under the figure of a "pair of
black velvet plush breeches" which ultimately "got into the possession
of one Lorry Slim (Sterne himself, of course), an unlucky wight, by
whom they are still worn: in truth, as you will guess, they are very
thin by this time."

The whole thing is the very slightest of "skits;" and the quarrel
having been accommodated before it could be published, it was
not given to the world until after its author's death. But it is
interesting, as his first known attempt in this line of composition,
and the grasping sexton deserves remembrance, if only as having handed
down his name to a far more famous descendant.

CHAPTER IV.

"TRISTRAM SHANDY," VOLS. I. AND II.

(1759-1760.)

Hitherto we have had to construct our conception of Sterne out of
materials of more or less plausible conjecture. We are now at last
approaching the region of positive evidence, and henceforward, down
almost to the last scene of all, Sterne's doings will be chronicled,
and his character revealed, by one who happens, in this case, to be
the best of all possible biographers--the man himself. Not that such
records are by any means always the most trustworthy of evidence.
There are some men whose real character is never more effectually
concealed than in their correspondence. But it is not so with Sterne.
The careless, slipshod letters which Madame de Medalle "pitchforked"
into the book-market, rather than edited, are highly valuable as
pieces of autobiography. They are easy, naive, and natural, rich in
simple self-disclosure in almost every page; and if they have more
to tell us about the man than the writer, they are yet not wanting
in instructive hints as to Sterne's methods of composition and his
theories of art.

It was in the year 1759 that the Vicar of Sutton and Prebendary of
York--already, no doubt, a stone of stumbling and a rock of offence
to many worthy people in the county--conceived the idea of astonishing
and scandalizing them still further after a new and original fashion.
His impulses to literary production were probably various, and not all
of them, or perhaps the strongest of them, of the artistic order. The
first and most urgent was, it may be suspected, the simplest and most
common of all such motive forces. Sterne, in all likelihood, was in
want of money. He was not, perhaps, under the actual instruction of
that _magister artium_ whom the Roman satirist has celebrated; for he
declared, indeed,