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The sixth volume of the Florida Edition of the Works of Laurence Sterne contains scholarly editions of two works of Sterne's last year of life, A Sentimental Journey and the Bramine's Journal (Journal to Eliza). As with the first five volumes of the series (Tristram Shandy, the Sermons, and their annotations), the texts are presented as clean texts, with all textual and scholarly apparatus gathered at the end of the volume, including collations with existing manuscripts, a historical collation of the first three editions of Journey, and a comprehensive listing of all emendations made to the texts. While relying on the scholarly edition of Journey by Gardner Stout (1967), this new edition has in many ways, both textual and annotative, altered his earlier work; and it presents as well the first truly scholarly edition of the Journal since Lewis Perry Curtis's edition in Letters (1935).
This book continues the tradition of the Florida Edition, providing an abundance of materials that are intended to elucidate but not interpret Sterne's writings. New and Day build on Stout's fine annotations, but they add the commentaries of the intervening 35 years, along with some new recoveries and discoveries, and some corrections to Stout's edition. The annotations to the Journal go well beyond Curtis's commentary, especially in drawing a strong relationship between the Journey and the Journal. As the editors argue in the extensive introduction, the two texts must be read together in order to be understood properly.
Sterne's writings in his last year belong together as the complex representation of his hopes and fears, his loves and his longings, as he prepared to face death and judgment. The dual presentation in this volume will not only enhance the reputation of the Bramin's Journal, but will bring to light aspects of A Sentimental Journey previously unnoted.
Melvyn New is professor of English at the University of Florida and general editor of the Florida Edition of the Works of Laurence Sterne, five volumes of which have been published.
W. G. Day is head of the English Department and Eccles Librarian at Winchester College, U.K.
- Sales Rank: #3944358 in Books
- Published on: 2002-04-24
- Original language: English
- Number of items: 1
- Dimensions: 9.70" h x 1.80" w x 5.88" l, 2.61 pounds
- Binding: Hardcover
- 640 pages
About the Author
Irish-born Laurence Sterne was an eighteenth century English author and Anglican clergyman. Though he is perhaps best known as a novelist, Sterne also wrote memoirs, articles on local politics, and a large number of sermons for which he was quite well known during his lifetime. Sterne s works include The Life and Opinions of Tristram Shandy, Gentleman, A Sentimental Journey through France and Italy, and the satire A Political Romance (also known as The History of a Good Warm Watch-Coat). Sterne died in 1768 at the age of 54.
Melvyn New is Professor of English, University of Florida, and General Editor of the Florida Edition of "The Works of Laurence Sterne".
W. G. Day is Eccles Librarian and former head of the English Department, Winchester College, U.K., and co-editor, with Melvyn New, of Volume Six of the Florida Edition of "The Works of Laurence Sterne"
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4 of 4 people found the following review helpful.
Portrait of the Artist as a Dying Man
By Tom Moran
Laurence Sterne may have been one of the most peculiar authors who ever lived. Spending most of his life as a provincial Anglican clergyman (albeit a randy one) with a wife he didn't get along with and on whom he cheated compulsively, troubled by the tuberculosis that would eventually kill him, he became famous overnight in his mid-forties with the publication of the first volumes of Tristram Shandy in 1760. While Sterne has never lacked for either admirers or detractors (some of the former are Thomas Jefferson, Friedrich Nietzsche and Virginia Woolf; examples of the latter are Samuel Johnson and William Makepeace Thackeray), he has somehow survived as one of the magnificent oddities of English literature.
Since the 1970s, Sterne's greatest champion has been Dr. Melvyn New of the University of Florida, whose edition of Sterne's Works has become the standard texts of Tristram Shandy and his Sermons. Now Dr. New has added a sixth volume to the series, consisting of A Sentimental Journey and Continuation of the Bramine's Journal.
At the time Sterne began A Sentimental Journey in 1767 (he never finished it -- what we have are the first two volumes of a projected four), he was at a crossroads in his career as a writer. The later volumes of Tristram Shandy had not sold as well or caused the stir of the earlier volumes, and Sterne may have felt that he had taken its strain of satiric ribaldry as far as it could go -- at any rate, he decided to change course, and to indulge in the then-popular mode of fictional pathos. To elicit a furtive tear, rather than a sly guffaw, was now his aim, and whether this was simple careerism or a genuine change of heart is for each reader to decide (although the evidence of the Bramine's Journal, never intended for publication, indicates that the latter was most likely the case).
The text of A Sentimental Journey doesn't present insurmountable difficulties (Sterne, unlike Swift, always scrupulously prepared his works for the press, and in any event Dr. New has the precedent, graciously acknowledged, of Gardner Stout's 1967 University of California Press edition), but the Florida edition, as impeccable as its scholarship is, is more interesting for what it doesn't do than for what it does. Unlike the Stout edition, in which a tiny island of text can be overwhelmed by a tsunami of annotation, New's Florida text is unencumbered by its nonetheless impressive scholarly apparatus, which is printed in the back. Dr. New is that academic rarity -- a scholar who actually gives a damn about the non-scholarly reader. The result, as with the rest of the Florida Sterne, is an edition that manages to have it both ways -- impeccable scholarship that does not overwhelm a text that is presented in a way so that it can be enjoyed for its own sake. Would that there were more editors like him.
Sterne is the poet of nuance (although at times his more earthy side takes over -- at one point he asks a woman hidden from him by a curtain "if she wanted anything," and gets back the reply, "Rien que pisser," which means just what you think it means), and there are times when the more lachrymal sentiments of the late 18th Century, so trendy then, feel strained now. But he sometimes managed to combine his empathy for others with his appreciation of the odd and the grotesque, as when he notices, at the opera comique, a dwarf with his view blocked by a "tall, corpulent German, near seven feet high, who stood directly betwixt him and all possibility of his seeing either the stage or the actors."
Mostly, however, A Sentimental Journey is about the exhilarating minutiae of traveling, unencumbered (as Sterne was at times when he made the journeys in France and Italy that inspired the book) by either wife of child, and moving through, as he mentions several times, a country with which his own was, at that time, at war. "I seldom go to the place I set out for," Sterne comments at one point, and the unpredictability of his peregrinations make the book feel more like life, and less like literature, than most books of his time -- or even ours. He can manage a delicacy of feeling combined with an intricacy of expression that make him seem a precursor of Proust.
The other work contained in the volume, Continuation of the Bramine's Journal (one wishes that Dr. New had been a tad less pedantically accurate and chosen instead the less holographically correct but inarguably more effective title that Sterne biographer Wilbur L. Cross gave it: the Journal to Eliza) is a diary kept by Sterne in the last year of his life and intended for a 23-year-old married woman named Eliza Draper, with whom Sterne had become hopelessly infatuated (an infatuation all the more hopeless since the lady's husband was in Bombay, where Eliza would soon join him). At their parting Sterne began keeping a journal that he assumed would be reciprocated by Eliza, and that at some point they would meet again and share their respective sentiments. Never published during his lifetime, it makes Sterne seem either hopelessly romantic or more than a little pathetic -- depending, I suppose, on one's age and/or gender. At any event, Sterne never saw Eliza again.
Together, these two works of the final year of Sterne's life give us both an impressive and moving Portrait of the Artist as a Dying Man, and Dr. New and the University Press of Florida are to be congratulated for their persistence in putting out, over a period of three decades, so splendid an edition of a classic author. This latest volume more than lives up to the high standards of the previous five, and should be read by anyone even remotely curious about one of the most curious and brilliant authors ever to write in English.
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