to his artistic development;
but it is nevertheless hardly open to doubt that Sterne's philandering
propensities did exercise an influence upon his literary character and
work in more ways than one. That his marriage was an ill-assorted and
unhappy union was hardly so much the cause of his inconstancy as its
effect. It may well be, of course, that the "dear L.," whose moral and
mental graces her lover had celebrated in such superfine, sentimental
fashion, was a commonplace person enough. That she was really a woman
of the exquisite stolidity of Mrs. Shandy, and that her exasperating
feats as an _assentatrix_ did, as has been suggested, supply the model
for the irresistibly ludicrous colloquies between the philosopher
and his wife, there is no sufficient warrant for believing. But it
is quite possible that the daily companion of one of the most
indefatigable jesters that ever lived may have been unable to see
a joke; that she regarded her husband's wilder drolleries as mere
horse-collar grimacing, and that the point of his subtler humour
escaped her altogether. But even if it were so, it is, to say the
least of it, doubtful whether Sterne suffered at all on this ground
from the wounded feelings of the _mari incompris_, while it is next to
certain that it does not need the sting of any such disappointment
to account for his alienation. He must have had plenty of time and
opportunity to discover Miss Lumley's intellectual limitations during
the two years of his courtship; and it is not likely that, even if
they were as well marked as Mrs. Shandy's own, they would have
done much of themselves to estrange the couple. Sympathy is not the
necessity to the humourist which the poet finds, or imagines, it to be
to himself: the humourist, indeed, will sometimes contrive to extract
from the very absence of sympathy in those about him a keener relish
for his reflections. With sentiment, indeed, and still more with
sentimentalism, the case would of course be different; but as for Mr.
Sterne's demands for sympathy in that department of his life and art,
one may say without the least hesitation that they would have been
beyond the power of any one woman, however distinguished a disciple of
the "Laura Matilda" school, to satisfy. "I must ever," he frankly
says in one of the "Yorick to Eliza" letters, "I must ever have some
Dulcinea in my head: it harmonizes the soul;" and he might have added
that he found it impossible to sustain the ha