st appeared.

The reception given to the first batch of sermons which Sterne had
published was quite favourable enough to encourage a repetition of the
experiment. He was shrewd enough, however, to perceive that on
this second occasion a somewhat different sort of article would be
required. In the first flush of _Tristram Shandy's_ success, and in
the first piquancy of the contrast between the grave profession of the
writer and the unbounded license of the book, he could safely reckon
on as large and curious a public for _any_ sermons whatever from the
pen of Mr. Yorick. There was no need that the humourist in his pulpit
should at all resemble the humourist at his desk, or, indeed, that
he should be in any way an impressive or commanding figure. The great
desire of the world was to know what he _did_ resemble in this new
and incongruous position. Men wished to see what the queer, sly face
looked like over a velvet cushion, in the assurance that the sight
would be a strange and interesting one, at any rate. Five years
afterwards, however, the case was different. The public then had
already had one set of sermons, and had discovered that the humorous
Mr. Sterne was not a very different man in the pulpit from the dullest
and most decorous of his brethren. Such discoveries as these are
instructive to make, but not attractive to dwell upon; and Sterne was
fully alive to the probability that there would be no great demand for
a volume of sermons which should only illustrate for the second time
the fact that he could be as commonplace as his neighbour. He saw that
in future the Rev. Mr. Yorick must a little more resemble the author
of _Tristram Shandy,_ and it is not improbable that from 1760 onwards
he composed his parochial sermons with especial attention to this mode
of qualifying them for republication. There is, at any rate, no slight
critical difficulty in believing that the bulk of the sermons of 1766
can be assigned to the same literary period as the sermons of 1761.
The one set seems as manifestly to belong to the post-Shandian as
the other does to the pre-Shandian era; and in some, indeed, of
the apparently later productions the daring quaintness of style and
illustration is carried so far that, except for the fact that Sterne
had no time to spare for the composition of sermons not intended for
professional use, one would have been disposed to believe that they
neither were nor were meant to be delivered from the pul