the prefatory sonnet, in which he solicits pardon for his too minute
investigations, is sufficient proof of the curiously reverent spirit
in which he set about his damaging task:

"Sterne, for whose sake I plod through miry ways
Of antic wit, and quibbling mazes drear,
Let not thy shade malignant censure fear,
If aught of inward mirth my search betrays.
Long slept that mirth in dust of ancient days,
Erewhile to Guise or wanton Valois dear," &c.

Thus commences Dr. Ferriar's apology, which, however, can hardly
be held to cover his offence; for, as a matter of fact, Sterne's
borrowings extend to a good deal besides "mirth;" and some of the
most unscrupulous of these forced loans are raised from passages of a
perfectly serious import in the originals from which they are taken.

Here, however, is the list of authors to whom Dr. Ferriar holds Sterne
to have been more or less indebted: Rabelais, Beroalde de Verville,
Bouchet, Bruscambille, Scarron, Swift, an author of the name or
pseudonym of "Gabriel John," Burton, Bacon, Blount, Montaigne, Bishop
Hall. The catalogue is a reasonably long one; but it is not, of
course, to be supposed that Sterne helped himself equally freely from
every author named in it. His obligations to some of them are, as Dr.
Ferriar admits, but slight. From Rabelais, besides his vagaries of
narrative, Sterne took, no doubt, the idea of the _Tristra-paedia_
(by descent from the "education of Pantagruel," through "Martinus
Scriblerus"); but though he has appropriated bodily the passage in
which Friar John attributes the beauty of his nose to the pectoral
conformation of his nurse, he may be said to have constructively