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The absurd title stands, of course, for “Meine Reisen” and the puerile abbreviation as well as the reasons assigned for it, were intended to be a Sterne-like jest, a
In “Sebaldus Nothanker” the Revelation of St. John is a Sterne-like hobby-horse and is so regarded by a reviewer in the Magazin der deutschen Critik. Schottenius in Knigge’s “Reise nach Braunschweig” rides his hobby in the shape of his fifty-seven sermons. Lessing uses the Steckenpferd in a letter to Mendelssohn, November 5, 1768 (Lachmann edition, XII, p.
On his way to Leipzig, in the post-chaise, the author falls in with a clergyman: the manner of this meeting is intended to be Sterne-like: Schummel sighs, the companion remarks, “You too are an unhappy one,” and they join hands while the human heart beams in the traveler’s eyes. They weep too at parting. But, apart from these external incidents of their meeting, the matter of their converse is in no way inspired by Sterne. It joins itself with the narrative of the author’s visit to a church in a village by the wayside, and deals in general with the nature of the clergyman’s relation to his people and the general mediocrity and ineptitude of the average homiletical discourse, the failure of clergymen to relate their pulpit utterance to the life of the common Christian, all of which is genuine, sane and original, undoubtedly a real protest on the part of Schummel, the pedagogue, against a prevailing abuse of his time and other times. This section represents unquestionably the earnest convictions of its author, and is written with professional zeal. This division is followed by an evidently purposeful return to Sterne’s eccentricity of manner. The author begins a division of his narrative, “Der zerbrochene Postwagen,” which is probably meant to coincide with the post-chaise accident in Shandy’s travels, writes a few lines in it, then begins the section again, something like the interrupted story of the King of Bohemia and his Seven Castles. Then follows an abrupt discursive study of his aptitudes and proclivities, interspersed with Latin exclamations, interrogation points and dashes. “What a parenthesis is that!” he cries, and a few lines further on, “I
The same critic has remarked on "the Sterne-like conclusion of a chapter: 'Italy what was I going to say about Italy?" It was perhaps Sterne who taught him the use of the dash when no more words are necessary or ready to meet the case, and also when no more are permissible by contemporary taste.
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