bestowed upon it is certainly deserved. The artful coquetries of the
fascinating widow, and the gradual capitulation of the Captain, are
studied with admirable power of humorous insight, and described with
infinite grace and skill. But there is, perhaps, no episode in the
novel which brings out what may be called the perversity of Sterne's
animalism in a more exasperating way. It is not so much the amount
of this element as the time, place, and manner in which it makes its
presence felt. The senses must, of course, play their part in all
love affairs, except those of the angels--or the triangles; and such
writers as Byron, for instance, are quite free from the charge of
over-spiritualizing their description of the passion. Yet one might
safely say that there is far less to repel a healthy mind in the
poet's account of the amour of Juan and Haidee than is to be found in
many a passage in this volume. It is not merely that one is the poetry
and the other the prose of the sexual passion: the distinction goes
deeper, and points to a fundamental difference of attitude towards
their subject in the two writers' minds.

The success of this instalment of _Tristram Shandy_ appears to have
been slightly greater than that of the preceding one. Writing from
London, where he was once more basking in the sunshine of social
popularity, to Garrick, then in Paris, he says (March 16, 1765): "I
have had a lucrative campaign here. _Shandy_ sells well," and "I am
taxing the public with two more volumes of sermons, which will more
than double the gains of _Shandy_. It goes into the world with a
prancing list _de toute la noblesse_, which will bring me in three
hundred pounds, exclusive of the sale of the copy." The list was,
indeed, extensive and distinguished enough to justify the curious
epithet which he applies to it; but the cavalcade of noble names
continued to "prance" for some considerable time without advancing.