollett's old chum, Dr.
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