近畿大学学術情報リポジトリ

全文

(1)TheSacred. DanceandQuest inASentimental. ShigemitsuISHII. Strange!‐thatalmostallreadershaveagreedthatthechaptersof`TheSupper'and `Th eGrace'ofASentimentalJourneycanbeseentobesublimeandtranscendent.lModern. readersoftheJourneycanrunthewholegamutofthecommentariesfromdespiseto. justification;theyaresuspiciousandnotentirelywillingtocomplywithYorick,the. narratorandprotagonist.Asthecenturyascended,hissentimentalideasandattitudes. werecharged;thenineteenthcenturywasthehostileagetohisJourney.Hiseighteenth-. centurycontemporarieshaileditandmadeavastimitativeliterature.Therehavebeen. polyphonicvoicesofhisreaders,buttheyhavepleasinglyjoinedinunisoninregardto. theaffirmativeevaluationofthe`feastoflove'(ASJ,158)andpeasants'danceepisode.. Thisarticleislargelyconcernedwith`TheSupper',`TheGrace'andthefinalcon-. cludingchapter:`TheCaseofDelicacy'.IshallreadASentimentalJourneyinthecontext. ofitsowntime,becausethereadingofthesetwochaptershasbeenunvaryingsincethe. timeSternewroteitandshallaccordinglyholdtotheviewthat`thesanctioningof. eroticencounterassentimentalinnocencewasgenerallyacceptabletoreadersofthetext. intheeighteenth-century,despitecontemporaryconcernswiththeproprietyofnarra-. tives'.21nthisattempt,Ishalltakeuptheargumentsthatasetpieceofsupperand. danceofapeasantfamilyisnotidiosyncraticallygoodorpiousbutthecodaofYorick's. religiousfeelingandphilanthropywhichechothroughouthisnarrative;intheostensi-. blyribaldconcludingchapter,hisaudienceareputtothetestwhethertheytakehis. handstretchingoutinthedark,ornot.. 1. fortheHumanBonds 』o〃7η(ク.

(2) 近畿大学語学教育部紀要8巻1号(2008・7). PreludetotheSacredDance. IshallstartontheepisodesofthemaypoledancingandTristram'sdancewith. NannetteinTristramShandybeforedrawingattentiontothesacreddanceofYorickand. apeasantfamilyinASentimentalJourney.WhilstTristramdancesacountrydancein. Gascony,heneverjoinsinorwatchesthemaypoledanceinLyons,butitisstillworth. notingthemaypoledancing.Theyaretheinspiringmodelsforthesacreddanceand. undoubtedlyprovidereaderswith`whatbindstogetheranddramaticallyseparates. Sterne'stwogreatfictions'.3. LetmefirstconsiderthewayinwhichTristramintroduceshisaudiencetothe. maypoledance.Noonewoulddoubtthathetriestosetaseculartoneinthedance. heldontheNativityoftheVirginMary.Itislittlewonderthathemakesaninten-. tionalmistakewhenhebeginshisnarrative:ìtwastheeighthofSeptember,thenativ-. ityoftheblessedVirginMary,motherofGod'(TS,7.38.640).Fromhisattitude. towardfactualaccuracy,`motherofGod'isanunmistakableerror.Accuracytellsread-. ersthe`motheroftheSonofGod'insteadofthe`motherofGod'.Hisanti-papistplay-. fulnessdispelsthereligiouscharacterfromthemaypoledanceperformedonthe. NativityoftheVirginMary,settingthereader'simaginationfreetowork.Heslides. intothedescriptionofthedancing:. Tantarraratantivithewholeworldwasgoingouta--ay-poling. friskinghere‐caperingthere‐nobodycaredabuttonformeormyremarks;so. Isatmedownuponabenchbythedoor,philosophatinguponmycondition:by. abetterfatethanusuallyattendsme,Ihadnotwaitedhalfanhour,whenthe. mistresscamein,totakethepapilliotesfromoffherhair,beforeshewenttothe. May-poles. TheFrenchwomen,bythebye,loveMay-poles,alafoliethatis,asmuchas. theirmatins‐give'embuta--ay-pole,whetherinMay,June,July,orSeptem-. ber‐theynevercountthetimes‐downitgoes‐'tismeat,drink,washing,and. lodgingto'emandhadwebutthepolicy,an'pleaseyourworships(aswoodis. alittlescarceinFrance)tosendthembutplentyofMay-poles‐. 2.

(3) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney Thewomenwouldsetthemup;andwhentheyhaddone,theywoulddance roundthem(andthemenforcompany)tilltheywereallblind. (TS,7.38.640-641) Tristramisnotonthedancingscene,andthereforeitisnotgraphicallyillustrated. Telling`theFrenchwomen,bythebye,loveMay-poles,alafolie',hisnarrativebecomes ageneralisedaccountoftheboisterousdancing.Hisexplanationgivesnospecificdetails.Instead,hehidessexualshadesofmeaninginàbutton',`(a)May-pole(s)' (Tristramneveruses`maypoledance'.`May-pole(s)',insynecdoche,represents`pole(s)' and`maypoledance'),`setthemup'and`blind'.Healsosuggestssexualencounters: `th eywoulddanceroundthem(andthemenforcompany)'.Thesesexualovertones andsuggestionssexualisehisnarrativelanguageandthereader'simaginationisteased intosexualtitillationwhichparallelsthatoftheFrenchmerry-makers.Themaypole dancingontheNativityoftheBlessedVirginisdepictedasapurelysecularamusement.TristramfeelshiddenlustandecstasyinhisimaginaryfestivesceneinLyons, `th emostopulentandflourishingcityinFrance'(TS,7.30.625),andafterthathetakes partintherounddanceofpeasantsinthepastoralcountrysideofGascony.Heflies fromthedisguisedsexualityoftheurbanlifetotheundisguisedsexualityofthepastoralscene. `Th. enymphshadtieduptheirhairafreshandtheswainswerepreparingforaca-. rousal'inthevineyardswhichwereknownfor`thebestMuscattowineinallFrance' (TS,7.43.649).Asetpieceofthenymphs,swainsandvineyardgivesrisetoaDionysiac associationofwineandecstasyinTristram'smind,whosechordisfullypreparedtobe struckbyanyinvitationofpleasure.Inthesoundofthefifeandtambourine,hismule makesàdeadpoint'andwon'tgofurther,andhesaysinordertoencourageitto move,`Theyarerunningattheringofpleasure'(TS,7.43.649).Hiswordscarryless innocentmeaningonthescoreoftheobsceneinnuendoofthe`ring'asslang.There seemstobenoreasonwhyreadersshouldnotthinkthatTristramfeelscarnalappetite forthe`nymphs',becausehealsorememberstheepisodeof`theabbesseofAndouillets' (TS,7.43.649),whopronouncedtheunutterablewordsof`bouger'and`fouter'.(TS,. 3.

(4) 近畿大学語学教育部紀要8巻1号(2008・7). 7.25.614)HehastofightbackagainsthislustfulnessinflamedbytheslitinNannette's. petticoatduringhisdancewithher.Heswearsitthreetimesinhismind;. firstly,. Butthatcursedslitinthypetticoat!. Nannettecarednotforit.(TS,7.43.650). secondly, "th educetakethatslit!"(TS,7.43.650). andthirdly,. Iwouldhavegivenacrowntohaveitsew'dup‐Nannettewouldnothave. givenasous(TS,7.43.651). andthenhiscursefinallydeflatesintothereligiousfeeling:4. Vivalajoia!wasinherlips‐Vivalajoia!wasinhereyes.Atransientsparkof. amityshotacrossthespacebetwixtusShelook'damiable!WhycouldI. notliveandendmydaysthus?Justdisposerofourjoysandsorrows,criedI,. whycouldnotamansitdowninthelapofcontenthere‐anddance,andsing,. andsayhisprayers,andgotoheavenwiththisnutbrownmaid?(TS,7.43.651). Tristram'ssexualexcitementcalmsdownnotonlybecausetheamiableNannette`with. self-taughtpoliteness'(TS,7.43.650)isnotawareofherownsexualallureorYorick's. excitement,butbecausethereisatrafficofharmoniouslyorganisedfeelingbetween. them.HeaddressesthesecularisedGodwhocreateshisequals,whobychanceare. placedbeneathhimandconfesseshisstrongwishtoliveasimplepastorallifewith. Nannette.Heisinfelicityandfeelsèlectiveaffinity'sbetweenhimselfandtherustic. youths.. Whenhemakesuphismindto`takeadance',Tristramkicksoffònebootintothis. ditch,andt'otherintothat'(TS,7.43.649)andadvancestowardthegroupofyoung. dancers.NowhetemporarilystavesoffhissuperiorsocialstationasanEnglishgentle-. man.6Hetakes`holdofboth'(TS,7.43.649)ofNannette'shands.(Ishallreturntothe. themeof`hand'inQuestforHumanBonds).Sheputsàpieceofstring'(TS,7.43.650). intohishandandaskshimtotieuphertresses.Thisstringteacheshimtoforget. 4.

(5) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. thathisisàstranger'(TS,7.43.650),andsymbolisestheheartstringswhichgivebirth. tostrongfeelingsofaffinity,orabondthatbridgesthegapofnationalityandclass. differences.Nowhecanfeelasiftheyhave`beensevenyearsacquainted'(TS,7.43.650).. Itseemsasiftherewereanaturalbondagebetweenthem.Sympathyandaffinitybe-. tweenthemmergeintothecompassionatefellow-feelingoftheyoungGasconsintheir. danceandsong:. VIVALAJOIA!. FIDONLATRISTESSA!. Thenymphsjoin'dinunison,andtheirswainsanoctavebelowthem‐. (TS,7.43.650). Itisnotafeelingofhierarchicalalienationbutanawarenessofnonhierarchicalunity. thatYoricknowfeels.ThisexpresseshisEnlightenmentidealsincontrasttothestan-. dardAugustanview.Suchishishighlyelevatedspiritthatitneverlastslongandhis. heartwillnotkeepanytraceofit.Itbearsarecognisableresemblancetohisencounter. withandfarewelltoMariaofMoulins.Heputsanabruptstoptohisnarrationand. hurriedlygoesontodescribeToby'samourwithMrs.Wadman.. NowIshallgotothechaptersofthesupperandtheaccompanyingdanceinA. SentimentalJourney,butreferencestosmallpassagesofLaFleur'sjollydanceinahotel. kitchenandSundayamusementsinParismaybemadehere.LaFleurleadsthedance. inthekitchenoftheCountdeL*`"shotelinAmiens.Heplaysthefifeanddrawsto. thedance`thefilledechambre,themaitred'hotel,thecook,thescullion,andallthehouse-. hold,dogsandcats,besidesanoldmonkey'(ASJ,59).Yorickconsidersthat`there. neverwasamerrierkitchensincetheflood'(ASJ,59).Hedoesnotseethemdancing. inthehotelkitchen;itishardlypossiblethatdogs,catsandanoldmonkeydancewith. LaFleur.HisimaginationinflatesandpresentsamerryvisionofNoah'sarkwherehis. familyandeverytypeofanimalenjoydancingduringtheflood.Dancingoffersnot. onlyjoybutthesenseofunitytheparticipantsshare.OnSundaymorning,LaFleur, ` gallantlyarray'd'(ASJ,131),asksYoricktogranthimadayoffforadatewithsome. maidsoftheCountB**`*.Yorickweighshisowninconvenienceagainstman's. 5.

(6) 近畿大学語学教育部紀要8巻1号(2008・7). inhumanitytomanandgiveshimleavetospendadayoff.Aftergivingpermission,. YorickaddressestheFrench,asfollows:. Happypeople!thatonceaweekatleastaresuretolaydownallyourcares. together;anddanceandsingandsportawaytheweightsofgrievance,whichbow. downthespiritofothernationstotheearth.(ASJ,133). YorickisnowawarethattheFrenchpeopleareagaynationwhocanfindfunand. solaceindancing.However,hisopinionaboutthecastofFrenchcharacterswasquite. differentsometimebefore.WhentheCountB****askedYoricktotellhimwhathe. thoughtoftheFrench,hesaidthattheywereveryserious:. ButtheFrench,Mons.LeCompte,addedI,wishingtosoftenwhatIhadsaid,. havesomanyexcellencies,theycanthebettersparethis‐theyarealoyal,agal-. lant,agenerous,aningenious,andgoodtemperapeopleasisunderheaven‐if. theyhaveafaulttheyaretooserious.. MonDieu!criedtheCount,risingoutofhischair.. Maisvousplaisantez,saidhe,correctinghisexclamation.‐Ilaidmyhand. uponmybreast,andwithearnestgravityassuredhim,itwasmymostsettled. opinion.(ASJ,119-120). BecausehehadalreadygothispassportbyhandfromtheCount,Yorickdidnotneed. toflattertheCountabouthispeople.Hewaswillingtoconfirmhisview:ìtwasmy. mostsettledopinion'.Heseemedseriousinallprobabilityaboutthisobservationofthe. nationalcharacter.Itis,however,contradictorytotheopinionthathegivesonSunday. morningandtheconventionalnationalstereotype.$NewandDaywritesofthischange. ofkeythat`thefactisthat,aswithallnationalstereotypes,theFrenchcharacteroften. refusestoconform‐itisperhapsSterne'swisdomtopointtothatresistancebyoffer-. ingdubiousgeneralizationsonbothsides'.9Theirnoteisgivenfromabroadviewpoint. coveringTristramShandy,ASentimentalJourneyandSterne'slettersandseemsappropriate. tothereadingofSterne'sworks.However,inregardtothisdisagreementinthe. Journey,onecannoticeastrikingparallelbetweenthesuddenchangeofhisviewandthe. shiftfromthearistocraticsightwiththeCounttotheinferiorlabourerscenewithLa. 6.

(7) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. Fleur.Yorickderivesapleasantandagreeablefeelingfromhissocialinferiors.. Yorickisagentlemanbybirthandthereisanobviousdistancebetweenhimand. thesocialinferiors.TheCountmakeshimknowntothesalonsofParisianaristocrats. andbourgeois.Hismasteryofflatteryandespritmakeshimastarinthesocialcircle. buthesoonbecomesheartilytiredofit:. ...IcouldhaveeatenanddrankandbeenmerryallthedaysofmylifeatParis;. but'twasadishonestreckoningIgrewashamedofititwasthegainofaslave ‐everysentimentofhonourrevoltedagainstit‐thehigherIgot. ,themorewas. Iforceduponmybeggarlysystem‐thebettertheCoterie‐themorechildrenofArt. Ilanguish'dforthoseofNature...(ASJ,148). ThemorallysensitiveYorickdoubtsthesincerityoftheParis'fashionablesocietyand. cravesnotforÀrt'but`Nature'.HeleavesParisatonceandheadssouthwithLa. Fleur.10Thereisthesameurban-as-opposed-to-ruralthemeasIhavealreadysuggested. inTristram'sflightfromLyonstoGascony.. InowcometoconsidertheepisodeoftheLord'ssupperandthesacreddance.. YorickandLaFleurtravelsouththroughtheBourbonnaistoGascony;theyclimb. graduallyhigherandhigher.11Yorick'sSentimentalJourney,asisbelieved,parodiesthe. conventionalreportsofforeignlands,sightsandlandmarks.Heobviouslyhasnoin-. tentiontodescribetheobjectsortoarouseexpectancyandcuriosityofhisreaders.And. atthesametime,hisjourney,asCurleysuggests,embodiesàninfluentialRenaissance. idealofgrandtourism'.Itsaimis`"tolearnbettermanners"byan"assayupon. humannature"',12andtherefore,Yorick'saim,whichrunsagainsttothatofhiscon-. temporarytravelliterature,isnottogivemereaccountsofsights.Evenplacenames. inthechaptertitlesdonotusuallycarryanyimportantconnotationinmostpartofhis. narrative.Theymerelyoffersurroundingswheresentimentaltraffictakesplace;they. neverputenvironmentalinfluencetothenarrative.Inthenarrativeandthematic. structure,YorickshouldmeetFatherLorenzoinCalais.Theepisodeofthebegging. Franciscanmonkplacesthethemeofsolipsismintheopeningofthestorywhichwill. developandconcludewiththatofcommunion.13Butitdoesnotmatterwhetherhe. 7.

(8) 近畿大学語学教育部紀要8巻1号(2008・7). givessympatheticcomforttothemasterofadeadassinNampontorAmiens.Instead. ofthismeaninglessnessofthegeographicreality,somenamesbecomeakeytounder-. standthewholestory.TheyareMoulines(Moulins),theBourbonnois(Bourbonnais),. Taurira(Tarare),Turin,Savoy,StMichaelandMadane,whichappearintheshortand. acceleratednarrative.Inthespaceofabout93%ofYorick'snarrationofhisjourney,. thereisaselectionofsevennames:Calais,Montriul,Nampont,Ameiens,Paris,Rennes. andVersailles.Ontheotherhand,thereisthesamenumberofnamesintheremain-. ing7%ofthestory.Readersbecomeawarethatthetoneofthenarrativerisesashis. journeyspeedsup,butthemeaningfulnessofthesesevennamesisgenerallyunnoticed.. InthefourteenthvolumeofTheShandean,IgorDjordjevicelaboratestheelementsof. romanceinASentimental.Tourneyandarguesasfollows:. ButoncehefleestheParisofhighsocietyanditscoteries,andrejectsthelife. ofaparasite,heshowsthatheistrulyreadyfortheHighGround.. Itisonthethreshold,asitwere,ofthisgreatplaceofrevelation,thathe. meetsthemadMariaofMoulineswhomhehadsoughtinthefootstepsof. Tristram.AfterthetableauvivantwithMaria,inMoulinesYorick...reciteshis. creedinaproseOdetoSensibility(ASJ,155)...Followingthis`prayer'with. whichhesanctifieshimself,Yorick,thequestingknight,beginshisascentofthe. HighGround.14. Djordjevicnoticesthatthelandascendsbyandby,asYorickandLaFleurtravelsouth. fromParis,throughMoulins,toTarare.Thesenamessuggestthattheyaretravelling. towardahighland.ThephysicalascentoftheroadtoTarare,whichthetravellersfol-. low,hastheir(orYorick's)sentimentalelevationanticipatedamongstreaders.. Djordjevicdidnotadvancehisargumentanyfurtherbecausehispurposeistoshow`the. presenceoftheelementsofromance'15intheJourney.ThisessaywilltakeDjordjevic's. discussionfurtherandhintatapossibleresemblanceofYorick'sjourneytoTarareto. Christian'spilgrimagetotheCelestialCity.ls. 8.

(9) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. TheSacredDance. YorickfleesfromParistoMoulinswithLaFleur,travellingthedistanceofabout. 180milesandgoingupabout720feet.Heisdeeplytouchedbytheplentifulnessand. abundanceofNature,whenhetakesastepintotheBourbonnais:. Ineverfeltwhatthedistressofplentywasinanyoneshapetillnow‐to. travelitthroughtheBourbonnois,thesweetestpartofFrance‐inthehey-dayof. thevintage,whenNatureispouringherabundanceintoeveryone'slap,and. everyeyeisliftedup‐ajourneythrougheachstepofwhichmusicbeatstimeto. Labour,andallherchildrenarerejoicingastheycarryintheirclusters‐topass. throughthiswithmyaffectionsflyingout,andkindlingateverygroupbefore. me‐andeveryoneof'emwaspregnantwithadventures.(ASJ,149). Ontheotherhand,hisfirstimpressionofParis,whichislocatedataloweraltitude,is. dismal:. Iownmyfirstsensations,assoonasIwasleftsolitaryandaloneinmyown. chamberinthehotel,werefarfrombeingsoflatteringasIhadprefiguredthem.. Iwalkedupgravelytothewindowinmydustyblackcoat,andlookingthrough. theglasssawalltheworldinyellow,blue,andgreen,runningattheringof. pleasure.(ASJ,65). PeasantsoftheBourbonnaisseemfarhealthierandlivelierthanthepeoplehemet. inParis.ThepeasantsarechildrenofthegoddessofLabour,butthearistocratsand. bourgeoishavenothingtodowithher.Thepeasantstakepleasureintheabundanceof. Nature,andtheParisiansinthematerialisticcomfort.Simplyput,theBourbonnais. peasantsknowhowtofeelhappywithoutmaterialisticcomfort.. InthesweetandbeautifulhighlandsoftheBourbonnais,Yorickfollowsthefoot-. stepsofTristramandseeksoutMarianearMoulins.Theshort,buthighlydescriptive. sketchofMariawhoprogressesgraduallyintomadnessbecauseofherthwartedloveis. oneofthebeautiesofYorick:. WhenwehadgotwithinhalfaleagueofMoulines,atalittleopeninginthe. roadleadingtoathicket,IdiscoveredpoorMariasittingunderapoplar‐shewas. 9.

(10) 近畿大学語学教育部紀要8巻1号(2008・7). sittingwithherelbowinherlap,andherheadleaningononesidewithinher. hand‐asmallbrookranatthefootofthetree.(ASJ,150). AsfortheportrayalofMariathatisinclusiveoftheoneabove,Rabbremarksthatìt. isnotsurprisingtolearnthateighteenth-centuryfemale-readerscouldlaughatsuch. hyperbolicportrayalsofwomen'.17Butthereadingofthisattractivelunaticismostly. thatofjustification.Forexample,Brissendenwritesthatthissketchgivesàvisionof. innocentvirtueindistress',18andByrd,comparingTristram'sMariaandYorick's,. maintainsthat`theaccountofMaria,thepeasantmadwomanwhomTristrammeets. nearMoulins,belongstoasubgenreinventedandperfectedin"theageofsensibility":. theportraitofmadnessdesignedtoelicitneitherscornnorawe,butquivering,tearful. pity',and`thisisthesameMariawhoafterwardtriggersYorick'sapostropheto"sen-. sibility"inASentimentalJourney'.19Readershaveagreedaboutthebeautifulandsenti-. mentalsketchesofMariaandtheBourbonnais.InCurler'swords,`theaccountof. MoulinsandtheBourbonnaisrisestomysticalheightsofbeatificrevelation'.20. Yorick'sinterviewwithMariaisdifferentfromTristram'sinanaspect,thatis,. Yorick'sinterviewislesspassionateandlessphysical.Tristram`sprungoutofthe. chaisetohelpher,andfound'himself`sittingbetwixtherandhergoatbefore'he`re-. lapsedfrom'hisènthusiasm'(TS,9.24.783).Probablyoutofhisenthusiasmhedidnot. tellofhisphysicalcontactwithher,buthissqueezinghimselfbetweenMariaandher. goat,hislegwasunquestionablypressedagainsthercalf;hemusthaveputhishands. uponhers.Yorick,incontrast,sits`downclosebyher'(ASJ,151)andwipeshertears. awaywithhishandkerchief.HealreadyknowsofTristram'sstoryregardingtothede-. mentedpeasantgirl,andthereforehehasnoenthusiasmlikeTristrambutamereim-. pulse`toenquireafterher'(ASJ,149).Itaccordinglyseemssafethatreaderstakehim. athiswordandholdtotheviewthatYorick'sinterviewwithherislessphysical,or. hissexualityisrepressed.. ThelessphysicalYorickconverselybecomesmoreemotional.Heis`neversoper-. fectlyconsciousoftheexistenceofasoulwithin'him(ASJ,149).Thetonegoesonris-. ingasthenarrativeproceeds,andsuddenlyhisvoiceleaps.Thechapterof`Maria.. 10.

(11) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. Moulines.'concludeswithhisdeclaration:ÌampositiveIhaveasoul;norcanallthe. bookswithwhichmaterialistshavepester'dtheworldeverconvincemeofthecontrary'. (ASJ,151).21Superciliousreadersusuallytakethispassageashyperbolicandartificial.. ButYorick'slessphysicalspiritnaturallybecomesonewithanti-materialism,andthen. theythirstforthesoul.Suchishislinearemotionalprogressthatittakesonarelig-. ioustenor(heremembershiscassock). Adieu,poorlucklessmaiden!imbibetheoilandwinewhichthecompassion. ofastranger,ashejourniethonhisway,nowpoursintothywounds‐thebeing. whohastwicebruisedtheecanonlybindthemupforever.(ASJ,154). Inhisfamouspastoralapostrophetothe`dearsensibility'and`greatSENSORIUMof. theworld',Yorickusestheover-elevatedrhetoricagainlikeinhisdeclarationofanti-. materialism.Somereadersdoubthissincerityonthescoreofitsaffectedstyle.Others,. likeRabbandMarkey,donotacknowledgeanydivinityinitbecauseofitseconomic. shadow.22ButtheydiscovermorethanYorickintends,becausehepronounceshisclear-. cutdislikeofmaterialism.Hisapostrophestandsinthelineofhissentimentalprogress. fromtheanti-materialismandnon-physicality,throughthesoul,toreligion.Head-. dressesequallythe`dearsensibility'andthe`great‐greatSENSORIUMoftheworld'(ASJ,. 155),thatis,helinkssentimentandsensetogether.Thesentimentliftsitsmartyrùp. toHEAVEN'andevenahairthat`fallsupontheground'(ASJ,155)ispartofthesense.. Hefindstherevelationofdivinityorthesecularised(humanised)benevolentGod.23The. tenorbehindtheinflatedrhetoricofhisapostropheistohumanisehisfaith.Theline. ofhissentimentalprogressdoesnotstophere,butisreadytoextendfurther.Yorick. isnowònthethreshold'24totheHighGround.. InPreludetotheSacredDanceIhavealreadyexaminedthepeasants'danceof. GasconyandtheimaginativedancingscenesoftheFrenchwomenandParisians.Ihave. alsocharacterisedthemasthesecularamusementandtheinspiringmodelsforthesa-. creddancethatIshalldiscusshere.YorickandLaFleurtravelabout110milesfrom. MoulinstoTararewherethesacreddancetakesplace,andclimbanother270feet.They. arenowinthemiddleof`theascentofmountTaurira'(ASJ,157)wherethealtitudeis. 11.

(12) 近畿大学語学教育部紀要8巻1号(2008・7). roughly2400feet,andYorickwalksintoapeasant'shousebytheroadsideduetothe. troubleofthechaisehorse'sshoes.Heillustratesthefarmhouseasfollows:. Itwasalittlefarm-housesurroundedwithabouttwentyacresofvineyard,about. asmuchcornandclosetothehouse,ononeside,wasapotagerieofanacreand. ahalf,fullofeverythingwhichcouldmakeplentyinaFrenchpeasant'shouse‐. andontheothersidewasalittlewoodwhichfurnishedwherewithaltodressit.. (ASJ,157). Grape,cornandvegetablesthatgrowonthefieldssurroundingthefarmhousesupply. enoughfoodandwinetosatisfythefamilyandthelittlewoodsalsoprovidetheneces-. saryfueltopreparethefoodforcooking.Thepeasantfamilyliveaself-reliantlifeon. theirland.Theestatewherethefarmhousestandsisself-containedandalmostresem-. blesasanctuary.. Yorickdoesnottellhisreadersthatheaskedthepeasantfamilytolethimstay. thenightattheirhouse.Hebeginstonarrateaboutthefamilyasifheknewtheir. good-willbeforehand.Hispointistoemphasisetheirwarmheartandhisowndeep. emotion.Supperthatheshareswiththemisahomelyoneoflentil-soup,alarge. wheatenloafandwine,25whichseemslikeàfeastoflove'(ASJ,158)tohim.He,asan. Anglicanclergyman,seestheEucharistinthissimplemeal.IntheÈucharist'Yorick. andtheparticipantsofànoldgrey-headedmanandhiswife,withfiveorsixsonsand. sons-in-lawandtheirseveralwives,andajoyousgenealogyoutof'em'(ASJ,157)have. thefamily-likenessbeyondthenationalandindividualvariations.Theidentitythrough. bloodbecomesmeaningless:. Theoldmanroseuptomeetme,andwitharespectfulcordialitywouldhave. mesitdownatthetable;myheartwassatdownthemomentIenter'dtheroom;. soIsatdownatoncelikeasonofthefamily;andtoinvestmyselfinthe. charcterasspeedilyasIcould,Iinstantlyborrowedtheoldman'sknife,andtak-. inguptheloafcutmyselfaheartyluncheon;andasIdiditIsawatestimony. ineveryeye,notonlyofanhonestwelcome,butofawelcomemix'dwiththanks. thatIhadnotseem'dtodoubtit.(ASJ,158). 12.

(13) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. Heseesàtestimonyineveryeye,notonlyofanhonestwelcome,butofawelcome. mix'dwiththanks'.Theheart-to-heartcommunicationtakesplaceignoringthecommu-. nicationobstaclesoftheEnglishandFrenchlanguages.Thereisaffinitybetween. YorickandtheFrenchpeasantfamilylikethescenewithNannette.. Thetoneofthesecularisedreligionreachesaclimaxintheaccompanyingdance. scene.Thefamilymusthavebeenrespectfulofthedancing,becausethewomenand. girls`tyeuptheirhair'andtheyoungmen`washtheirfaces,andchangetheirsabots'. (ASJ,159).Yorickdoesnotjoininthedancingbutfeelssomethingreligiousamongst. them.Heseesèverysoul'(ASJ,159)bereadytodanceupontheopengroundbefore. thehouse.Andinthemiddleoftheseconddance,hethinksthathebeholds`Religion. mixinginthedance'(ASJ,159).InEnglandStAugustinerejectedanykindofdance. asmanifestationoflustandecstasy,andthePuritangovernmentwasascetically. againstit.Yorickaccordinglyseemstoregarditasòneoftheillusionsofimagination'. (ASJ,159),buthisdoubtisexplainedbytheoldmasterofceremony:. ...hadnottheoldman,assoonasthedanceended,said,thatthiswastheir. constantway;andthatallhislifelonghehadmadeitarule,aftersupperwas. over,tocallouthisfamilytodanceandrejoice;believing,hesaid,thatachearful. andcontentedmindwasthebestsortofthankstoheaventhatanilliteratepeas-. antcouldpay(ASJ,159). Thenoteofjoyoussoundsduringthedanceisplayedbytheoldcouple.Thefamilyex-. presstheirjollityandgratitudetothedeitybydancing.Yorickfeelssympatheticto-. wardstheirnaturalrejoicingthatleadstoReligion.Yorick,hereandthereinhis. narrative,dropshintsthatheisidenticalwiththesamenameofTristramShandy,buthe. shouldbetakenforanewcharacterwithanoldname.Thisistrueoftheparson. YorickwhowritestheSermonsandtheonewhoiseffusiveintheJournaltoEliza.. However,InowrefertothepreacherYorick'sprodigalsonsermonbecausethesenti-. mentalthemepossiblyunderliestheseYoricks.26Thepreachersaysinthesermon, `Wh entheaffectionssokindlybreakloose,Joy,isanothernameforReligion'(Sermons,. 20.190.28-29).Therefore,Yorickrepliesnoteasilybutseriouslytotheoldman:`‐Or. 13.

(14) 近畿大学語学教育部紀要8巻1号(2008・7). alearnedprelateeither,saidI'(ASJ,159).. Intheancientworld,peoplepraisedGodindanceandmusic,anddancingwasa. waytoexpressreligiouspleasureatafeast.ThepraiseforGodatthesefeastsisillus-. tratedinthePsalms:`Letthempraisehisnameinthedance:letthemsingpraisesunto. himwiththetimbrelandharp'(Psalms149.3)and`Praisehimwiththetimbreland. dance:praisehimwithstringedinstrumentsandorgans'(Psalms150.4).Accordingto. theActsofJohnoftheGnosticscripture,Jesustoldthedisciplestodanceinorderto. praisetheFather,beforeheisarrestedbytheJews.27Hesanginthemiddleofthe. rounddance.Oesterleywritesofthesacreddancethatìtwas,firstandforemost,per-. formedforthepurposeofhonouringwhatwereregardedassupernaturalpowers'.28. Dancingformsanindispensableelementatsuchfeasts,providingpraisesandthanksto. thedeity.Thedanceofthepeasantfamilyisinthetraditionofthesacreddance.. QuestfogtheHumanBonds Nowmyconcernmovestotheconcludingchapterof`TheCaseofDelicacy'. Readerseasilyrecognisetheabruptshiftoftoneofthenarrativebetweenthepreceding twochaptersandthefinalone.Itseemsthatthelineofconsecutivenarrativebreaks andthesechaptersaredisjointed.Thisshiftconsequentlyhasgivenrisetotheproblem ofinterpretationandencouragedmanifoldreadingsindifferentreaders.Ishallgivemy owninterpretationofthesequenceoftheseepisodes,butnowletmebrieflyreviewsome commentaries.Djordjevicreadsthegeneraldevelopmentoftheromance;YorickdescendsfromtheHighGroundtotherealworld.29Curleyconsidersthatspiritual epiphaniesinthepeasantEucharistaresofewthatthestorycannotavoidconcluding withtheeverydayworldasitbegan.30Battestinexplainsthattheconcludingchapter recapitulatesthemotifsofthestory.31Lambdiscoversthatthedevelopmentofthe finalepisodesretracesthatoftheopeningepisodes.Hewritesthatàtthebeginning Yorickmovedfromsilencetofoodandwine,thenfromthefalseconfidencetheyinspiredtoahand,andfromthehandtoawomantowhomhemakesanunsuccessful proposalaboutsharingacarriage',andthat`hereawomanagainappearsbychance,. 14.

(15) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. andstimulatedbyfoodandwinehemakesaproposalaboutsharingachamber;thisre-. sultsinahandunfairlyencounteringawoman'sbody,followedbysilence'.32Hisargu-. mentstandsuptoscrutinyandissuggestive.Brissendenalsopointsoutthatboth. VolumeIandVolumeIIclosewiththementioningofhands.as. Manyreadersareoftheopinionthatthemotifofhandsplaysanimportantrole. inthestructureofthenarrative.Theideadevelopsinassociationwithonedominant. tenorofphilanthropytowardthecodachapterof`TheCaseofDelicacy'.Signlanguage. isasystemofcommunicationbyusinghandmovements,andahanditselfcanbemore. usefulandinfluentialthanverballanguage.InastreetofCalais,Yoricksurprises. MadamedeL***andoffershishandtoapologiseforhisrudeness.Shedisengagesher. handfromhisafterawhileandmakeshimsorry.Butherhandagainbecomesmore. powerfulthanathousandwordstocurethewoundofhisheart:. Thetriumphsofatruefeminineheartareshortuponthesediscomfitures.In. averyfewsecondsshelaidherhanduponthecuffofmycoat,inordertofinish. herreply;sosomewayorother,Godknowshow,Iregainedmysituation.. Shehadnothingtoadd.(ASJ,25). Handsalsocommunicateone'sthoughtasgestures.Theyareleftaloneinachaisethat. isabitsmalltoholdtwopeople.Theytalkaboutloveinthechaise,andYoricksub-. mitsanunsuccessfulproposalofsharingthecarriage: ‐Youneednottellmewhattheproposalwas. ,saidshe,layingherhand. uponbothmine,assheinterruptedme.‐Aman,mygoodSir,hasseldoman. offerofkindnesstomaketoawoman,butshehasapresentimentofitsomemo-. mentsbefore‐(ASJ,35). Herdelicatelyglovedhandpreventshisimpulsefromdevelopingonlybylayingitselfon. hishands.Hecansoondecipherwhatispassingthrougfhhermind,becauseheis ` quickinrenderingtheseveralturnsoflooksandlimbs,withalltheirinflectionsand. delineations,intoplainwords'.Heknowsthat`thisshorthand'(ASJ,77)improvessocial. life.Heneverpicksupthesamesubjectagainandtheypartedinhighlysympathetic. sentiment.. 15.

(16) 近畿大学語学教育部紀要8巻1号(2008・7). Handsareverysensitiveorgansthatcansendone'ssentimenttoanotherandalso. receiveanother'sbytouch.Theycanbeanorganofcommunication.Yorickcantell. MadamedeL`"`whathefeelsandknowwhatshethinksthroughhisfingersandpalm:. Thepulsationsofthearteriesalongmyfingerspressingacrosshers,toldher. whatwaspassingwithinme:shelookeddown‐asilenceofsomemomentsfol-. lowed.. Ifear,inthisinterval,Imusthavemadesomeslighteffortstowardsacloser. compressionofherhand,fromasubtlesensationIfeltinthepalmofmyown‐. notasifshewasgoingtowithdrawhers...(ASJ,25). Theyalsobecomeanexpressionofsentimentbythemselves.WhenYoricktirestogive. FatherLorenzohisowntortoisesnuffboxas`thepeace-offering'(ASJ,26),Fatherhesi-. tatestotakeit.Hisworry,hesitationandfeelingsofunworthinesscanbeseeninhis. handsaswellasinhisface:. Thepoormonkblush'dasredasscarlet.MonDieu!saidhe,pressinghis. handstogether‐youneverusedmeunkindly.(ASJ,26). Asisshowninthephrase`handinhand',handsarethetoolsthatareabletomake. acloselyconnectedandaffectionaterelationship.Yorick'shandputshissnuffboxas. thepeace-offeringintoFatherLorenzo'shandlikeNannetteputsapieceofstringinto. Tristram'shand;andthepoormonkgiveshistoYorick.Somereadersseesentimental. commerceintheexchangeoftheirsnuffboxes;theyplaceemphasisonexchangeasma-. terialisticact.Theyfailtoseetheimportanceofhandsintheexchange.Yorickgives. hisboxtoFatherLorenzo,. Youshalltastemine‐saidI,pullingoutmybox(whichwasasmalltortoise. one)andputtingitintohishand‐(ASJ,26). FatherLorenzogiveshistoYorick,. Hebegg'dwemightexchangeboxes‐lnsayingthis,hepresentedhistomewith. onehand,ashetookminefrommeintheother;andhavingkiss'dit‐witha. streamofgoodnatureinhiseyesheputitintohisbosomandtookhisleave.. (ASJ27). 16.

(17) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. FatherLorenzousesbothhandstoexchangethesnuffboxesandthenputsYorick'sbox. intohisbosomafterkissingit.ThetortoisesnuffboxwillprobablyliewithFatherin. hisgrave.ThepoorFranciscanmonkmighthavesuchafewbelongingsthatthesnuff. boxmightbeburiedwithhisbody.AndYorickalwayscarriesitwithhimselfforhis. spiritualgrowth.OnthewayfromItalytoEngland,hepayshomagetothegraveof. FatherLorenzoandshedsàfloodoftears'(ASJ,27).Handscreatelong-lastingrela-. tionshipsbetweenthem.AsIhaveremarked,Mariaseemstoleavenotraceinhis. mind,butthememoryofFatherLorenzogoesontoliveinYorick'smind.. YorickoffershishandtoMadamedeL***,theMarquesianadiF***andMadamede. Rambouliet,whoarethesocialsuperiors.Offeringahandis,ofcourse,partofsocial. etiquetteandpromptshimtomakearomanticrelationshiporhavecross-culturalun-. derstanding.OfferinghishandtoMadamedeL"`"bringsaboutanunsuccessfulresult.. AsforthecasewiththeMarquesiana,Yorickinallprobabilitymaybesatisfiedwith. theresult.ByofferinghishandtoMadamedeRambouliet,heknowsthateven`the. mostcorrect'(ASJ,84)Frenchladyeasesherselfalongaroad.Toofferahandtoa. bourgeoisladyprovideshimwithsomeinterestingexperience,butneverkindlesany. specialsentimentexceptasympathetic,romanticorsurprisingone.Butanoffered. handevokesrevelatoryinsightorepiphanicsentimentinhisheart.. Itisthefi〃edechambretoMadameR****whoputsherhandinYorick'sarm.After. leavingthebookshopattheQuaideConti,Yorickadvisesherongoodheart.Hegives. heracrowninordertomakehisadviceworthy.Heisnowfarfromprurient:. Itwasasmalltribute,Itoldher,whichIcouldnotavoidpayingtovirtue,. andwouldnotbemistakeninthepersonIhadbeenrenderingittofortheworld ‐butIseeinnocence. ,mydear,inyourface‐andfoulbefalthemanwhoever. laysasnareinitsway!(ASJ,89). HehelpshertoputthetwovolumesofLesEgarmentsduCoeuretdel'Espriteachinto. bothpocketsofhercoat.Thisverytriflingactgiveshimsenseofkinship:"Tissweet. tofeelbywhatfine-spunthreadsouraffectionsaredrawntogether'(ASJ,90).Heis. awarethatanapparentdistancebetweenthemdisappears.Thenthemomentof. 17.

(18) 近畿大学語学教育部紀要8巻1号(2008・7). epiphanycomes:. Wesetoffa-fresh,andasshetookherthirdstep,thegirlputherhand. withinmyarm‐Iwasjustbiddingher‐butshediditofherselfwiththat. undeliberatingsimplicity,whichshew'ditwasoutofherheadthatshehadnever. seenmebefore.Formyownpart,Ifelttheconvictionofconsanguinityso. strongly,thatIcouldnothelpturninghalfroundtolookinherface,andseeif. IcouldtraceoutanythinginitofafamilylikenessTut!saidI,arewenotall. relations?(ASJ,90). Thefilledechambreisasocialinferior,whoalmostcertainlydoesnotknowthephilan-. thropicidealnorimaginethatsheandthestrangercouldberelated.Shesimplybe-. lievesthatthestrangerisagoodmanandinnocentlytrustshim.Sheneverdisengages. herhandandhertouchrevealstohimthatpeoplearealllinkedbeyondtheirindividual,. socialandnationaldifferences.Atouchbybourgeoisladieswouldneverevokephilan-. thropicsentimentinhisheart.Healwayslovespeasants,servants,fillerdechambreand. thosewhoaretorturedbyareverseoffortune,whoareallcreatedasequals,butare. placedbeneathhimbychance.. Hisphilanthropicsentimentspringsupattimeslikeageyser;hismindandheart. oscillatesbetweensublimeandworldlysentiment.OnthewayfromMontriulto. Nampont,LaFleuriskickedoffbyhisfrightenedhorseafterseeingadeadasslying. ontheroad.Yorickpleasinglytakesthisopportunitytoexplainhowtousesome. FrenchoathsthatLaFleurmutteredasmeasuresforalleviatinghisinjury.Afterthis,. comesthefamouschapterofthedeaddonkeyanditsmourningmaster.Theepisode. became`themostdamagingstory'34inthehistoryofreadingASentimentalJourney.This. isbecausethestoryandanembarrassinganecdoteabouttheauthorandhismother. producedanuntrueandnotoriousimageofhiminthepublicmind.Itisoneofthepa-. theticepisodesinYorick'snarrativeandmustbereadfreefromthescandalousillfame.. Hefeels`moretruetouchesofnature'(ASJ,53)inthemaster'sapostrophetohisdead. donkeythaninSanchoPanza'slamentationforhisdonkey.Thedonkeywasàpatient. partner'and`hadeatsamebreadwithhim[themaster]alltheway,andwasuntohim. 18.

(19) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. asafriend'(ASJ,54).WhentheyseparatedinthePyrenees,theysoughtforeachother. withcompassionatezealforthreedays.Yorick,atfirst,sympatheticallythinksthat. themanisamercifulmaster,buthissentimentinflatestobephilanthropicbeyondthat. oftheboundaryofbetweenmanandanimal,whenherealisesthatthemanheartily. feelsresponsibleforthedonkey'sdeath:. Thouhastonecomfort,friend,saidI,atleastinthelossofthypoorbeast;. 1'msurethouhastbeenamercifulmastertohim.Alas!saidthemourner,I. thoughtso,whenhewasalive‐butnowthatheisdeadIthinkotherwise.‐I. feartheweightofmyselfandmyaffectionstogetherhavebeentoomuchforhim. theyhaveshortenedthepoorcreature'sdays,andIfearIhavethemtoanswer. for.‐Shameontheworld!saidItomyself‐Didweloveeachother,asthis. poorsoulbutlovedhisass‐twouldbesomething.‐ASJ,54. Hissentimentsinflamedbythestoryofthedonkeyanditsmasterarescattered. anddispersedbyàfullgallop'(ASJ,55)ofthechaiseandsoondisplacedbyhisworldly. sentimenttoMadamedeL***inAmiens.HegoesontravellingtoPariswhereheis. madeawarethathehasnopassportwhichsecureshisfreedomfromthenightmaresce-. nariooftheBastille.Thenheinsertsanepisodeofacagedstarlinganditsuncaring. masters.ThestarlingisnodoubtthesymboloftheendangeredYorickanditsmasters. becomethemetaphorofthosewhodonotwillinglyhelphim.. YorickmeetstheCountdeB*`*`forhispassport.IntheinterviewwiththeCount,. heexplainsthepurposeofhisjourneythroughFranceandItaly:. ButIcouldwish,continuedI,tospythenakednessoftheir[women's]hearts,and. throughthedifferentdisguisesofcustoms,climates,andreligion,findoutwhat. isgoodinthem,tofashionmyownby‐andthereforeamIcome..... Thethirstofthis,continuedI,asimpatientasthatwhichinflamesthe. breastoftheconnoisseur,hasledmefrommyownhomeintoFrance‐andfrom. FrancewillleadmethroughItaly‐'tisaquietjourneyoftheheartinpursuitof. NATURE,andthoseaffectionswhichriseoutofher,whichmakeusloveeachoth-. er‐andtheworld,betterthanwedo.(ASJ,111). 19.

(20) 近畿大学語学教育部紀要8巻1号(2008・7). Themotiveofthetravelrisesfromhisadmirationforwomen.Attheendoftheexpla-. nationofhismotive,thesentimentaltravellerYorickseemslikethepreacherYorick.. HepreachestotheCountdeB****aboutphilanthropywhichmakespeopleloveeach. otherandcreatesaworldwithoutwar,violenceorargument,andhealsoseemstorec-. ommendthatEnglandandFranceshouldputanendtowar.. ThetravellerYorickreturnstobethepreacherYorickagainattheendofthe. story:. Poor,patient,quiet,honestpeople!fearnot;yourpoverty,thetreasuryof. yoursimplevirtues,willnotbeenviedyoubytheworld,norwillyourvalliesbe. invadedbyit.Nature!inthemidstofthydisorders,thouartstillfriendlyto. thescantinessthouhastcreated‐withallthygreatworksaboutthee,littlehast. thoulefttogive,eithertothescitheortothesickle‐buttothatlittle,thou. grantestsafetyandprotection;andsweetarethedwellingswhichstandso. shelter'd.(ASJ160). Assuggestedpreviously,Yoricklovespeoplewhoarepoor,patient,quietandhonest.. Heacknowledgeshumanrightsevenamongstsuchpeople;itdoesnotconformtothe. Augustanstandardvalue:. thesonsanddaughtersofservicepartwithliberty,butnotwithNatureintheir. contracts;theyarefleshandblood,andhavetheirlittlevanitiesandwishesinthe. midstofthehouseofbondage,aswellastheirtaskmasters‐nodoubt,theyhave. settheirself-denialsataprice‐andtheirexpectationsaresounreasonable,that. Iwouldoftendisappointthem,butthattheirconditionputsitsomuchinmy. powertodoit.(ASJ.132). Hissentimentdoesnotseemlikemerepityforpoorservants.Heuses,inthisnarra-. tion,`liberty',`Nature',`contract',`flesh',`blood',`self-denial'and`price'.Hisdictionis. ananti-materialisticandenlightenedone,providinghishumanrightsideal,whichisa. variationonhisphilanthropictenor.. 20.

(21) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. ウ. CodatoYorickSJ∂. 〃rney. YorickbecameashamedofthedishonestandinsincerelifeinParisandleftforthe. highlandswherehesawthepeasantfamilyperformthesacreddance.Duringhisjour-. neyheoccasionallyfeltphilanthropytothosewhoweresocialinferiors.Nowheis,on. thewaytoLyons,forcedtostaythenightàtalittledecentkindofaninnbytheroad. side'(ASJ,160)becausetheroadisblocked.Hesharestheonlybedroomwitha. Piedmonteseladyandhermaid.ThenegotiationbetweentheEnglishgentlemanand. theFrenchladytakesroughlytwohourstodecidehowtosharethebedroom.They. makeatreatyofthreearticlesforonlyonenight.Heboastsofhisachievement,but. itseemsquiteridiculous:Ìbelievewithasmuchreligionandgoodfaithonbothsides,. asinanytreatywhichasyethadthehonourofbeinghandeddowntoposterity'(ASJ,. 163).Thereasonwhybothheandthetreatyseemlaughableatisthatheonlyenjoys. takingopportunitytobehavelikeagenerousgentlemanandthetreatydoesnotcome. outofanysentiment.Treatiesmusthavenothingtodowithanysentimentintheory,. butitobviouslyrunscountertothesentimentaltraveller.Heaccordinglycannotsleep:. Nowwhenweweregottobed,whetheritwasthenoveltyofthesituation,. orwhatitwas,Iknownot;butsoitwas,Icouldnotshutmyeyes;Itiredthis. sideandthat,andturn'dandturn'dagain,tillafullhouraftermidnight;when. NatureandpatiencebothwearingoutOmyGod!saidI(ASJ,164). Hecannotstandrepressinghissentimentandstretchesouthishand,which,asprevi-. ouslymentioned,isasensitiveorganthatsendsone'ssentimenttoanotherandreceive. another'sbytouch.Hishandcatches`holdoftheFilledeChambre's'(ASJ,165)flesh,. buthissentimentthirstsforcommunication,inthebroadsenseoftheword,bytouch.. Touchmeansaphilanthropicbondtohim,andthereader'sphilanthropicsentimentis. puttothetestwhethertakingYorick'shandinthedark,ornot.. Notes. 1AfamousexceptionisE.N.Dilworth,whothoughtofthesechapters`moreasmake一. 21.

(22) 近畿大学語学教育部紀要8巻1号(2008・7) weightsthanasfuelforthelightofhumour'inTheUncentimentalJourneyofLaurence Sterne(NewYork:OctagonBooks,1969),91.. 2. JohnMullan,SentimentandSociability:TheLanguageofFeelingintheEighteenthCentury. 3. MelvynNewandW.G.Day,`lntroduction',ASentimental/gurneythroughFianceand加. (Oxford:ClarendonPress,1988),199. ヶ. andContinuationoftheBramine's.lournal(Gainsville:UniversityPressofFlorida,2002),xiv.. 4. HerbertReadstates:`humourisflatandinsipidunlessitrepresentsthecontrastbetween thedesiresofthefleshandtheaspirationsofthespirit',and`humourisasuddenperceptionofthefactthatourlowestlustsandourhighestidealscanceloutoneanother' in`lntroduction',ASentimentalJourneybyLaurenceSterne(London:TheScholartisPress, 1929),xxxvandxxxviii.. 5. MelvynNew,`ReadingSternethroughProustandLevinas',TheAge(ゾ. 。励nson,12(2001),. 342.. 6. JohnM.StedmondmaintainsthatYorickseeminglyignoresclassdifferences.SeeThe ComicArtofLaurenceSterne:ConventionandInnovationinTristramShandyandA SentimentalJourney(Toronto:UniversityofTorontoPress,1967),158.AndMaxByrd suggeststhat`Sterne,likeJohnson,displaystheclassicAugustanfaiththathumannatureisprimarilysocial,thatreality(nothell)isotherpeople'in`SterneandSwift: AugustanContinuities',JohnsonandHisAge(Cambridge,Massachusetts:Harvard UniversityPress.1984),518.. 7. DavidFairerwritesof`thewholeknotfelldown'(TS,7,43,650)thatìnSentimentalism's manyplayfulre-enactmentsoftheFall,theinstantoffallingistransformedtoadropping,aspontaneouslossofcontrolortheslippingfreeofafeelingwhichmanagesto evadejudgement'in`SentimentalTranslationinMackenzieandSterne',EssaysinCriticism, 49.2.(1999),144.. 8. ThomasM.Curleystates:ÀSentimentalJourneycapitalizedonanotherdistinctivefeature ofRenaissancetourismbycharacterizingbothYorickandhisFrenchassociatesaccordingtotraditionalnationalstereotypesadvertisedinearlyguidebooks'in`Sterne'sA SentimentalJourneyandtheTraditionofTravelLiterature',AllBeforeThem:English LiteratureandtheWiderWorld,Vol.1,1660-1780(London:TheAshfiledPress,1990),206.. 9 10. ASJ,351,noteto119.23-120.11. Curleyremarks:`CommentatorslikeRogerAscham,FrancisBacon,andJamesHowell agreedinencouragingyoungmentocultivaterightreasonandservethepublicgoodby concentratingonthedistinctlyhumanphenomenaofContinentallearning,politics,religion,andsocialmores,especiallyinanurbanenvironment'(206).. 11. AsIshallarguelater,IgorDjordjevicseemstoacknowledgetheascentofthetravellers. Heexplainsthat`Yorick,thequestingknight,beginshisascentoftheHighGround', andthatìtappearsthatonthesummitofMt.Taurira,Yorickbecomesonewiththe "S ensibility"...'in`The(ln)CompleteQuestofSirYorick,theKnightofCharity:A. 22.

(23) TheSacredDanceandQuestfortheHumanBondsinASentimentalJourney. SentimentalJourneyasa"Cervantic"Romance',TheShandean,14(2003),92.. 12. Curley,205-206.. 13. SeeMartin.C.Battestin'sÀSentimentalJourneyandtheSyntaxofThings',Augustan Worlds,eds.J.C.Hilson,M.M.B.JonesandJ.R.Watson(Leicester:LeicesterUniversity Press,1978),225.. 14. Djordjevic,92.. 15. Ibid.,80.. 16. SeeAS.1,324-325,noteto95.10-11.. 17. MelindaAllikerRabb,ÈngenderingAccountsinSterne'sASentimentalJourney',。 andHisAge,ed.JamesEngell,(Cambridge,Massachusetts:HarvardUniversityPress, 1984),553.. 18. R.F.Brissenden,Virtue加Distre∬'StudiesintheNovel(ゾSentiment/Nom.Richardson'oSade. 19. Byrd,519.. 20. Curley,214.. 21. AsforSterneandthematerialism,seeM.C.Battestin's`SterneamongthePhilosophes:. (London:Macmillan,1974),85.. BodyandSoulin.4Senti〃aentalノ. 22. ∂urney,'Eighteenth-Centsの7Fiction,7.1.(1994),17-36.. Rabbremarks:`Thereaderquicklydiscoversthatthe"great,greatSensoriumofthe world!whichvibrates,ifahairofourheadsbutfallsupontheground"(p.278)also isagreatemporium,whichregisters,asonaDowJonesofsentiment,theexchangeof evenasinglesou'(534).RobertMarkleystates:`Themetaphorswhichundergirdthis passageareeconomic‐"precious"and"costly"‐andtheysubtlybeliethenarrator's attempttoelevatesensibilitytoadivinehypersensitivitytofallinghairs'in `S entimentalityasPerformance:Shaftesbury,Sterne,andtheTheatricsofVirtue',The AセwEighteenthCθ. η雄. γ'Theory・Po〃'たS・Eng〃shLiterat〃re,eds.FelicityNussbaumand. LauraBrown(NewYork:Methuen,1987),227.. 23. Battestinstates:`Butthisprocessofhumanizinghisfaithreachesaclimaxinthetwo followingchapters,entitled"TheSupper"and"TheGrace"(`Sterneamongthe Ph〃os(凋. 乃θ3',35).. 24. Djordjevic,92.. 25. Djordjevicconsidersthesupperasanasceticideal,stating:`Yorickfindshimselfinan idealizedpastoralsettingwherehejoinsapoorpeasantfamilywhoexemplifythe Christianasceticidealforamealthathecalls"afeastoflove"(ASJ,158)'(92).. 26. AlexisTadiesuggests:`Theunderlyingunityofthespeakerswouldbeintimatedbythe presenceoftheheartthroughouthis[Sterne's]works.Inthissense,thesentimental themewouldhelptheauthorbringtheselfintothewritings'inSterne'sWhimsicalTheatres ofLanguage:Opalめ. 27. SeeTheActs(ゾ. ・,Gesture,Litera(フ(Aldershot:Ashgate,2003),135. ノ∂加,94,TheApocり. 卯肋1八lewTestament(Oxford:OxfordUniversityPress,. 1993),318.. 23. 励nson.

(24) 近畿大学語学教育部紀要. 8巻1号(2008・7). 28. W.O.E.Oesterley,SacredDanceintheAncientWorld(Mineola,NewYork:Dover,2002. 29. SeeDjordjevic,93.. 30. SeeCurley,214.. 31. SeeBattestin,ÀSentimentalJourneyandtheSyntaxofThings',236.. 32. JonathanLamb,Sterne'sFictionandtheDoublePrinciple(Cambridge:CambridgeUniversity. [Cambridge:CambridgeUniversityPress,19230,22.. Press,1989),81. 33. SeeBrissenden,232.. 34. AlanB.Howes,YorickandtheCritics:Sterne'sReputationinEngland,1760-1868(NewHaven: YaleUniversityPress,1958),89.. 24.

(25)