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            <title type="main">A Sentimental Journey</title>
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                     <forename>Laurence</forename>
                     <surname>Sterne</surname>
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               <analytic>
                  <title>A Sentimental Journey through France and Italy: By Mr. Yorick [2 Vols]</title>
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                  <author>
                     <forename>Laurence</forename> <surname>Sterne</surname> </author>
                  <title>A Sentimental Journey through France and Italy: By Mr. Yorick. [2
                     Vols]</title>
                  <imprint>
                     <publisher>printed for T. Becket and P. A. De Hondt
                        <pubPlace>
                                    <placeName type="tgn" key="7011781">London</placeName>
                                </pubPlace>
                            </publisher>
                     
                     <date when="1768">1768.</date>
                     <note>A facsimile copy of this book is available via Google Books</note>
                     <note>Mr. Yorick = Laurence Sterne.</note>
                     <note>With a list of subscribers.</note>
                     <note>Reproduction of original from the British Library.</note>
                     <note>English Short Title Catalog, ESTCT14747.</note>
                  </imprint>
                  <imprint>


                     <publisher>University of Michigan Library</publisher>
                     <pubPlace>Ann Arbor, Michigan</pubPlace>
                     <date when="2007-10">2007 October</date>
                     <note>An open-source SGML copy of this book is available via <ref target="https://quod.lib.umich.edu/e/ecco/004792522.0001.001?view=toc">ECCO-TCP</ref>.</note>
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   <text>
      <front>
         <pb n="[Title Page]" facs="pageImages/sjv1-0TP.png"/>
         <titlePage>
            <docTitle>
               <titlePart>
                  <lb/> A <lb/> SENTIMENTAL JOURNEY <lb/> THROUGH <lb/> FRANCE AND ITALY <lb/> BY
                  <lb/> MR. YORICK <lb/> VOL. I <lb/>
               </titlePart>
            </docTitle>

            <docImprint>
                    <placeName type="tgn" key="7011781">LONDON</placeName>: <lb/> Printed for T. BECKET and P. A. DE HONDT, in the Strand.<lb/>
            </docImprint>
            <docDate>MDCCLXVIII. </docDate>
            
         </titlePage>
         


         <div type="note">
         <pb n="i"/>
            <head>Advertisement.</head>
            <p>THE Author begs leave to acknowledge to his Subscribers, that they have a further
               claim upon him for Two Volumes more than these delivered to them now, and which
               nothing but ill health could have prevented him, from having ready along with
               these.</p>
            <p>The Work will be compleated and delivered to the Subscribers early the next
               Winter.</p>
         </div>
         <div type="list_of_subscribers">
            <pb n="ii"/>
            <head>SUBSCRIBERS.</head>
            <p/>
                <p>[the list of subscribers can be viewed in the ECCO-TCP imprint, noted in Sources]</p>
         </div>
      </front>
      <body>
         <div type="section">
            <pb n="1" facs="pageImages/sjv1-001.png"/>
            <head>A <ref target="_sentimental" corresp="sentimental">SENTIMENTAL JOURNEY</ref>, &amp;c.
               &amp;c.</head>
            <p>—THEY order, said I, this matter better in <placeName type="tgn" key="1000070">France</placeName>—</p>
            <p>—You have been in <placeName type="tgn" key="1000070">France</placeName>? said my gentleman, turning quick upon me with the most
               civil triumph in the world.—Strange! <ref target="_quoth" corresp="quoth">quoth</ref> I,
               debating the matter with myself, That one and twenty miles sailing, for 'tis
               absolutely no further from <placeName type="tgn" key="7011554">Dover</placeName> to
                  <placeName type="tgn" key="7009002">Calais</placeName>, should give a man these
                  <pb n="2"/> rights—I'll look into them: so giving up the
               argument—I went straight to my lodgings, put up <ref target="_shirts" corresp="shirts">half a dozen shirts</ref> and a black pair of silk breeches—"the coat I have on, said I, looking at the sleeve, will do"—took a place in
               the <ref target="_Dover" corresp="Dover">
                        <placeName type="tgn" key="7011554">Dover</placeName> stage</ref>; and the <ref target="_packet" corresp="packet">packet</ref> sailing at nine the next morning—by three I had got sat down to my
               dinner upon a fricassee'd chicken so incontestably in <placeName type="tgn" key="1000070">France</placeName>, that had I died that
               night of an indigestion, the whole world could not have suspended the effects of the
                  <ref target="auth1" corresp="nauth1">*</ref>
               <hi rend="italic">Droits</hi>
               <pb n="3"/>
               <hi rend="italic">d'aubaine</hi>—my shirts, and black pair of silk breeches—<ref target="_portmanteau" corresp="portmanteau">portmanteau</ref> and all must have gone to the King of France—even
               the little picture which I have so long worn, and so often have told thee, Eliza, I
               would carry with me into my grave, would have been torn from my neck.—Ungenerous!—to
               seize upon the wreck of an unwary passenger, whom your subjects had beckon'd to their
               coast—by heaven! SIRE, it is not well done; and much does it grieve me, 'tis the
               monarch of a people so civilized and courteous, and so renown'd for sentiment and
               fine feelings, that I have to reason with—</p>
            <p>But I have scarce set foot in your dominions—</p>
         </div>
         <div type="section">
            <pb n="4"/>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>WHEN I had finish'd my dinner, and drank the King of France's health, to satisfy my
               mind that I bore him no <ref target="_spleen" corresp="spleen">spleen</ref>, but, on the
               contrary, high honour for the humanity of his temper—I rose up an inch taller for the
               accommodation.</p>
            <p>—No—said I—the <ref target="_Bourbon" corresp="Bourbon">Bourbon</ref> is by no means a cruel
               race: they may be misled like other people; but there is a mildness in their blood.
               As I acknowledged this, I felt a suffusion of a finer kind upon my cheek—more warm
               and friendly to man, than <pb n="5"/> what Burgundy (at
               least of two <ref target="_livre" corresp="livre">livres</ref> a bottle, which was such
               as I had been drinking) could have produced.</p>
            <p>—Just God! said I, kicking my portmanteau aside, what is there in this world's goods
               which should sharpen our spirits, and make so many kind-hearted brethren of us, fall
               out so cruelly as we do by the way?</p>
            <p>When man is at peace with man, how much lighter than a feather is the heaviest of
               metals in his hand! he pulls out his purse, and holding it airily and uncompress'd,
               looks round him, as if he sought for an object to share it with—In doing this, I felt
                  <pb n="6"/> every vessel in my frame dilate—the arteries
               beat all chearily together, and every power which sustained life, perform'd it with
               so little friction, that 'twould have confounded the most <hi rend="italic">physical <ref target="_precieuse" corresp="precieuse">precieuse</ref>
                    </hi> in <placeName type="tgn" key="1000070">France</placeName>: with all her <ref target="_materialism" corresp="materialism">materialism</ref>, she could scarce have called me a
               machine—</p>
            <p>I'm confident, said I to myself, I should have overset her creed.</p>
            <p>The accession of that idea, carried nature, at that time, as high as she could go—I
               was at peace with the world before, and this finish'd the treaty with myself—</p>
            <p>
               <pb n="7"/> —Now, was I a King of <placeName type="tgn" key="1000070">France</placeName>, cried I—what a
               moment for an orphan to have begg'd his father's portmanteau of me!</p>
         </div>
         <div type="section">
            <pb n="8"/>
            <head>THE MONK.</head>
            <head>
                    <ref target="_Calais" corresp="Calais">
                        <placeName type="tgn" key="7009002">CALAIS</placeName>
                    </ref>.</head>
            <p>I HAD scarce utter'd the words, when a poor monk of the order of St. Francis came
               into the room to beg something for his convent. No man cares to have his virtues the
               sport of contingencies—or one man may be generous, as another man is <ref target="_puissant" corresp="puissant">puissant</ref>—<hi rend="italic">sed non, quo ad hanc</hi>—or be it
               as it may—for there is no regular reasoning upon the ebbs and flows of our humours;
               they may depend upon the same causes, for ought I know, which influence the tides
               themselves—'twould oft be no discredit <pb n="9"/> to us, to
               suppose it was so: I'm sure at least for myself, that in many a case I should be more
               highly satisfied, to have it said by the world, "I had had an affair
                  with the moon, in which there was neither sin nor shame," than have it pass
               altogether as my own act and deed, wherein there was so much of both.</p>
            <p>—But be this as it may. The moment I cast my eyes upon him, I was predetermined not
               to give him a single <ref target="_sous" corresp="sous">sous</ref>; and accordingly I
               put my purse into my pocket—button'd it up—set myself a little more upon my centre,
               and advanced up gravely to him: there was something, I fear, forbidding in my look: I
               have his <pb n="10"/> figure this moment before my eyes, and
               think there was that in it which deserved better.</p>
            <p>The monk, as I judged from the break in his <ref target="_tonsure" corresp="tonsure">tonsure</ref>, a few scatter'd white hairs upon his temples, being all that
               remained of it, might be about seventy—but from his eyes, and that sort of fire which
               was in them, which seemed more temper'd by courtesy than years, could be no more than
               sixty—Truth might lie between—He was certainly sixty-five; and the general air of his
               countenance, notwithstanding something seem'd to have been planting wrinkles in it
               before their time, agreed to the account.</p>
            <p>
               <pb n="11"/> It was one of those heads, which <ref target="_Guido" corresp="Guido">
                        <persName type="lcnaf" key="n80021717">Guido</persName>
                    </ref> has often painted—mild, pale—penetrating,
               free from all common-place ideas of fat contented ignorance looking downwards upon
               the earth—it look'd forwards; but look'd, as if it look'd at something beyond this
               world. How one of his order came by it, heaven above, who let it fall upon a monk's
               shoulders, best knows: but it would have suited a <ref target="_Bramin" corresp="Bramin">Bramin</ref>, and had I met it upon the plains of <ref target="_Indostan" corresp="Indostan">Indostan</ref>, I had reverenced it.</p>
            <p>The rest of his outline may be given in a few strokes; one might put it into the
               hands of any one to design, for 'twas neither elegant or <pb n="12"/> otherwise, but as character and expression made it so:
               it was a thin, spare form, something above the common size, if it lost not the
               distinction by a bend forwards in the figure—but it was the attitude of Intreaty; and
               as it now stands presented to my imagination, it gain'd more than it lost by it.</p>
            <p>When he had enter'd the room three paces, he stood still; and laying his left hand
               upon his breast, (a slender white staff with which he journey'd being in his
               right)—when I had got close up to him, he introduced himself with the little story of
               the wants of his convent, and the poverty of his order—and did it with <pb n="13"/> so simple a grace—and such an air of deprecation was
               there in the whole cast of his look and figure—I was bewitch'd not to have been
               struck with it—</p>
            <p>—A better reason was, I had predetermined not to give him a single sous.</p>
         </div>
         <div type="section">
            <pb n="14"/>
            <head>THE MONK.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>—'TIS very true, said I, replying to a cast upwards with his eyes, with which he had
               concluded his address—'tis very true—and heaven be their resource who have no other
               but the charity of the world, the stock of which, I fear, is no way sufficient for
               the many <hi rend="italic">great claims</hi> which are hourly made upon it.</p>
            <p>As I pronounced the words <hi rend="italic">great claims,</hi> he gave a slight glance with his eye
               downwards upon the sleeve <pb n="15"/> of his tunick—I felt
               the full force of the appeal—I acknowledge it, said I—a coarse habit, and that but
               once in three years, with meagre diet—are no great matters; and the true point of
               pity is, as they can be earn'd in the world with so little industry, that your order
               should wish to procure them by pressing upon a fund which is the property of the
               lame, the blind, the aged and the infirm—the captive who lies down counting over and
               over again the days of his afflictions, languishes also for his share of it; and had
               you been of the <hi rend="italic">order of mercy,</hi> instead of the order of St. Francis, poor as
               I am, continued I, pointing at my portmanteau, full chearfully should it have been
               open'd <pb n="16"/> to you, for the ransom of the
               unfortunate—The monk made me a bow—but of all others, resumed I, the unfortunate of
               our own country, surely, have the first rights; and I have left thousands in distress
               upon our own shore—The monk gave a cordial wave with his head—as much as to say, No
               doubt, there is misery enough in every corner of the world, as well as within our
               convent—But we distinguish, said I, laying my hand upon the sleeve of his tunick, in
               return for his appeal—we distinguish, my good Father! betwixt those who wish only to
               eat the bread of their own labour—and those who eat the bread of other people's, and
               have no other plan in life, but to get <pb n="17"/> through
               it in sloth and ignorance, <hi rend="italic">for the love of God.</hi>
            </p>
            <p>The poor <ref target="_Franciscan" corresp="Franciscan">Franciscan</ref> made no reply: a hectic
               of a moment pass'd across his cheek, but could not tarry—Nature seemed to have had
               done with her resentments in him; he shewed none—but letting his staff fall within
               his arm, he press'd both his hands with resignation upon his breast, and retired.</p>
         </div>
         <div type="section">
            <pb n="18"/>
            <head>THE MONK.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>
                    <ref target="_smote" corresp="smote">MY heart smote me</ref> the moment he shut the
               door—Psha! said I with an air of carelessness, three several times—but it would not
               do: every ungracious syllable I had utter'd, crouded back into my imagination: I
               reflected, I had no right over the poor Franciscan, but to deny him; and that the
               punishment of that was enough to the disappointed without the addition of unkind
               language—I consider'd his grey hairs—his courteous figure seem'd to reenter and
               gently ask me what injury he had done me?—and why I could <pb n="19"/> use him thus—I would have given twenty livres for an
               advocate—I have behaved very ill; said I within myself; but I have only just set out
               upon my travels; and shall learn better manners as I get along.</p>
         </div>
         <div type="section">
            <pb n="20"/>
            <head>THE <ref target="_desobligeant" corresp="desobligeant">DESOBLIGEANT</ref>.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>WHEN a man is discontented with himself, it has one advantage however, that it puts
               him into an excellent frame of mind for making a bargain. Now there being no
               travelling through <placeName type="tgn" key="1000070">France</placeName> and <placeName type="tgn" key="1000080">Italy</placeName> without a chaise—and nature generally prompting
               us to the thing we are fittest for, I walk'd out into the coach yard to buy or hire
               something of that kind to my purpose: an old <ref target="auth2" corresp="nauth2">*</ref> Desobligeant in the furthest corner of the court, hit my fancy at first
               sight, so I instantly got into it, <pb n="21"/> and finding
               it in tolerable harmony with my feelings, I ordered the waiter to call Monsieur
               Dessein the master of the hôtel—but Monsieur Dessein being gone to vespers, and not
               caring to face the Franciscan whom I saw on the opposite side of the court, in
               conference with a lady just arrived, at the inn—I drew the taffeta curtain betwixt
               us, and being determined to write my journey, I took out my pen and ink, and wrote
               the preface to it in the <hi rend="italic">Disobligeant.</hi>
            </p>
         </div>
         <div type="section">
            <pb n="22"/>
            <head>PREFACE, IN THE DESOBLIGEANT.</head>
            <p>IT must have been observed by many a peripatetic philosopher, That nature has set up
               by her own unquestionable authority certain boundaries and fences to circumscribe the
               discontent of man: she has effected her purpose in the quietest and easiest manner by
               laying him under almost insuperable obligations to work out his ease, and to sustain
               his sufferings at home. It is there only that she has provided him with the most
               suitable objects to partake of his happiness, and bear a part of that burden which in
               all countries and ages, has ever been too heavy <pb n="23"/>
               for one pair of shoulders. 'Tis true we are endued with an imperfect power of
               spreading our happiness sometimes beyond <hi rend="italic">her</hi> limits, but 'tis so ordered,
               that from the want of languages, connections, and dependencies, and from the
               difference in education, customs and habits, we lie under so many impediments in
               communicating our sensations out of our own sphere, as often amount to a total
               impossibility.</p>
            <p>It will always follow from hence, that the balance of sentimental commerce is always
               against the <ref target="_expatriated" corresp="expatriated">expatriated</ref> adventurer: he must
               buy what he has little occasion for at their own price—his conversation <pb n="24"/> will seldom be taken in exchange for theirs without a
               large discount—and this, by the by, eternally driving him into the hands of more
               equitable brokers for such conversation as he can find, it requires no great spirit
               of divination to guess at his party—</p>
            <p>This brings me to my point; and naturally leads me (if the see-saw of this
                  <hi rend="italic">Desobligeant</hi> will but let me get on) into the efficient as well as the
               final causes of travelling—</p>
            <p>Your idle people that leave their native country and go abroad for some reason or
               reasons which may be derived from one of these general causes— <list>
                  <pb n="25"/>
                  <item>Infirmity of body,</item>
                  <item>Imbecility of mind, or </item>
                  <item>Inevitable necessity.</item>
               </list> The first two include all those who travel by land or by water, labouring
               with pride, curiosity, vanity or spleen, subdivided and combined <hi rend="italic">in
                  infinitum.</hi>
            </p>
            <p>The third class includes the whole army of peregrine martyrs; more especially those
               travellers who set out upon their travels with the benefit of the clergy, either as
               <ref target="_delinquent" corresp="delinquent">delinquents</ref> travelling under the direction
               of governors recommended by the magistrate—or young gentlemen transported by the
               cruelty of parents and guardians, and travelling under the direction of governors
               recommended 
               <pb n="26"/> by Oxford, Aberdeen and Glasgow.</p>
            <p>There is a fourth class, but their number is so small that they would not deserve a
               distinction, was it not necessary in a work of this nature to observe the greatest
               precision and nicety, to avoid a confusion of character. And these men I speak of,
               are such as cross the seas and <ref target="_sojourn" corresp="sojourn">sojourn</ref> in a
               land of strangers with a view of saving money for various reasons and upon various
               pretences: but as they might also save themselves and others a great deal of
               unnecessary trouble by saving their money at home—and as their reasons for travelling
               are the least complex of any other species of emigrants, I shall distinguish <pb n="27"/> these gentlemen by the name of<list>
                  <item>Simple Travellers.</item>
               </list>
            </p>
            <p>Thus the whole circle of travellers may be reduced to the following <hi rend="italic">Heads.</hi>
               <list>
                  <item>Idle Travellers,</item>
                  <item>Inquisitive Travellers,</item>
                  <item>Lying Travellers,</item>
                  <item>Proud Travellers,</item>
                  <item>Vain Travellers,</item>
                  <item>Splenetic Travellers.</item>
               </list>
            </p>
            <p>Then follow the Travellers of Necessity. <list>
               <item>The delinquent and <ref target="_felonious" corresp="felonious">felonious</ref> Traveller,</item>
                  <item>The unfortunate and innocent Traveller,</item>
                  <item>The simple Traveller,</item>
                    </list>
               <pb n="28"/> And last of all (if you please) 
                  <list>
                        <item>
                            <ref target="_travellers" corresp="travellers">The Sentimental Traveller</ref>
                        </item>
               </list> (meaning thereby myself) who have travell'd, and of which I am now sitting
               down to give an account—as much out of <hi rend="italic">Necessity,</hi> and the <hi rend="italic">besoin de</hi>
               Voyager, as any one in the class.</p>
            <p>I am well aware, at the same time, as both my travels and observations will be
               altogether of a different cast from any of my fore-runners; that I might have
               insisted upon a whole nitch entirely to myself—but I should break in upon the
               confines of the <hi rend="italic">Vain</hi> Traveller, in wishing to draw attention towards me,
               till I have some better grounds for it, than the mere <hi rend="italic">Novelty of my Vehicle.</hi>
            </p>
            <p>
               <pb n="29"/> It is sufficient for my reader, if he has been
               a traveller himself, that with study and reflection hereupon he may be able to
               determine his own place and rank in the catalogue—it will be one step towards knowing
               himself; as it is great odds, but he retains some tincture and resemblance, of what
               he imbibed or carried out, to the present hour.</p>
            <p>The man who first transplanted the grape of Burgundy to the <ref target="_Cape" corresp="Cape">
                        <placeName type="tgn" key="7016540">Cape of Good
                  Hope</placeName>
                    </ref> (observe he was a Dutch man) never dreamt of drinking the
               same wine at the Cape, that the same grape produced upon the French mountains—he was
               too phlegmatic for that—but undoubtedly <pb n="30"/> he
               expected to drink some sort of vinous liquor; but whether good, bad, or
               indifferent—he knew enough of this world to know, that it did not depend upon his
               choice, but that what is generally called <hi rend="italic">chance</hi> was to decide his success:
               however, he hoped for the best; and in these hopes, by an intemperate confidence in
               the fortitude of his head, and the depth of his discretion, <hi rend="italic">
                        <ref target="_mynheer" corresp="mynheer">Mynheer</ref>
                    </hi> might possibly overset both in his new
               vineyard; and by discovering his nakedness, become a laughingstock to his people.</p>
            <p>Even so it fares with the poor Traveller, sailing and posting through the politer
               kingdoms of the globe <pb n="31"/> in pursuit of knowledge
               and improvements.</p>
            <p>Knowledge and improvements are to be got by sailing and posting for that purpose; but
               whether useful knowledge and real improvements, is all a lottery—and even where the
               adventurer is successful, the acquired stock must be used with caution and sobriety
               to turn to any profit—but as the chances run prodigiously the other way both as to
               the acquisition and application, I am of opinion, That a man would act as wisely, if
               he could prevail upon himself, to live contented without foreign knowledge or foreign
               improvements, especially <pb n="32"/> if he lives in a
               country that has no absolute want of either—and indeed, much grief of heart has it
               oft and many a time cost me, when I have observed how many a foul step the
               inquisitive Traveller has measured to see sights and look into discoveries; all 
               which, as <ref target="_Sancho" corresp="Sancho">
                        <persName type="lcnaf" key="sh85097519">Sancho Panca</persName> said to <persName type="lcnaf" key="no2016096229">Don Quixote</persName>
                    </ref>,
               they might have seen dry-shod at home. It is an age so full of light, that there is
               scarce a country or corner of Europe whose beams are not crossed and interchanged
               with others—Knowledge in most of its branches, and in most affairs, is like music in
               an Italian street, whereof those may partake, who pay nothing—But there is no nation
               under heaven <pb n="33"/> —and God is my record, (before
               whose tribunal I must one day come and give an account of this work)—that I do not
               speak it vauntingly—But there is no nation under heaven abounding with more variety
               of learning—where the sciences may be more fitly woo'd, or more surely won than
               here—where art is encouraged, and will so soon rise high—where Nature (take her all
               together) has so little to answer for—and, to close all, where there is more wit and
               variety of character to feed the mind with—Where then, my dear countrymen, are you
               going—</p>
            <p>—We are only looking at this <ref target="_chaise" corresp="chaise">chaise</ref>, said
               they—Your most obedient <pb n="34"/> servant, said I,
               skipping out of it, and pulling off my hat—We were wondering, said one of them, who,
               I found, was an <hi rend="italic">inquisitive traveller</hi>—what could occasion its motion.——'Twas
               the agitation, said I coolly, of writing a preface—I never heard, said the other, who
               was a <hi rend="italic">simple traveller,</hi> of a preface wrote in a <hi rend="italic">Desobligeant.</hi>—It
               would have been better, said I, in a <hi rend="italic">
                        <ref target="_vis-a-vis" corresp="vis-a-vis">Vis a
                     Vis</ref>.</hi>
            </p>
            <p>—<hi rend="italic">As an English man does not travel to see English men,</hi> I retired to my
               room.</p>
         </div>
         <div type="section">
            <pb n="35"/>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>I Perceived that something darken'd the passage more than myself, as I stepp'd along
               it to my room; it was effectually Mons. Dessein, the master of the hôtel, who had
               just return'd from vespers, and, with his hat under his arm, was most complaisantly
               following me, to put me in mind of my wants. I had wrote myself pretty well out of
               conceit with the <hi rend="italic">Desobligeant;</hi> and Mons. Dessein speaking of it, with a
               shrug, as if it would no way suit me, it immediately struck my fancy that it belong'd
               to some <hi rend="italic">innocent traveller,</hi> who, on his <pb n="36"/>
               return home, had left it to Mons. Dessein's honour to make the most of. Four
               months had elapsed since it had finish'd its career of Europe in the corner of Mons.
               Dessein's coachyard; and having sallied out from thence but a vampt-up business at
               the first, though it had been twice taken to pieces on <ref target="_Cenis" corresp="Cenis">
                        <placeName type="tgn" key="7017223"/>Mount Sennis</ref>, it had not
               profited much by its adventures—but by none so little as the standing so many months
               unpitied in the corner of Mons. Dessein's coachyard. Much indeed was not to be said
               for it—but something might—and when a few words will rescue misery out of her
               distress, I hate the man who can be a churl of them.</p>
            <p>
               <pb n="37"/> —Now was I the master of this hôtel, said I,
               laying the point of my fore-finger on Mons. Dessein's breast, I would inevitably make
               a point of getting rid of this unfortunate <hi rend="italic">Desobligeant</hi>—itstands swinging
               reproaches at you every time you pass by it—</p>
            <p>
               <hi rend="italic">Mon Dieu!</hi> said Mons. Dessein—I have no interest—Except the interest, said I,
               which men of a certain turn of mind take, Mons. Dessein, in their own sensations—I'm
               persuaded, to a man who feels for others as well as for himself, every rainy night,
               disguise it as you will, must cast a damp upon your spirits—You suffer, Mons.
               Dessein, as much as the machine—</p>
            <p>
               <pb n="38"/> I have always observed, when there is as much
                  <hi rend="italic">sour</hi> as <hi rend="italic">sweet</hi> in a compliment, that an Englishman is eternally
               at a loss within himself, whether to take it, or let it alone: a Frenchman never is:
               Mons. Dessein made me a bow.</p>
            <p>
               <hi rend="italic">
                        <ref target="_true" corresp="true">C'est bien vrai</ref>,</hi> said he—But in
               this case I should only exchange one disquietude for another, and with loss: figure
               to yourself, my dear Sir, that in giving you a chaise which would fall to pieces
               before you had got half way to <placeName type="tgn" key="7008038">Paris</placeName>—figure to yourself how much I should suffer, in
               giving an ill impression of myself to a man of honour, and lying at the mercy, as I
               must do, <hi rend="italic">d'un homme d'esprit.</hi>
            </p>
            <p>
               <pb n="39"/> The dose was made up exactly after my own
               prescription; so I could not help taking it—and returning Mons. Dessein his bow,
               without more casuistry we walk'd together towards his Remise, to take a view of his
               magazine of chaises.</p>
         </div>
         <div type="section">
            <pb n="40"/>
            <head>IN THE STREET.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>IT must needs be a hostile kind of a world, when the buyer (if it be but of a sorry
               post-chaise) cannot go forth with the seller thereof into the street to terminate the
               difference betwixt them, but he instantly falls into the same frame of mind and views
               his conventionist with the same sort of eye, as if he was going along with him to
               <ref target="_Hyde" corresp="Hyde">
                        <placeName type="tgn" key="1102873">Hydepark corner</placeName>
                    </ref> to fight a <ref target="_duel" corresp="duel">duel</ref>. For my own part, being but a poor
               sword'sman, and no way a match for Monsieur <hi rend="italic">Dessein,</hi> I felt the rotation of
                  <pb n="41"/> all the movements within me, to which the
               situation is incident—I looked at Monsieur <hi rend="italic">Dessein</hi> through and through—ey'd
               him as he walked along in profile—then, <hi rend="italic">en face</hi>—thought he look'd like a
               Jew—then a <ref target="_Turk" corresp="Turk">Turk</ref>—disliked his wig—cursed him
               by my gods—wished him at the devil—</p>
            <p>—And is all this to be lighted up in the heart for a beggarly account of three or
               four louisd'ors, which is the most I can be overreach'd in?—Base passion! said I,
               turning myself about, as a man naturally does upon a sudden reverse of
               sentiment—base, ungentle passion! thy hand is against every man, and <pb n="42"/> every man's hand against thee—heaven forbid! said she,
               raising her hand up to her forehead, for I had turned full in front upon the lady
               whom I had seen in conference with the monk—she had followed us unperceived—Heaven
               forbid indeed! said I, offering her my own—she had <ref target="_gloves" corresp="gloves">a black pair of silk gloves open only at the thumb and two forefingers</ref>, so
               accepted it without reserve—and I led her up to the door of the Remise.</p>
            <p>Monsieur <hi rend="italic">Dessein</hi> had <hi rend="italic">diabled</hi> the key above fifty times before he
               found out he had come with a wrong one in his hand: we were as impatient as himself
               to have it open'd; and so <pb n="43"/> attentive to the
               obstacle, that I continued holding her hand almost without knowing it; so that
               Monsieur <hi rend="italic">Dessein</hi> left us together with her hand in mine, and with our faces
               turned towards the door of the <ref target="_remise" corresp="remise">Remise</ref>, and
               said he would be back in five minutes.</p>
            <p>Now a <ref target="_colloquy" corresp="colloquy">colloquy</ref> of five minutes, in such a
               situation, is worth one of as many ages, with your faces turned towards the street:
               in the latter case, 'tis drawn from the objects and occurrences without—when your
               eyes are fixed upon a dead blank—you draw purely from yourselves. A silence of a
               single moment upon Monsieur <hi rend="italic">Dessein</hi>'s <pb n="44"/>
               leaving us, had been fatal: to the situation—she had infallibly turned about—so I
               begun the conversation instantly.—</p>
            <p>—But what were the temptations, (as I write not to apologize for the weaknesses of my
               heart in this tour,—but to give an account of them)—shall be described with the same
               simplicity, with which I felt them.</p>
         </div>
         <div type="section">
            <pb n="45"/>
            <head>THE REMISE DOOR.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>WHEN I told the reader that I did not care to get out of the <hi rend="italic">Desobligeant,</hi>
               because I saw the monk in close conference with a lady just arrived at the inn—I told
               him the truth; but I did not tell him the whole truth; for I was full as much
               restrained by the appearance and figure of the lady he was talking to. Suspicion
               crossed my brain, and said, he was telling her what had passed: something jarred upon
               it within me—I wished him at his convent.</p>
            <p>
               <pb n="46"/> When the heart flies out before the
               understanding, it saves the judgment a world of pains—I was certain she was of a
               better order of beings—however, I thought no more of her, but went on and wrote my
               preface.</p>
            <p>The impression returned, upon my encounter with her in the street; a guarded
               frankness with which she gave me her hand, shewed, I thought, her good education and
               her good sense; and as I led her on, I felt a pleasurable ductility about her, which
               spread a calmness over all my spirits—</p>
            <p>
               <pb n="47"/> —Good God! how a man might lead such a creature
               as this round the world with him!—</p>
            <p>I had not yet seen her face—'twas not material; for the drawing was instantly set
               about, and long before we had got to the door of the Remise, <hi rend="italic">Fancy</hi> had
               finished the whole head, and pleased herself as much with its fitting her goddess, as
               if she had dived into the <ref target="_Tiber" corresp="Tiber">TIBER</ref> for it—but
               thou art a seduced, and a seducing <ref target="_slut" corresp="slut">slut</ref>; and
               albeit thou cheatest us seven times a day with thy pictures and images, yet with so
               many charms dost thou do it, and thou deckest out thy pictures in the shapes of so
               many angels of light, 'tis a shame to break with thee.</p>
            <p>
               <pb n="48"/> When we had got to the door of the Remise, she
               withdrew her hand from across her forehead, and let me see the original—it was a face
               of about six and twenty—of a clear transparent brown, simply set off without rouge or
               powder—it was not critically handsome, but there was that in it, which in the frame
               of mind I was in, which attached me much more to it—it was interesting; I fancied it
               wore the characters of a widow'd look, and in that state of its declension, which had
               passed the two first paroxysms of sorrow, and was quietly beginning to reconcile
               itself to its loss—but a thousand other distresses might have traced the same lines;
               I wish'd to know <pb n="49"/> what they had been—and was
               ready to enquire, (had the same <hi rend="italic">bon ton</hi> of conversation permitted, as in the
               days of <ref target="_Esdras" corresp="Esdras">Esdras</ref>)—"<hi rend="italic">What
                     aileth thee? and why art thou disquieted? and why is thy understanding
                     troubled?</hi>"—In a word, I felt benevolence for her; and resolved some
               way or other to throw in my mite of courtesy—if not of service.</p>
            <p>Such were my temptations—and in this disposition to give way to them, was I left
               alone with the lady with her hand in mine, and with our faces both turned closer to
               the door of the Remise than what was absolutely necessary.</p>
         </div>
         <div type="section">
            <pb n="50"/>
            <head>THE REMISE DOOR.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>THIS certainly, fair lady! said I, raising her hand up a little lightly as I began,
               must be <ref target="_Fortune" corresp="Fortune">one of Fortune's whimsical doings</ref>: to
               take two utter strangers by their hands—of different sexes, and perhaps from
               different corners of the globe, and in one moment place them together in such a
               cordial situation, as Friendship herself could scarce have atchieved for them, had
               she projected it for a month—</p>
            <p>
               <pb n="51"/> —And your reflection upon it, shews how much,
               Monsieur, she has embarassed you by the adventure.—</p>
            <p>When the situation is, what we would wish, nothing is so ill-timed as to hint at the
               circumstances which make it so: you thank Fortune, continued she—you had reason—the
               heart knew it, and was satisfied; and who but an English philosopher would have sent
               notices of it to the brain to reverse the judgment?</p>
            <p>In saying this, she disengaged her hand with a look which I thought a sufficient
               commentary upon the text.</p>
            <p>
               <pb n="52"/> It is a miserable picture which I am going to
               give of the weakness of my heart, by owning, that it suffered a pain, which worthier
               occasions could not have inflicted.—I was mortified with the loss of her hand, and
               the manner in which I had lost it carried neither oil nor wine to the wound: I never
               felt the pain of a sheepish inferiority so miserably in my life.</p>
            <p>The triumphs of a true feminine heart are short upon these discomfitures. In a very
               few seconds she laid her hand upon the cuff of my coat, in order to finish her reply;
               so some way or other, God knows how, I regained my situation.</p>
            <p>
               <pb n="53"/> —She had nothing to add.</p>
            <p>I forthwith began to model a different conversation for the lady, thinking from the
               spirit as well as moral of this, that I had been mistaken in her character; but upon
               turning her face towards me, the spirit which had animated the reply was fled—the
               muscles relaxed, and I beheld the same unprotected look of distress which first won
               me to her interest—melancholy! to see such sprightliness the prey of sorrow.—I pitied
               her from my soul; and though it may seem ridiculous enough to a torpid heart,—I could
               have taken her into my arms, and cherished her, <pb n="54"/>
               though it was in the open street, without blushing.</p>
            <p>The pulsations of the arteries along my fingers pressing across hers, told her what
               was passing within me: she looked down—a silence of some moments followed.</p>
            <p>I fear, in this interval, I must have made some slight efforts towards a closer
               compression of her hand, from a subtle sensation I felt in the palm of my own—not as
               if she was going to withdraw hers—but, as if she thought about it—and I had
               infallibly lost it a second time, had not instinct more than reason directed me to
               the last resource <pb n="55"/> in these dangers—to hold it
               loosely, and in a manner as if I was every moment going to release it, of myself; so
               she let it continue, till Monsieur <hi rend="italic">Dessein</hi> returned with the key; and in the
               mean time I set myself to consider how I should undo the ill impressions which the
               poor monk's story, in case he had told it her, must have planted in her breast
               against me.</p>
         </div>
         <div type="section">
            <pb n="56"/>
            <head>THE <ref target="_snuff" corresp="snuff">SNUFF-BOX</ref>.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>THE good old monk was within six paces of us, as the idea of him cross'd my mind; and
               was advancing towards us a little out of the line, as if uncertain whether he should
               break in upon us or no.—He stopp'd, however, as soon as he came up to us, with a
               world of frankness; and having a horn snuff-box in his hand, he presented it open to
               me—You shall taste mine—said I, pulling out my box (which was a small tortoise one)
               and putting it into his hand— <pb n="57"/> 'Tis most
               excellent, said the monk; Then do me the favour, I replied, to accept of the box and
               all, and when you take a pinch out of it, sometimes recollect it was the
               peace-offering of a man who once used you unkindly, but not from his heart.</p>
            <p>The poor monk blush'd as red as scarlet. <hi rend="italic">Mon Dieu!</hi> said he, pressing his
               hands together—you never used me unkindly.—I should think, said the lady, he is not
               likely. I blush'd in my turn; but from what movements, I leave to the few who feel to
               analyse—Excuse me, Madame, replied I—I treated him most unkindly; and from no
               provocations—'Tis impossible, said the lady.—My <pb n="58"/>
               God! cried the monk, with a warmth of asseveration which seemed not to belong to
               him—the fault was in me, and in the indiscretion of my zeal—the lady opposed it, and
               I joined with her in maintaining it was impossible, that a spirit so regulated as
               his, could give offence to any.</p>
            <p>I knew not that contention could be rendered so sweet and pleasurable a thing to the
               nerves as I then felt it.—We remained silent, without any sensation of that foolish
               pain which takes place, when in such a circle you look for ten minutes in one
               another's faces without saying a word. Whilst this lasted, the monk rubb'd his horn
               box upon the sleeve of his tunick; <pb n="59"/> and as soon
               as it had acquired a little air of brightness by the friction—he made a low bow, and
               said, 'twas too late to say whether it was the weakness or goodness of our tempers
               which had involved us in this contest—but be it as it would—he begg'd we might
               exchange boxes—In saying this, he presented his to me with one hand, as he took mine
               from me in the other; and having kiss'd it—with a stream of good nature in his eyes
               he put it into his bosom—and took his leave.</p>
            <p>I guard this box, as I would the instrumental parts of my religion, to help my mind
               on to something better: in truth, I seldom go abroad <pb n="60"/> without it; and oft and many a time have I called up by
               it the courteous spirit of its owner to regulate my own, in the justlings of the
               world; they had found full employment for his, as I learnt from his story, till about
               the forty-fifth year of his age, when upon some military services ill requited, and
               meeting at the same time with a disappointment in the tenderest of passions, he
               abandon'd the sword and the sex together, and took sanctuary, not so much in his
               convent as in himself.</p>
            <p>I feel a damp upon my spirits, as I am going to add, that in my last return through
                  <placeName type="tgn" key="7009002">Calais</placeName>, upon inquiring after
               Father Lorenzo, I heard <pb n="61"/> he had been dead near
               three months, and was buried, not in his convent, but, according to his desire, in a
               little cimetiery belonging to it, about two leagues off: I had a strong desire to see
               where they had laid him—when, upon pulling out his little horn box, as I sat by his
               grave, and plucking up a nettle or two at the head of it, which had no business to
               grow there, they all struck together so forcibly upon my affections, that I burst
               into a flood of tears—but I am as weak as a woman; and I beg the world not to smile,
               but pity me.</p>
         </div>
         <div type="section">
            <pb n="62"/>
            <head>THE REMISE DOOR.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>I HAD never quitted the lady's hand all this time; and had held it so long, that it
               would have been indecent to have let it go, without first pressing it to my lips: the
               blood and spirits, which had suffer'd a revulsion from her, crouded back to her, as I
               did it.</p>
            <p>Now the two travellers who had spoke to me in the coach-yard, happening at that
               crisis to be passing by, and observing our communications, naturally took it into
               their heads that <pb n="63"/> we must be <hi rend="italic">man and
                  wife</hi> at least; so stopping as soon as they came up to the door of the Remise,
               the one of them, who was the inquisitive traveller, ask'd us, if we set out for <placeName type="tgn" key="7008038">Paris</placeName>
               the next morning?—I could only answer for myself, I said; and the lady added, she was
               for <ref target="_Amiens" corresp="Amiens">
                        <placeName type="tgn" key="7010588">Amiens</placeName>
                    </ref>.—We dined there yesterday, said the simple
               traveller—You go directly through the town, added the other, in your road to <placeName type="tgn" key="7008038">Paris</placeName>. I
               was going to return a thousand thanks for the intelligence, <hi rend="italic">that <placeName type="tgn" key="7010588">Amiens</placeName> was in the road to <placeName type="tgn" key="7008038">Paris</placeName>;</hi> but,
               upon pulling out my poor monk's little horn box to take a pinch of snuff—I made them
               a quiet bow, and wishing them a <pb n="64"/> good passage to
                  <placeName type="tgn" key="7011554">Dover</placeName>—they left us alone—</p>
            <p>—Now where would be the harm, said I to myself, if I was to beg of this distressed
               lady to accept of half of my chaise?—and what mighty mischief could ensue?</p>
            <p>Every dirty passion, and bad propensity in my nature, took the alarm, as I stated the
               proposition—It will oblige you to have a third horse, said AVARICE, which will put
               twenty livres out of your pocket.—You know not who she is, said CAUTION—or what
               scrapes the affair may draw you into, whisper'd COWARDICE—</p>
            <p>
               <pb n="65"/> Depend upon it, Yorick! said DISCRETION, 'twill
               be said you went off with a mistress, and came by assignation to <placeName type="tgn" key="7009002">Calais</placeName> for that purpose—</p>
            <p>—You can never after, cried HYPOCRISY aloud, shew your face in the world—or rise,
               quoth MEANNESS, in the church—or be any thing in it, said PRIDE, but a lousy
               prebendary.</p>
            <p>—But 'tis a civil thing, said I—and as I generally act from the first impulse, and
               therefore seldom listen to these <ref target="_cabal" corresp="cabal">cabals</ref>,
               which serve no purpose, that I know of, but to encompass the heart with adamant—I
               turn'd instantly about to the lady—</p>
            <p>
               <pb n="66"/> —But she had glided off unperceived, as the
               cause was pleading, and had made ten or a dozen paces down the street, by the time I
               had made the determination; so I set off after her with a long stride, to make her
               the proposal with the best address I was master of; but observing she walk'd with her
               cheek half resting upon the palm of her hand—with the slow, short-measur'd step of
               thoughtfulness, and with her eyes, as she went step by step, fix'd upon the ground,
               it struck me, she was trying the same cause herself.—God help her! said I, she has
               some mother-in-law, or tartufish aunt, or nonsensical old woman, to consult upon the
               occasion, as well as myself: so not caring <pb n="67"/> to
               interrupt the processe, and deeming it more gallant to take her at discretion than by
               surprize, I faced about, and took a short turn or two before the door of the Remise,
               whilst she walk'd musing on one side.</p>
         </div>
         <div type="section">
            <pb n="68"/>
            <head>IN THE STREET.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>HAVING, on first sight of the lady, settled the affair in my fancy, "that she was of the better order of beings"—and then
               laid it down as a second <ref target="_axiom" corresp="axiom">axiom</ref>, as
               indisputable as the first, That she was a widow, and wore a character of distress—I
               went no further; I got ground enough for the situation which pleased me—and had she
               remained close beside my elbow till midnight, I should have held true to my system,
               and considered her only under that general idea.</p>
            <p>
               <pb n="69"/> She had scarce got twenty paces distant from
               me, ere something within me called out for a more particular inquiry—it brought on
               the idea of a further separation—I might possibly never see her more—the heart is for
               saving what it can; and I wanted the traces thro' which my wishes might find their
               way to her, in case I should never rejoin her myself: in a word, I wish'd to know her
               name—her family's—her condition; and as I knew the place to which she was going, I
               wanted to know from whence she came: but there was no coming at all this
               intelligence: a hundred little delicacies stood in the way. I form'd a score
               different plans—There was <pb n="70"/> no such thing as a
               man's asking her directly—the thing was impossible.</p>
            <p>A little French <hi rend="italic">debonaire</hi> captain, who came dancing down the street, shewed
               me, it was the easiest thing in the world; for popping in betwixt us, just as the
               lady was returning back to the door of the Remise, he introduced himself to my
               acquaintance, and before he had well got announced, begg'd I would do him the honour
               to present him to the lady—I had not been presented myself—so turning about to her,
               he did it just as well by asking her, if she had come from <placeName type="tgn" key="7008038">Paris</placeName>?—No: she was going
               that rout, she said.—<hi rend="italic">Vous n'etez pas de Londre?</hi>—She was not, she
               replied.</p>
            <p>
               <pb n="71"/> —Then Madame must have come thro'
                  <placeName type="tgn" key="7018236">Flanders</placeName>.—<hi rend="italic">Apparamment vous etez Flammande?</hi> said the French captain.—The
               lady answered, she was.—<hi rend="italic">Peutetre, de <placeName type="tgn" key="7008461">Lisle</placeName>?</hi> added he—She said, she was not
               of <placeName type="tgn" key="7008461">Lisle</placeName>.—Nor <placeName type="tgn" key="7008468">Arras</placeName>?—nor <placeName type="tgn" key="7008456">Cambray</placeName>?—nor <placeName type="tgn" key="7007887">Ghent</placeName>?—nor <placeName type="tgn" key="7007868">Brussels</placeName>? She answered, she was of
               <placeName type="tgn" key="7007868">Brussels</placeName>.</p>
            <p>He had had the honour, he said, to be at the bombardment of it last war—that it was
               finely situated, <hi rend="italic">pour cela</hi>—and full of noblesse when the Imperialists were
               driven out by the French (the lady made a slight curtsy)—so giving her an account of
               the affair, and of the share he had had in <pb n="72"/>
               it—he begg'd the honour to know her name—so made his bow.</p>
            <p>—<hi rend="italic">Et Madame a son Mari?</hi>—said he, looking back when he had made two steps—and
               without staying for an answer—danced down the street.</p>
            <p>Had I served seven years apprenticeship to good breeding, I could not have done as
               much.</p>
         </div>
         <div type="section">
            <pb n="73"/>
            <head>THE REMISE.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>AS the little French captain left us, Mons. Dessein came up with the key of the
               Remise in his hand, and forthwith let us into his magazine of chaises.</p>
            <p>The first object which caught my eye, as Mons. Dessein open'd the door of the Remise,
               was another old tatter'd <hi rend="italic">Desobligeant:</hi> and notwithstanding it was the exact
               picture of that which had hit my fancy so much in the coach-yard but an hour
               before—the very sight of it stirr'd up a <pb n="74"/>
               disagreeable sensation within me now; and I thought 'twas a churlish beast into whose
               heart the idea could first enter, to construct such a machine; nor had I much more
               charity for the man who could think of using it.</p>
            <p>I observed the lady was as little taken with it as myself: so Mons. Dessein led us on
               to a couple of chaises which stood abreast, telling us as he recommended them, that
               they had been purchased by my Lord A. and B. to go the <hi rend="italic">
                        <ref target="_tour" corresp="tour">grand tour</ref>,</hi> but had gone no further than <placeName type="tgn" key="7008038">Paris</placeName>, so
               were in all respects as good as new—They were too good—so I pass'd on to a third,
               which stood behind, and forthwith began to chaffer for the <pb n="75"/> price—But 'twill scarce hold two, said I, opening the
               door and getting in—Have the goodness, Madam, said Mons. Dessein, offering his arm,
               to step in—The lady hesitated half a second, and stepp'd in; and the waiter that
               moment beckoning to speak to Mons. Dessein, he shut the door of the chaise upon us,
               and left us.</p>
         </div>
         <div type="section">
            <pb n="76"/>
            <head>THE REMISE.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>
               <hi rend="italic">C'EST bien comique,</hi> 'tis very droll, said the lady smiling, from the
               reflection that this was the second time we had been left together by a parcel of
               nonsensical contingencies—<hi rend="italic">c'est bien comique,</hi> said she—</p>
            <p>—There wants nothing, said I, to make it so, but the comick use which the <ref target="_gallantry" corresp="gallantry">gallantry</ref> of a Frenchman would put it to—to
               make love the first moment, and an offer of his person the second.</p>
            <p>
               <pb n="77"/> 'Tis their <hi rend="italic">fort:</hi> replied the lady.</p>
            <p>It is supposed so at least—and how it has come to pass, continued I, I know not; but
               they have certainly got the credit of understanding more of love, and making it
               better than any other nation upon earth: but for my own part I think them errant
               bunglers, and in truth the worst set of marksmen that ever tried Cupid's
               patience.</p>
            <p>—To think of making love by <hi rend="italic">sentiments!</hi>
            </p>
            <p>I should as soon think of making a genteel suit of cloaths out of remnants:—and to do
               it—pop—at first sight by declaration—is submitting <pb n="78"/> the offer and themselves with it, to be sifted, with
               all their <hi rend="italic">pours</hi> and <hi rend="italic">contres,</hi> by an unheated mind.</p>
            <p>The lady attended as if she expected I should go on.</p>
            <p>Consider then, madam, continued I, laying my hand upon hers—</p>
            <p>That grave people hate Love for the name's sake—</p>
            <p>That selfish people hate it for their own—</p>
            <p>Hypocrites for heaven's—</p>
            <p>And that all of us both old and young, being ten times worse <pb n="79"/> frighten'd than hurt by the very <hi rend="italic">report</hi>—What
               a want of knowledge in this branch of commerce a man betrays, whoever lets the word
               come out of his lips, till an hour or two at least after the time, that his silence
               upon it becomes tormenting. A course of small, quiet attentions, not so pointed as to
               alarm—nor so vague as to be misunderstood,—with now and then a look of kindness, and
               little or nothing said upon it—leaves Nature for your mistress, and she fashions it
               to her mind.—</p>
            <p>Then I solemnly declare, said the lady, blushing—you have been making love to me all
               this while.</p>
         </div>
         <div type="section">
            <pb n="80"/>
            <head>THE REMISE.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>MONSIEUR <hi rend="italic">Dessein</hi> came back to let us out of the chaise, and acquaint the
               lady, the Count de L--- her brother was just arrived at the hotel. Though I had infinite good will for
               the lady, I cannot say, that I rejoiced in my heart at the event—and could not help
               telling her so—for it is fatal to a proposal, Madam, said I, that I was going to make
               you—</p>
            <p>—You need not tell me what the proposal was, said she, laying her <pb n="81"/> hand upon both mine, as she interrupted me.—A man, my
               good Sir, has seldom an offer of kindness to make-to a woman, but she has a
               presentiment of it some moments before—</p>
            <p>Nature arms her with it, said I, for immediate preservation—But I think, said she,
               looking in my face, I had no evil to apprehend—and to deal frankly with you, had
               determined to accept it.—If I had—(she stopped a moment)—I believe your good will
               would have drawn a story from me, which would have made pity the only dangerous thing
               in the journey.</p>
            <p>
               <pb n="82"/> In saying this, she suffered me to kiss her
               hand twice, and with a look of sensibility mixed with a concern she got out of the
               chaise—and bid adieu.</p>
         </div>
         <div type="section">
            <pb n="83"/>
            <head>IN THE STREET.</head>
            <head>
                    <placeName type="tgn" key="7009002">CALAIS</placeName>.</head>
            <p>I NEVER finished a <ref target="_guinea" corresp="guinea">twelve-guinea</ref> bargain so
               expeditiously in my life: my time seemed heavy upon the loss of the lady, and knowing
               every moment of it would be as two, till I put myself into motion—I ordered post
               horses directly, and walked towards the hotel.</p>
            <p>Lord! said I, hearing the town clock strike four, and recollecting that I had been
               little more than a single hour in <placeName type="tgn" key="7009002">Calais</placeName>—</p>
            <p>
               <pb n="84"/> —What a large volume of adventures may be
               grasped within this little span of life by him who interests his heart in every
               thing, and who, having eyes to see, what time and chance are perpetually holding out
               to him as he journeyeth on his way, misses nothing he can <hi rend="italic">fairly</hi> lay his
               hands on.—</p>
            <p>—If this won't turn out something—another will—no matter—'tis an assay upon human
               nature—I get my labour for my pains—'tis enough—the pleasure of the experiment has
               kept my senses, and the best part of my blood awake, and laid the gross to sleep.</p>
            <p>
               <pb n="85"/> I pity the man who can travel from <ref target="_Beersheba" corresp="Beersheba">
                        <hi rend="italic">Dan</hi> to <hi rend="italic">
                            <placeName type="tgn" key="7001378">Beersheba</placeName>
                        </hi>
                    </ref>, and cry,
               'Tis all barren—and so it is; and so is all the world to him who will not cultivate
               the fruits it offers. I declare, said I, clapping my hands chearily together, that
               was I in a desart, I would find out wherewith in it to call forth my affections—If I
               could not do better, I would fasten them upon some sweet myrtle, or seek some
               melancholy cypress to connect myself to—I would court their shade, and greet them
               kindly for their protection—I would cut my name upon them, and swear they were the
               loveliest trees throughout the desert: if their leaves wither'd, I would teach 
               <pb n="86"/> myself to mourn, and when they rejoiced, I
               would rejoice along with them.</p>
            <p>The learned <ref target="_Smelfungus" corresp="Smelfungus">
                        <persName type="lcnaf" key="n79149073">SMELFUNGUS</persName>
                    </ref> travelled from
               <placeName type="tgn" key="7659490">Boulogne</placeName> to <placeName type="tgn" key="7008038">Paris</placeName>—from <placeName type="tgn" key="7008038">Paris</placeName> to <placeName type="tgn" key="7000874">
                        <placeName type="tgn" key="7000874">Rome</placeName>
                    </placeName>—and so on—but he set out with the spleen and
               jaundice, and every object he pass'd by was discoloured or distorted—He wrote an
               account of them, but'twas nothing but the account of his miserable feelings.</p>
            <p>I met <persName type="lcnaf" key="n79149073">Smelfungus</persName> in the grand portico of the <placeName type="tgn" key="1100619">Pantheon</placeName>—he was just coming out of
                  it—<hi rend="italic">'Tis nothing but a huge cock-pit</hi>
               <ref target="auth3" corresp="nauth3">*</ref>, said he—I wish you had said nothing
               worse of the Venus <pb n="87"/> of Medicis, replied I—for
               in passing through <placeName type="tgn" key="7000457">Florence</placeName>, I had heard he had fallen foul upon the goddess, and
               used her worse than a common strumpet, without the least provocation in nature.</p>
            <p>I popp'd upon <persName type="lcnaf" key="n79149073">Smelfungus</persName> again at <placeName type="tgn" key="7005688">Turin</placeName>, in his return home; and a sad tale of
               sorrowful adventures had he to tell,"wherein he spoke of
                  moving accidents by flood and field, and of the cannibals which each other eat:
                  the Anthropophagi"—he had been flea'd alive, and bedevil'd, and used worse
               than St. Bartholomew, at every stage he had come at—</p>
            <p>
               <pb n="88"/> —I'll tell it, cried <persName type="lcnaf" key="n79149073">Smelfungus</persName>, to the world.
               You had better tell it, said I, to your physician.</p>
            <p>
                    <ref target="_Mundungus" corresp="Mundungus">
                        <persName type="lcnaf" key="n83017964">Mundungus</persName>
                    </ref>, with an immense fortune, made <ref target="_grand_tour" corresp="grand_tour">the whole tour; going on from <placeName type="tgn" key="7000874">Rome</placeName> to <placeName type="tgn" key="7004474">Naples</placeName>—from
                  <placeName type="tgn" key="7004474">Naples</placeName> to <placeName type="tgn" key="7018159">Venice</placeName>—from <placeName type="tgn" key="7018159">Venice</placeName> to <placeName type="tgn" key="7003321">Vienna</placeName>—to <placeName type="tgn" key="7004455">Dresden</placeName>, to <placeName type="tgn" key="7003712">Berlin</placeName>
                    </ref>, without one
               generous connection or pleasurable anecdote to tell of; but he had travell'd straight
               on looking neither to his right hand or his left, lest Love or Pity should seduce him
               out of his road.</p>
            <p>Peace be to them! if it is to be found; but heaven itself, was it possible to get
               there with such tempers, <pb n="89"/> would want objects to
               give it—every gentle spirit would come flying upon the wings of Love to hail their
               arrival—Nothing would the souls of <persName type="lcnaf" key="n79149073">Smelfungus</persName> and <persName type="lcnaf" key="n83017964">Mundungus</persName> hear of, but fresh
               anthems of joy, fresh raptures of love, and fresh congratulations of their common
               felicity—I heartily pity them: they have brought up no faculties for this work; and
               was the happiest mansion in heaven to be allotted to <persName type="lcnaf" key="n79149073">Smelfungus</persName> and <persName type="lcnaf" key="n83017964">Mundungus</persName>, they
               would be so far from being happy, that the souls of <persName type="lcnaf" key="n79149073">Smelfungus</persName> and <persName type="lcnaf" key="n83017964">Mundungus</persName> would do
               penance there to all eternity.</p>
         </div>
         <div type="section">
            <pb n="90"/>
            <head>
                    <ref target="_Montriul" corresp="Montriul">
                        <placeName type="tgn" key="7624576">MONTRIUL</placeName>
                    </ref>.</head>
            <p>I HAD once lost my portmanteau from behind my chaise, and twice got out in the rain,
               and one of the times up to the knees in dirt, to help the postilion to tie it on,
               without being able to find out what was wanting—Nor was it till I got to <placeName type="tgn" key="7624576">Montriul</placeName>, upon the landlord's asking me if I
               wanted not a servant, that it occurred to me, that that was the very thing.</p>
            <p>A servant! That I do most sadly, quoth I—Because, Monsieur, said the landlord, there
               is a clever young fellow, <pb n="91"/> who would be very
               proud of the honour to serve an Englishman—But why an English one, more than any
               other?—They are so generous, said the landlord—I'll be shot if this is not a livre
               out of my pocket, quoth I to myself, this very night—But they have wherewithal to be
               so, Monsieur, added he—Set down one livre more for that, quoth I—It was but last
               night, said the landlord, <hi rend="italic">qu'un my Lord Anglois presentoit un ecu a la fille de
                  chambre</hi>—<hi rend="italic">Tant pis, pour Madlle Janatone,</hi> said I.</p>
            <p>Now Janatone being the landlord's daughter, and the landlord supposing I was young in
               French, took the liberty to inform me, I should <pb n="92"/>
               not have said <hi rend="italic">tant pis</hi>—but, <hi rend="italic">tant mieux. Tant mieux, toujours,
                  Monsieur,</hi> said he, when there is any thing to be got—<hi rend="italic">tant pis,</hi> when
               there is nothing. It comes to the same thing, said I. <hi rend="italic">Pardonnez moi,</hi> said
               the landlord.</p>
            <p>I cannot take a fitter opportunity to observe once for all, that <hi rend="italic">tant pis</hi>
               and <hi rend="italic">tant mieux</hi> being two of the great hinges in French conversation, a
               stranger would do well to set himself right in the use of them, before he gets to
               <placeName type="tgn" key="7008038">Paris</placeName>.</p>
            <p>A prompt French Marquis at our ambassador's table demanded of Mr. H<gap reason="blank" resp="#OXF" extent="1+ letters">
                  <desc>_…</desc>
               </gap>, if he was H--- the poet? <pb n="93"/> No, said H--- mildly—<hi rend="italic">Tant pis,</hi> replied the Marquis.</p>
            <p>It is H<gap reason="blank" resp="#OXF" extent="1+ letters">
                  <desc>_…</desc>
               </gap> the historian, said another—<hi rend="italic">Tant mieux,</hi> said the Marquis. And Mr.
                  H<gap reason="blank" resp="#OXF" extent="1+ letters">
                  <desc>_…</desc>
               </gap>, who is a man of an excellent heart, return'd thanks for both.</p>
            <p>When the landlord had set me right in this matter, he called in La Fleur, which was
               the name of the young man he had spoke of—saying only first, That as for his talents,
               he would presume to say nothing—Monsieur was the best judge what would suit him; but
               for the fidelity of La Fleur, he would stand responsible in all he was worth.</p>
            <p>
               <pb n="94"/> The landlord deliver'd this in a manner which
               instantly set my mind to the business I was upon—and La Fleur, who stood waiting
               without, in that breathless expectation which every son of nature of us have felt in
               our turns, came in.</p>
         </div>
         <div type="section">
            <pb n="95"/>
            <head>
                    <placeName type="tgn" key="7624576">MONTRIUL</placeName>.</head>
            <p>I AM apt to be taken with all kinds of people at first sight; but never more so, than
               when a poor devil comes to offer his service to so poor a devil as myself; and as I
               know this weakness, I always suffer my judgment to draw back something on that very
               account—and this more or less, according to the mood I am in, and the case—and I may
               add the gender too, of the person I am to govern.</p>
            <p>When La Fleur enter'd the room, after every discount I could make for my soul, the
               genuine look and air of 
               <pb n="96"/> the fellow determined the matter at once in
               his favour; so I hired him first—and then began to inquire what he could do: But I
               shall find out his talents, quoth I, as I want them—besides, a Frenchman can do every
               thing.</p>
            <p>Now poor La Fleur could do nothing in the world but beat a drum, and play a march or
               two upon the fife. I was determined to make his talents do; and can't say my weakness
               was ever so insulted by my wisdom, as in the attempt.</p>
            <p>La Fleur had set out early in life, as gallantly as most Frenchmen do, with
                  <hi rend="italic">serving</hi> for a few years; at the end <pb n="97"/>
               of which, having satisfied the sentiment, and found moreover, That the honour of
               beating a drum was likely to be its own reward, as it open'd no further track of
               glory to him—he retired <hi rend="italic">a ses terres,</hi> and lived <hi rend="italic">comme il plaisoit a
                  Dieu</hi>—that is to say, upon nothing.</p>
            <p>—And so, quoth <hi rend="italic">Wisdome,</hi> you have hired a drummer to attend you in this tour
               of your's thro' <placeName type="tgn" key="1000070">France</placeName> and <placeName type="tgn" key="1000080">Italy</placeName>! Psha! said I, and do not one half of our gentry go
               with a hum-drum <hi rend="italic">compagnon du voiage</hi> the same round, and have the piper and
               the devil and all to pay besides? When man can extricate himself with <pb n="98"/> an <hi rend="italic">equivoque</hi> in such an unequal match—he is
               not ill of—But you can do something else, La Fleur? said I—<hi rend="italic">O qu'oui!</hi>—he
               could make <ref target="_spatterdash" corresp="spatterdash">spatterdashes</ref>, and play a little
               upon the fiddle—Bravo! said Wisdome—Why, I play a bass myself, said I—we shall do
               very well.—You can shave, and dress a wig a little, La Fleur?—He had all the
               dispositions in the world—It is enough for heaven! said I, interrupting him—and ought
               to be enough for me—So supper coming in, and having a frisky English spaniel on one
               side of my chair, and a French valet, with as much hilarity in his countenance as
               ever nature painted in one, on the other—I was <pb n="99"/>
               satisfied to my heart's content with my empire; and if monarchs knew what they would
               be at, they might be as satisfied as I was.</p>
         </div>
         <div type="section">
            <pb n="100"/>
            <head>
                    <placeName type="tgn" key="7624576">MONTRIUL</placeName>.</head>
            <p>AS La Fleur went the whole tour of <placeName type="tgn" key="1000070">France</placeName> and <placeName type="tgn" key="1000080">Italy</placeName> with me, and will be often upon
               the stage, I must interest the reader a little further in his behalf, by saying, that
               I had never less reason to repent of the impulses which generally do determine me,
               than in regard to this fellow—he was a faithful, affectionate, simple soul as ever
               trudged after the heels of a philosopher; and notwithstanding his talents of
               drum-beating and spatterdash-making, which, tho' very good in themselves, happen'd to
               be of no great service to me, yet <pb n="101"/> was I
               hourly recompenced by the festivity of his temper—it supplied all defects—I had a
               constant resource in his looks in all difficulties and distresses of my own—I was
               going to have added, of his too; but La Fleur was out of the reach of every thing;
               for whether 'twas hunger or thirst; or cold or nakedness, or watchings, or whatever
               stripes of ill luck La Fleur met with in our journeyings, there was no index in his
               physiognomy to point them out by—he was eternally the same; so that if I am a piece
               of a philosopher, which Satan now and then puts it into my head I am—it always
               mortifies the pride of the conceit, by reflecting how much I owe to the complexional
               philosophy <pb n="102"/> of this poor fellow, for shaming
               me into one of a better kind. With all this, La Fleur had a small cast of the
               coxcomb—but he seemed at first sight to be more a coxcomb of nature than of art; and
               before I had been three days in <placeName type="tgn" key="7008038">Paris</placeName> with him—he seemed to be no coxcomb at all.</p>
         </div>
         <div type="section">
            <pb n="103"/>
            <head>
                    <placeName type="tgn" key="7624576">MONTRIUL</placeName>.</head>
            <p>THE next morning La Fleur entering upon his employment, I delivered to him the key of
               my portmanteau with an inventory of my half a dozen shirts and silk pair of breeches;
               and bid him fasten all upon the chaise—get the horses put to—and desire the landlord
               to come in with his bill.</p>
            <p>
               <hi rend="italic">C'est un garçon de bonne fortune,</hi> said the landlord, pointing through the
               window to half a dozen wenches who had got round about La Fleur, and were most kindly
               taking their leave of him, as the postilion was leading out the horses. La Fleur
               kissed all their hands round and <pb n="104"/> round again,
               and thrice he wiped his eyes, and thrice he promised he would bring them all pardons
               from <placeName type="tgn" key="7000874">Rome</placeName>.</p>
            <p>The young fellow, said the landlord, is beloved by all the town, and there is scarce
               a corner in <placeName type="tgn" key="7624576">Montriul</placeName> where the want
               of him will not be felt: he has but one misfortune in the world, continued he, "He is always in love."—I am heartily glad of it,
               said I,—'twill save me the trouble every night of putting my breeches under my head.
               In saying this, I was making not so much La Fleur's eloge, as my own, having been in
               love with one princess or another almost all my life, and I <pb n="105"/> hope I shall go on so, till I die, being firmly
               persuaded, that if ever I do a mean action, it must be in some interval betwixt one
               passion and another: whilst this interregnum lasts, I always perceive my heart locked
               up—I can scarce find in it, to give Misery a sixpence; and therefore I always get out
               of it as fast as I can, and the moment I am rekindled, I am all generosity and good
               will again; and would do any thing in the world either for, or with any one, if they
               will but satisfy me there is no sin in it.</p>
            <p>—But in saying this—surely I am commending the passion—not myself.</p>
         </div>
         <div type="section">
            <pb n="106"/>
            <head>A FRAGMENT.</head>
            <p>—THE town of <placeName type="tgn" key="7234254">Abdera</placeName>, notwithstanding <persName type="lcnaf" key="n79041650">Democritus</persName> lived there trying all the powers of
               irony and laughter to reclaim it, was the vilest and most profligate town in all
               <placeName type="tgn" key="7001303">Thrace</placeName>. What for poisons, conspiracies and assassinations—libels, <ref target="_pasquinade" corresp="pasquinade">pasquinades</ref> and tumults, there was no going there by
               day—'twas worse by night.</p>
            <p>Now, when things were at the worst, it came to pass, that the Andromeda of <persName type="lcnaf" key="n79063679">Euripedes</persName>
               being represented at <placeName type="tgn" key="7234254">Abdera</placeName>, the whole orchestra was delighted with it: but of all
               the <pb n="107"/> passages which delighted them, nothing
               operated more upon their imaginations, than the tender strokes of nature which the
               poet had wrought up in that pathetic speech of <ref target="_Perseus" corresp="Perseus">Perseus</ref>,
                  <hi rend="italic">O Cupid, prince of God and men,</hi> &amp;c. Every man almost spoke pure
               iambics the next day, and talk'd of nothing but Perseus his pathetic address—"O Cupid! prince of God and men"—in every street of
               <placeName type="tgn" key="7234254">Abdera</placeName>, in every house—"O Cupid! Cupid!"—in every
               mouth, like the natural notes of some sweet melody which drops from it whether it
               will or no—nothing but "Cupid! Cupid! prince of God and
                  men"—The fire caught—and the whole city, like <pb n="108"/> the heart of one man, open'd itself to Love.</p>
            <p>No pharmacopolist could sell one grain of helebore—not a single armourer had a heart
               to forge one instrument of death—Friendship and Virtue met together, and kiss'd each
               other in the street—the golden age return'd, and hung o'er the town of <ref target="_Abdera" corresp="Abdera">
                        <placeName type="tgn" key="7234254">Abdera</placeName>
                    </ref>—every Abderite took his oaten pipe, and
               every Abderitish woman left her purple web, and chastly sat her down and listen'd to
               the song—</p>
            <p>'Twas only in the power, says the Fragment, of the God whose empire <pb n="109"/> extendeth from heaven to earth, and even to the depths
               of the sea, to have done this.</p>
         </div>
         <div type="section">
            <pb n="110"/>
            <head>
                    <placeName type="tgn" key="7624576">MONTRIUL</placeName>.</head>
            <p>WHEN all is ready, and every article is disputed and paid for in the inn, unless you
               are a little sour'd by the adventure, there is always a matter to compound at the
               door, before you can get into your chaise; and that is with the sons and daughters of
               poverty, who surround you. Let no man say, "let them go
                  to the devil"—'tis a cruel journey to send a few miserables, and they have had
               sufferings enow without it: I always think it better to take a few sous out in my
               hand; and I would counsel every gentle traveller <pb n="111"/> to do so likewise: he need not be so exact in setting
               down his motives for giving them—they will be register'd elsewhere.</p>
            <p>For my own part, there is no man gives so little as I do; for few that I know have so
               little to give: but as this was the first publick act of my charity in <placeName type="tgn" key="1000070">France</placeName>, I took
               the more notice of it.</p>
            <p>A well-a-way! said I. I have but eight sous in the world, shewing them in my hand,
               and there are eight poor men and eight poor women for 'em.</p>
            <p>A poor tatter'd soul without a shirt on instantly withdrew his claim, by <pb n="112"/> retiring two steps out of the circle, and making a
               disqualifying bow on his part. Had the whole parterre cried out, <hi rend="italic">
                        <ref target="_place" corresp="place">Place aux dames</ref>,</hi> with one voice, it
               would not have conveyed the sentiment of a deference for the sex with half the
               effect.</p>
            <p>Just heaven! for what wise reasons hast thou order'd it, that beggary and urbanity,
               which are at such variance in other countries, should find a way to be at unity in
               this?</p>
            <p>—I insisted upon presenting him with a single sous, merely for his <hi rend="italic">
                        <ref target="_politesse" corresp="politesse">politesse</ref>.</hi>
            </p>
            <p>
               <pb n="113"/> A poor little dwarfish brisk fellow, who
               stood over-against me in the circle, putting something first under his arm, which had
               once been a hat, took his snuff-box out of his pocket, and generously offer'd a pinch
               on both sides of him: it was a gift of consequence, and modestly declined—The poor
               little fellow press'd it upon them with a nod of welcomeness—<hi rend="italic">Prenez
                  en</hi>—<hi rend="italic">prenez,</hi> said he, looking another way; so they each took a
               pinch—Pity thy box should ever want one! said I to myself; so I put a couple of sous
               into it—taking a small pinch out of his box, to enhance their value, as I did it—He
               felt the weight of the second obligation more than that of the first—'twas <pb n="114"/> doing him an honour—the other was only doing
               him a charity—and he made me a bow down to the ground for it.</p>
            <p>—Here! said I to an old soldier with one hand, who had been campaign'd and worn out
               to death in the service—here's a couple of sous for thee—<hi rend="italic">Vive le Roi!</hi> said
               the old soldier.</p>
            <p>I had then but three sous left: so I gave one, simply <hi rend="italic">pour l'amour de Dieu,</hi>
               which was the footing on which it was begg'd—The poor woman had a dislocated hip; so
               it could not be well, upon any other motive.</p>
            <p>
               <pb n="115"/>
               <hi rend="italic">Mon cher et tres charitable Monsieur</hi>—There's no opposing this, said I.</p>
            <p>
               <hi rend="italic">My Lord Anglois</hi>—the very sound was worth the money—so I gave <hi rend="italic">my last
                  sous for it.</hi> But in the eagerness of giving, I had overlook'd a <hi rend="italic">pauvre
                  honteux,</hi> who had no one to ask a sous for him, and who, I believed, would
               have perish'd, ere he could have ask'd one for himself: he stood by the chaise a
               little without the circle, and wiped a tear from a face which I thought had seen
               better days—Good God! said I—and I have not one single sous left to give him—But you
               have a thousand! cried all the powers of nature, stirring within me—so I gave him—no
               matter what—I am <pb n="116"/> ashamed to say <hi rend="italic">how
                  much,</hi> now—and was ashamed to think, how little, then: so if the reader can
               form any conjecture of my disposition, as these two fixed points are given him, he
               may judge within a livre or two what was the precise sum.</p>
            <p>I could afford nothing for the rest, but, <hi rend="italic">Dieu vous benisse</hi>—<hi rend="italic">Et le bon
                  Dieu vous benisse encore</hi>—said the old soldier, the dwarf, &amp;c. The
                  <hi rend="italic">pauvre honteux</hi> could say nothing—he pull'd out a little handkerchief, and
               wiped his face as he turned away—and I thought he thank'd me more than them all.</p>
         </div>
         <div type="section">
            <pb n="117"/>
            <head>THE BIDET.</head>
            <p>HAVING settled all these little matters, I got into my postchaise with more ease than
               ever I got into a post-chaise in my life; and La Fleur having got one large jackboot
               on the far side of a little <hi rend="italic">bidet</hi>
               <ref target="auth4" corresp="nauth4">*</ref>, and another on this (for I count
               nothing of his legs)—he canter'd away before me as happy and as perpendicular as a
               prince.—</p>
            <p>—But what is happiness! what is grandeur in this painted scene of life! A dead ass,
               before we had got a league, put a sudden stop to La Fleur's career—his bidet would
               not <pb n="118"/> pass by it—a contention arose betwixt
               them, and the poor fellow was kick'd out of his jack-boots the very first kick.</p>
            <p>La Fleur bore his fall like a French christian, saying neither more or less upon it,
               than, Diable! so presently got up and came to the charge again astride his bidet,
               beating him up to it as he would have beat his drum.</p>
            <p>The bidet flew from one side of the road to the other, then back again—then this
               way—then that way, and in short every way but by the dead ass.—La Fleur insisted upon
               the thing—and the bidet threw him.</p>
            <p>
               <pb n="119"/> What's the matter, La Fleur, said I, with
               this bidet of thine?—<hi rend="italic">Monsieur,</hi> said he, <hi rend="italic">c'est un cheval le plus
                  opiniatré du monde</hi>—Nay, if he is a conceited beast, he must go his own way,
               replied I—so La Fleur got off him, and giving him a good sound lash, the bidet took
               me at my word, and away he scamper'd back to <placeName type="tgn" key="7624576">Montriul</placeName>.—<hi rend="italic">Peste!</hi> said La Fleur.</p>
            <p>It is not <hi rend="italic">mal a propos</hi> to take notice here, that tho' La Fleur availed
               himself but of two different terms of exclamation in this encounter—namely,
                  <hi rend="italic">Diable!</hi> and <hi rend="italic">Peste!</hi> that there are nevertheless three, in the
               French language; like the positive, comparative, and superlative, one or <pb n="120"/> the other of which serve for every unexpected throw of
               the dice in life.</p>
            <p>
               <hi rend="italic">Le Diable!</hi> which is the first, and positive degree, is generally used upon
               ordinary emotions of the mind, where small things only fall out contrary to your
               expectations—such as—the throwing once doublets—La Fleur's being kick'd off his
               horse, and so forth—<ref target="_cuckold" corresp="cuckold">cuckoldom</ref>, for the same
               reason, is always—<hi rend="italic">Le Diable!</hi>
            </p>
            <p>But in cases where the cast has something provoking in it, as in that of the bidet's
               running away after, and leaving La Fleur aground in jack-boots—'tis the second
               degree.</p>
            <p>
               <pb n="121"/> 'Tis then <hi rend="italic">Peste!</hi>
            </p>
            <p>And for the third—</p>
            <p>—But here my heart is wrung with pity and fellow-feeling, when I reflect what
               miseries must have been their lot, and how bitterly so refined a people must have
               smarted, to have forced them upon the use of it.—</p>
            <p>Grant me, O ye powers which touch the tongue with eloquence in distress!—whatever is
               my <hi rend="italic">cast,</hi> Grant me but decent words to exclaim in, and I will give my nature
               way.</p>
            <p>—But as these were not to be had in <placeName type="tgn" key="1000070">France</placeName>, I resolved to take every
               <pb n="122"/> evil just as it befell me without any
               exclamation at all.</p>
            <p>La Fleur, who had made no such covenant with himself, followed the bidet with his
               eyes till it was got out of sight—and then, you may imagine, if you please, with what
               word he closed the whole affair.</p>
            <p>As there was no hunting down a frighten'd horse in jack-boots, there remained no
               alternative but taking La Fleur either behind the chaise, or into it.—</p>
            <p>I preferred the latter, and in half an hour we got to the post-house at <placeName type="tgn" key="1034611">Nampont</placeName>.</p>
         </div>
         <div type="section">
            <pb n="123"/>
            <head>
                    <ref target="_Nampont" corresp="Nampont">NAMPONT</ref>.</head>
            <head>THE DEAD ASS.</head>
            <p>—AND this, said he, putting the remains of a crust into his wallet—and this, should
               have been thy portion, said he, hadst thou been alive to have shared it with me. I
               thought by the accent, it had been an apostrophe to his child; but 'twas to his ass,
               and to the very ass we had seen dead in the road, which had occasioned La Fleur's
               misadventure. The man seemed to lament it much; and it instantly brought into my mind
               Sancho's lamentation <pb n="124"/> for his; but he did it
               with more true touches of nature.</p>
            <p>The mourner was sitting upon a stone bench at the door, with the ass's pannel and its
               bridle on one side, which he took up from time to time—then laid them down—look'd at
               them and shook his head. He then took his crust of bread out of his wallet again, as
               if to eat it; held it some time in his hand—then laid it upon the bit of his ass's
               bridle—looked wistfully at the little arrangement he had made—and then gave a
               sigh.</p>
            <p>The simplicity of his grief drew numbers about him, and La Fleur <pb n="125"/> amongst the rest, whilst the horses were getting
               ready; as I continued sitting in the post-chaise, I could see and hear over their
               heads.</p>
            <p>—He said he had come last from <placeName type="tgn" key="1000095">Spain</placeName>, where he had been from the furthest borders of
               <placeName type="tgn" key="7012456">Franconia</placeName>; and had got so far on his return home, when his ass died. Every one seem'd
               desirous to know what business could have taken so old and poor a man so far a
               journey from his own home.</p>
            <p>It had pleased heaven, he said, to bless him with three sons, the finest lads in all
               <placeName type="tgn" key="7000084">Germany</placeName>; but having in one week lost two of the eldest of them by the small-pox, and
               the <pb n="126"/> youngest falling ill of the same
               distemper, he was afraid of being bereft of them all; and made a vow, if Heaven would
               not take him from him also, he would go in gratitude to St. Iago in <placeName type="tgn" key="1000095">Spain</placeName>.</p>
            <p>When the mourner got thus far on his story, he stopp'd to pay nature her tribute—and
               wept bitterly.</p>
            <p>He said, Heaven had accepted the conditions; and that he had set out from his cottage
               with this poor creature, who had been a patient partner of his journey—that it had
               eat the same bread with him all the way, and was unto him as a friend.</p>
            <p>
               <pb n="127"/> Every body who stood about, heard the poor
               fellow with concern——La Fleur offered him money.—The mourner said, he did not want
               it—it was not the value of the ass—but the loss of him.—The ass, he said, he was
               assured loved him—and upon this told them a long story of a mischance upon their
               passage over the Pyrenean mountains which had separated them from each other three
               days; during which time the ass had sought him as much as he had sought the ass, and
               that they had neither scarce eat or drank till they met.</p>
            <p>Thou hast one comfort, friend, said I, at least in the loss of thy poor beast; I'm
               sure thou hast been a merciful <pb n="128"/> master to
               him.—Alas! said the mourner, I thought so, when he was alive—but now that he is dead
               I think otherwise.—I fear the weight of myself and my afflictions together have been
               too much for him—they have shortened the poor creature's days, and I fear I have them
               to answer for.—Shame on the world! said I to myself—Did we love each other, as this
               poor soul but loved his ass—'twould be something.—</p>
         </div>
         <div type="section">
            <pb n="129"/>
            <head>NAMPONT.</head>
            <head>THE <ref target="_postillion" corresp="postillion">POSTILLION</ref>.</head>
            <p>THE concern which the poor fellow's story threw me into, required some attention: the
               postillion paid not the least to it, but set off upon the <hi rend="italic">pavè</hi> in a full
               gallop.</p>
            <p>The thirstiest soul in the most sandy desert of <placeName type="tgn" key="1012700">Arabia</placeName> could not have wished more for
               a cup of cold water, than mine did for grave and quiet movements; and I should have
               had an high opinion of the postillion had he but stolen off with me in something like
               a pensive pace.—On the <pb n="130"/> contrary, as the
               mourner finished his lamentation, the fellow gave an unfeeling lash to each of his
               beasts, and set off clattering like a thousand devils.</p>
            <p>I called to him as loud as I could, for heaven's sake to go slower—and the louder I
               called the more unmercifully he galloped.—The deuce take him and his galloping
               too—said I—he'll go on tearing my nerves to pieces till he has worked me into a
               foolish passion, and then he'll go slow, that I may enjoy the sweets of it.</p>
            <p>The postillion managed the point to a miracle: by the time he had got <pb n="131"/> to the foot of a steep hill about half a league from
                  <placeName type="tgn" key="1034611">Nampont</placeName>,—he had put me out of
               temper with him—and then with myself, for being so.</p>
            <p>My case then required a different treatment; and a good rattling gallop would have
               been of real service to me.—</p>
            <p>—Then, prithee get on—get on, my good lad, said I.</p>
            <p>The postillion pointed to the hill—I then tried to return back to the story of the
               poor German and his ass—but I had broke the clue—and could no more get into it again,
               than the postillion could into a trot.—</p>
            <p>
               <pb n="132"/> —The <ref target="_deuce" corresp="deuce">deuce</ref> go, said I, with it all! Here am I sitting as candidly disposed to
               make the best of the worst, as ever wight was, and all runs counter.</p>
            <p>There is one sweet lenitive at least for evils, which nature holds out to us; so I
               took it kindly at her hands, and fell asleep; and the first word which roused me was
                     <hi rend="italic">
                        <placeName type="tgn" key="7010588">Amiens</placeName>.</hi>
            </p>
            <p>—Bless me! said I, rubbing my eyes—this is the very town where my poor lady is to
               come.</p>
         </div>
         <div type="section">
            <pb n="133"/>
            <head>
                    <placeName type="tgn" key="7010588">AMIENS</placeName>.</head>
            <p>THE words were scarce out of my mouth, when the Count de L***'s post-chaise, with his
               sister in it, drove hastily by: she had just time to make me a bow of recognition—and
               of that particular kind of it, which told me she had not yet done with me. She was as
               good as her look; for, before I had quite finished my supper, her brother's servant
               came into the room with a billet, in which she said, she had taken the liberty to
               charge me with a letter, which I was to present myself to Madame R*** the first <pb n="134"/> morning I had nothing to do at <placeName type="tgn" key="7008038">Paris</placeName>. There
               was only added, she was sorry, but from what <hi rend="italic">penchant</hi> she had not
               considered, that she had been prevented telling me her story—that she still owed it
               me; and if my rout should ever lay through <placeName type="tgn" key="7007868">Brussels</placeName>, and I had not by then forgot the
               name of Madame de L***—that Madame de L*** would be glad to discharge her
               obligation.</p>
            <p>Then I will meet thee, said I, fair spirit! at <placeName type="tgn" key="7007868">Brussels</placeName>—'tis only returning from
               <placeName type="tgn" key="1000080">Italy</placeName> through <placeName type="tgn" key="7000084">Germany</placeName> to <placeName type="tgn" key="7016845">Holland</placeName>, by the rout of <placeName type="tgn" key="7018236">Flanders</placeName>, home—'twill scarce be ten
               posts out of my way; but were it ten thousand! with what a moral delight will <pb n="135"/> it crown my journey, in sharing in the
               sickening incidents of a tale of misery told to me by such a sufferer? to see her
               weep! and though I cannot dry up the fountain of her tears, what an exquisite
               sensation is there still left, in wiping them away from off the cheeks of the first
               and fairest of women, as I'm sitting with my <ref target="_handkerchief" corresp="handkerchief">handkerchief</ref> in my hand in silence the whole night besides her.</p>
            <p>There was nothing wrong in the sentiment; and yet I instantly reproached my heart
               with it in the bitterest and most reprobate of expressions.</p>
            <p>
               <pb n="136"/> It had ever, as I told the reader, been one
               of the singular blessings of my life, to be almost every hour of it miserably in love
               with some one; and my last flame happening to be blown out by a whiff of jealousy on
               the sudden turn of a corner, I had lighted it up afresh at the pure taper of Eliza
               but about three months before—swearing as I did it, that it should last me through
               the whole journey—Why should I dissemble the matter? I had sworn to her eternal
               fidelity—she had a right to my whole heart—to divide my affections was to lessen
               them—to expose them, was to risk them: where there is risk, there may be loss—and
               what wilt <pb n="137"/> thou have, Yorick! to answer to a
               heart so full of trust and confidence—so good, so gentle and unreproaching?</p>
            <p>—I will not go to <placeName type="tgn" key="7007868">Brussels</placeName>, replied I, interrupting myself—but my imagination went
               on—I recall'd her looks at that crisis of our separation when neither of us had power
               to say Adieu! I look'd at the picture she had tied in a black ribband about my
               neck—and blush'd as I look'd at it—I would have given the world to have kiss'd
               it,—but was ashamed—And shall this tender flower, said I, pressing it between my
               hands—shall it be smitten to its very root—and smitten, Yorick! <pb n="138"/> by thee, who hast promised to shelter it in thy
               breast?</p>
            <p>Eternal fountain of happiness! said I, kneeling down upon the ground—be thou my
               witness—and every pure spirit which tastes it, be my witness also, That I would not
               travel to <placeName type="tgn" key="7007868">Brussels</placeName>, unless Eliza went along with me, did the road lead me towards
               heaven.</p>
            <p>In transports of this kind, the heart, in spite of the understanding, will always say
               too much.</p>
         </div>
         <div type="section">
            <pb n="139"/>
            <head>THE LETTER.</head>
            <head>
                    <placeName type="tgn" key="7010588">AMIENS</placeName>.</head>
            <p>FORTUNE had not smiled upon La Fleur; for he had been unsuccessful in his feats of
               chivalry—and not one thing had offer'd to signalize his zeal for my service from the
               time he had enter'd into it, which was almost four and twenty hours. The poor soul
               burn'd with impatience; and the Count de L***'s servant's coming with the letter,
               being the first practicable occasion which offered, La Fleur had laid hold of it; and
               in order to do honour to his <pb n="140"/> master, had
               taken him into a back parlour in the <ref target="_auberge" corresp="auberge">Auberge</ref>, and treated him with a cup or two of
               the best wine in Picardy; and the Count de L***'s servant in return, and not to be
               behind hand in politeness with La Fleur, had taken him back with him to the Count's
               hôtel. La Fleur's <hi rend="italic">prevenancy</hi> (for there was a passport in his very looks)
               soon set every servant in the kitchen at ease with him; and as a Frenchman, whatever
               be his talents, has no sort of prudery in shewing them, La Fleur, in less than five
               minutes, had pull'd out his fife, and leading off the dance himself with the first
               note, set the <hi rend="italic">fille de chambre,</hi> the <hi rend="italic">maitre d'hotel,</hi> the cook, <pb n="141"/> the scullion, and all the houshold, dogs and
               cats, besides an old monkey, a dancing: I suppose there never was a merrier kitchen
               since the flood.</p>
            <p>Madame de L***, in passing from her brother's apartments to her own, hearing so much
               jollity below stairs, rung up her <hi rend="italic">fille de chambre</hi> to ask about it; and
               hearing it was the English gentleman's servant who had set the whole house merry with
               his pipe, she order'd him up.</p>
            <p>As the poor fellow could not present himself empty, he had loaden'd himself in going
               up stairs with a thousand compliments to Madame de L***, on the part of his master—
                 
               <pb n="142"/> added a long <ref target="_apocrypha" corresp="apocrypha">apocrypha</ref> of inquiries after Madame de L***'s health—told
               her, that Monsieur his master was <hi rend="italic">au desespoire</hi> for her re-establishment
               from the fatigues of her journey—and, to close all, that Monsieur had received the
               letter which Madame had done him the honour—And he has done me the honour, said
               Madame de L***, interrupting La Fleur, to send a <ref target="_billet" corresp="billet">billet</ref> in return.</p>
            <p>Madame de L*** had said this with such a tone of reliance upon the fact, that La
               Fleur had not power to disappoint her expectations—he trembled for my honour—and
               possibly might not altogether be unconcerned <pb n="143"/>
               for his own, as a man capable of being attach'd to a master who could be a wanting
                  <hi rend="italic">en egards vis a vis d'une femme;</hi> so that when Madame de L*** asked La
               Fleur if he had brought a letter—<hi rend="italic">O qu'oui,</hi> said La Fleur: so laying down his
               hat upon the ground, and taking hold of the flap of his right side pocket with his
               left hand, he began to search for the letter with his right—then
                  contrary-wise—<hi rend="italic">Diable!</hi>—then sought every pocket—pocket by pocket, round,
               not forgetting his fob—<hi rend="italic">Peste!</hi>—then La Fleur emptied them upon the
               floor—pulled out a dirty cravat—a handkerchief—a comb—a whip lash—a night-cap—then
               gave a peep <pb n="144"/> into his hat—<hi rend="italic">Quelle
                  etourderie!</hi> He had left the letter upon the table in the Auberge—he would run
               for it, and be back with it in three minutes.</p>
            <p>I had just finished my supper when La Fleur came in to give me an account of his
               adventure: he told the whole story simply as it was; and only added, that if Monsieur
               had forgot <hi rend="italic">(par hazard)</hi> to answer Madame's letter, the arrangement gave him
               an opportunity to recover the <hi rend="italic">faux pas</hi>—and if not, that things were only as
               they were.</p>
            <p>Now I was not altogether sure of my <hi rend="italic">etiquette,</hi> whether I ought to have wrote
               or no; but if I had—a devil <pb n="145"/> himself could not
               have been angry 'twas but the officious zeal of a wellmeaning creature for my honour;
               and however he might have mistook the road—or embarrassed me in so doing—his heart
               was in no fault—I was under no necessity to write—and what weighed more than all—he
               did not look as if he had done amiss.</p>
            <p>—<ref target="_tis" corresp="tis">'Tis</ref> all very well, La Fleur, said I.—'Twas
               sufficient. La Fleur flew out of the room like lightening, and return'd with <ref target="_writing" corresp="writing">pen, ink, and paper</ref>, in his hand; and coming up
               to the table, laid them close before me, with such a delight in his countenance, that
               I could not help taking up the pen.</p>
            <p>
               <pb n="146"/> I begun and begun again; and though I had
               nothing to say, and that nothing might have been express'd in half a dozen lines, I
               made half a dozen different beginnings, and could no way please myself.</p>
            <p>In short, I was in no mood to write.</p>
            <p>La Fleur stepp'd out and brought a little water in a glass to dilute my ink—then
               fetch'd <ref target="_sand" corresp="sand">sand and seal-wax</ref>—It was all one: I
               wrote, and blotted, and tore off, and burnt, and wrote again—<hi rend="italic">Le Diable
                  l'emporte!</hi> said I half to myself—I cannot write this self-same letter;
               throwing the pen down despairingly as I said it.</p>
            <p>
               <pb n="147"/> As soon as I had cast down the pen, La Fleur
               advanced with the most respectful carriage up to the table, and making a thousand
               apologies for the liberty he was going to take, told me he had a letter in his pocket
               wrote by a drummer in his regiment to a corporal's wife, which, he durst say, would
               suit the occasion.</p>
            <p>I had a mind to let the poor fellow have his humour—Then prithee, said I, let me see
               it.</p>
            <p>La Fleur instantly pull'd out a little dirty pocket-book cramm'd full of small
               letters and <ref target="_billet-doux" corresp="billet-doux">billet-doux</ref> in a sad condition,
               and laying it upon the table, and then untying the string <pb n="148"/> which held them all together, run them over one by
               one, till he came to the letter in question—<hi rend="italic">La voila!</hi> said he, clapping his
               hands: so unfolding it first, he laid it before me, and retired three steps from the
               table whilst I read it.</p>
         </div>
         <div type="section">
            <pb n="149"/>
            <head>
                    <ref target="_translation" corresp="translation">THE LETTER</ref>.</head>
            <floatingText>
               <body>
                  <opener>
                     <salute>MADAME,</salute>
                  </opener>
                  <p>JE suis penetré de la douleur la plus vive, et reduit en même temps an
                     desespoir par ce retour imprevû du Corporal qui rend notre entrevue de ce soir
                     la chose du monde la plus impossible.</p>
                  <p>Mais vive la joie! et toute la mienne sera de penser a vous.</p>
                  <p>L'amour n'est <hi rend="italic">rien</hi> sans sentiment.</p>
                  <p>Et le sentiment est encore <hi rend="italic">moins</hi> sans amour.</p>
                  <p>
                     <pb n="150"/> On dit qu'on ne doit jamais se
                     desesperer.</p>
                  <p>On dit aussi que Monsieur le Corporal monte la garde Mecredi: alors ce sera mon
                     tour.</p>
                  
                     <p>
                            <hi rend="italic">Chacun a son tour.</hi>
                        </p>
                  
                  <p>En attendant—Vive l'amour! et vive la bagatelle!</p>
                  <closer>
                     <signed>Je suis, MADAME, <lb/>Avec toutes les sentiments les plus respecteux et
                        les plus tendres tout a vous, <lb/>JAQUES ROQUE.</signed>
                  </closer>
               </body>
            </floatingText>
            <p>
               <pb n="151"/> It was but changing the Corporal into the
               Count—and saying nothing about mounting guard on Wednesday—and the letter was neither
               right or wrong—so to gratify the poor fellow, who stood trembling for my honour, his
               own, and the honour of his letter,—I took the cream gently off it, and whipping it up
               in my own way—I seal'd it up and sent him with it to Madame de L***—and the next
               morning we pursued our journey to <placeName type="tgn" key="7008038">Paris</placeName>.</p>
         </div>
         <div type="section">
            <pb n="152"/>
            <head>PARIS.</head>
            <p>WHEN a man can contest the point by dint of equipage, and carry all on floundering
               before him with half a dozen lackies and a couple of cooks—'tis very well in such a
               place as <placeName type="tgn" key="7008038">Paris</placeName>—he may drive in at which end of a street he will.</p>
            <p>A poor prince who is weak in cavalry, and whose whole infantry does not exceed a
               single man, had best quit the field; and signalize himself in the cabinet, if he can
               get up into it—I say <hi rend="italic">up into it</hi>—for there is no descending perpendicular
               amongst 'em with a "<hi rend="italic">Me voici!</hi>
                  <pb n="153"/>
                  <hi rend="italic">mes enfans</hi>"—here I am—whatever many may think.</p>
            <p>I own my first sensations, as soon as I was left solitary and alone in my own chamber
               in the hotel, were far from being so flattering as I had prefigured them. I walked up
               gravely to the window in my dusty black coat, and looking through the glass saw all
               the world in yellow, blue, and green, running at the ring of pleasure.—The old with
               broken lances, and in helmets which had lost their vizards—the young in armour bright
               which shone like gold, beplumed with each gay feather of the east—all—all tilting at
               it like <pb n="154"/> fascinated knights in tournaments of
               yore for fame and love.—</p>
            <p>Alas, poor Yorick! cried I, what art thou doing here? On the very first onset of all
               this glittering clatter, thou art reduced to an atom—seek—seek some winding alley,
               with a tourniquet at the end of it, where chariot never rolled or <ref target="_flambeau" corresp="flambeau">flambeau</ref> shot its rays—there thou mayest solace thy soul in
               converse sweet with some kind <hi rend="italic">
                        <ref target="_grissette" corresp="grissette">grisset</ref>
                    </hi> of a barber's wife, and get into such coteries!—</p>
            <p>—May I perish! if I do, said I, pulling out the letter which I had to present to
               Madame de R***.—I'll <pb n="155"/> wait upon this lady, the
               very first thing I do. So I called La Fleur to go seek me a barber directly—and come
               back and brush my coat.</p>
            
         </div>
         <div type="section">
            <pb n="156"/>
            <head>THE WIG.</head>
            <head>PARIS.</head>
            <p>WHEN the barber came, he absolutely refused to have any thing to do with my <ref target="_periwig" corresp="periwig">wig</ref>: 'twas either above or below his art: I had
               nothing to do, but to take one ready made of his own recommendation.</p>
            <p>—But I fear, friend! said I, this buckle won't stand.—You may immerge it, replied he,
               into the ocean, and it will stand—</p>
            <p>What a great scale is every thing upon in this city! thought I—The <pb n="157"/> utmost stretch of an English <ref target="_perriwig-maker" corresp="perriwig-maker">periwigmaker</ref>'s ideas could have gone no further than to have
                  "dipped it into a pail of water"—What difference!
               'tis like time to eternity.</p>
            <p>I confess I do hate all cold conceptions, as I do the puny ideas which engender them;
               and am generally so struck with the great works of nature, that for my own part, if I
               could help it, I never would make a comparison less than a mountain at least. All
               that can be said against the French sublime in this instance of it, is this—that the
               grandeur is <hi rend="italic">more</hi> in the <hi rend="italic">word;</hi> and <hi rend="italic">less</hi> in the
                  <hi rend="italic">thing.</hi> No doubt the ocean fills the mind with vast ideas; 
               <pb n="158"/> but <placeName type="tgn" key="7008038">Paris</placeName> being so far inland, it was not
               likely I should run post a hundred miles out of it, to try the experiment—the
               <placeName type="tgn" key="7008038">Paris</placeName>ian barber meant nothing.—</p>
            <p>The pail of water standing besides the great deep, makes certainly but a sorry figure
               in speech—but 'twill be said—it has one advantage—'tis in the next room, and the
               truth of the buckle may be tried in it without more ado, in a single moment.</p>
            <p>In honest truth, and upon a more candid revision of the matter, <hi rend="italic">The French
                  expression professes more than it performs.</hi>
            </p>
            <p>
               <pb n="159"/> I think I can see the precise and
               distinguishing marks of national characters more in these nonsensical
                  <hi rend="italic">minutiae,</hi> than in the most important matters of state; where great men of
               all nations talk and stalk so much alike, that I would not give ninepence to chuse
               amongst them.</p>
            <p>I was so long in getting from under my barber's hands, that it was too late of
               thinking of going with my letter to Madame R*** that night: but when a man is once
               dressed at all points for going out, his reflections turn to little account, so
               taking down the name of the Hotel de Modene where I lodged, I <pb n="160"/> walked forth without any determination where to go—I
               shall consider of that, said I, as I walk along.</p>
         </div>
         <div type="section">
            <pb n="161"/>
            <head>THE PULSE.</head>
            <head>PARIS.</head>
            <p>HAIL ye small sweet courtesies of life, for smooth do ye make the road of it! like
               grace and beauty which beget inclinations to love at first sight; 'tis ye who open
               this door and let the stranger in.</p>
            <p>—Pray, Madame, said I, have the goodness to tell me which way I must turn to go to
                  <ref target="_opera" corresp="opera">the Opera comique</ref>:—Most willingly,
               Monsieur, said she, laying aside her work—</p>
            <p>I had given a cast with my eye into half a dozen shops as I came <pb n="162"/> along in search of a face not likely to be disordered
               by such an interruption; till at last, this hitting my fancy, I had walked in.</p>
            <p>She was working <ref target="_ruffles" corresp="ruffles">a pair of ruffles</ref> as she sat
               in a low chair on the far side of the shop facing the door—</p>
            <p>—<hi rend="italic">Tres volentieres;</hi> most willingly, said she, laying her work down upon a
               chair next her, and rising up from the low chair she was sitting in, with so chearful
               a movement and so chearful a look, that had I been laying out fifty <ref target="_louis" corresp="louis">louis d'ors</ref> with her, I should have said—"This woman is grateful."
            </p>
            <p>
               <pb n="163"/> You must turn, Monsieur, said she, going with
               me to the door of the shop, and pointing the way down the street I was to take—you
               must turn first to your left hand—<hi rend="italic">mais prenez guarde</hi>—there are two turns;
               and be so good as to take the second—then go down a little way and you'll see a
               church, and when you are past it, give yourself the trouble to turn directly to the
               right, and that will lead you to the foot of the <hi rend="italic">pont neuf,</hi> which you must
               cross—and there, any one will do himself the pleasure to shew you—</p>
            <p>She repeated her instructions three times over to me with the same good natur'd
               patience the third time <pb n="164"/> as the first;—and if
                  <hi rend="italic">tones and manners</hi> have a meaning, which certainly they have, unless to
               hearts which shut them out—she seem'd really interested, that I should not lose
               myself.</p>
            <p>I will not suppose it was the woman's beauty, notwithstanding she was the handsomest
               grisset, I think, I ever saw, which had much to do with the sense I had of her
               courtesy; only I remember, when I told her how much I was obliged to her, that I
               looked very full in her eyes,—and that I repeated my thanks as often as she had done
               her instructions.</p>
            <p>I had not got ten paces from the door, before I found I had forgot <pb n="165"/> every tittle of what she had said—so looking back, and
               seeing her still standing in the door of the shop as if to look whether I went right
               or not—I returned back, to ask her whether the first turn was to my right or left—for
               that I had absolutely forgot.—Is it possible! said she, half laughing.—'Tis very
               possible, replied I, when a man is thinking more of a woman, than of her good
               advice.</p>
            <p>As this was the real truth—she took it, as every woman takes a matter of right, with
               a slight courtesy.</p>
            <p>—<hi rend="italic">Attendez!</hi> said she, laying her hand upon my arm to detain me, whilst she
               called a lad out of the 
               <pb n="166"/> back-shop to get ready a parcel of gloves. I
               am just going to send him, said she, with a packet into that quarter, and if you will
               have the complaisance to step in, it will be ready in a moment, and he shall attend
               you to the place.—So I walk'd in with her to the far side of the shop, and taking up
               the ruffle in my hand which she laid upon the chair, as if I had a mind to sit, she
               sat down herself in her low chair, and I instantly sat myself down besides her.</p>
            <p>—He will be ready, Monsieur, said she, in a moment—And in that moment, replied I,
               most willingly would I say something very civil to you for <pb n="167"/> all these courtesies. Any one may do a casual act of
               good nature, but a continuation of them shews it is a part of the temperature; and
               certainly, added I, if it is the same blood which comes from the heart, which
               descends to the extremes (touching her wrist) I am sure you must have one of the best
               pulses of any woman in the world—Feel it, said she, holding out her arm. So laying
               down my hat, I took hold of her fingers in one hand, and applied the two fore-fingers
               of my other to the artery—</p>
            <p>—Would to heaven! my dear <persName type="lcnaf" key="n85067385">Eugenius</persName>, thou hadst passed by, and beheld me sitting in my
               black coat, and in my lack-a-day-sical manner, <pb n="168"/>
               counting the throbs of it, one by one, with as much true devotion as if I had been
               watching the critical ebb or flow of her fever—How wouldst thou have laugh'd and
               moralized upon my new profession?—and thou shouldst have laugh'd and moralized
               on—Trust me, my dear <persName type="lcnaf" key="n85067385">Eugenius</persName>, I should have said, "there
                  are worse occupations in this world <hi rend="italic">than feeling a woman's
               pulse.</hi>"—But a Grisset's! thou wouldst have said—and in an open shop!
               Yorick—</p>
            <p>—So much the better: for when my views are direct, <persName type="lcnaf" key="n85067385">Eugenius</persName>, I care not if all the
               world saw me feel it.</p>
         </div>
         <div type="section">
            <pb n="169"/>
            <head>THE HUSBAND.</head>
            <head>PARIS.</head>
            <p>I HAD counted twenty pulsations, and was going on fast towards the fortieth, when her
               husband coming unexpected from a back parlour into the shop, put me a little out in
               my reckoning—'Twas no body but her husband, she said—so I began a fresh
               score—Monsieur is so good, quoth she, as he pass'd by us, as to give himself the
               trouble of feeling my pulse—The husband took off his hat, and making me a bow, said,
               I did him too much honour—and having <pb n="170"/> said
               that, he put on his hat and walk'd out.</p>
            <p>Good God! said I to myself, as he went out—and can this man be the husband of this
               woman?</p>
            <p>Let it not torment the few who know what must have been the grounds of this
               exclamation, if I explain it to those who do not.</p>
            <p>In <placeName type="tgn" key="7011781">London</placeName> a shopkeeper and a shopkeeper's wife seem to be one bone and one flesh: in
               the several endowments of mind and body, sometimes the one, sometimes the other has
               it, so as in general to be <ref target="_par" corresp="par">upon a par</ref>, and to
                  <ref target="_tally" corresp="tally">tally with each other</ref> as nearly as man and
               wife need to do.</p>
            <p>
               <pb n="171"/> In <placeName type="tgn" key="7008038">Paris</placeName>, there are scarce two orders of
               beings more different: for the legislative and executive powers of the shop not
               resting in the husband, he seldom comes there—in some dark and dismal room behind, he
               sits commerceless in his thrum night-cap, the same rough son of Nature that Nature
               left him.</p>
            <p>The genius of a people where nothing but the monarchy is <hi rend="italic">
                        <ref target="_salique" corresp="salique">salique</ref>,</hi> having ceded this department, with sundry
               others, totally to the women—by a continual higgling with customers of all ranks and
               sizes from morning to night, like so many rough pebbles shook long together in a <pb n="172"/> bag, by amicable collisions, they have worn
               down their asperities and sharp angles, and not only become round and smooth, but
               will receive, some of them, a polish like a brilliant—Monsieur <hi rend="italic">le Mari</hi> is
               little better than the stone under your foot—</p>
            <p>—Surely—surely man! it is not good for thee to sit alone—thou wast made for social
               intercourse and gentle greetings, and this improvement of our natures from it, I
               appeal to, as my evidence.</p>
            <p>—And how does it beat, Monsieur? said she.—With all the benignity, said I, looking
               quietly in <pb n="173"/> her eyes, that I expected—She was
               going to say something civil in return—but the lad came into the shop with the
                  gloves—<hi rend="italic">A propos,</hi> said I; I want a couple of pair myself.</p>
         </div>
         <div type="section">
            <pb n="174"/>
            <head>THE GLOVES.</head>
            <head>PARIS.</head>
            <p>THE beautiful Grisset rose up when I said this, and going behind the counter, reach'd
               down a parcel and untied it: I advanced to the side over-against her: they were all
               too large. The beautiful Grisset measured them one by one across my hand—It would not
               alter the dimensions—She begg'd I would try a single pair, which seemed to be the
               least—She held it open—my hand slipp'd into it at once—It will not do, said I, <pb n="175"/> shaking my head a little—No, said she, doing
               the same thing.</p>
            <p>There are certain combined looks of simple subtlety—where whim, and sense, and
               seriousness, and nonsense, are so blended, that all the languages of Babel set loose
               together could not express them—they are communicated and caught so instantaneously,
               that you can scarce say which party is the infecter. I leave it to your men of words
               to swell pages about it—it is enough in the present to say again, the gloves would
               not do; so folding our hands within our arms, we both loll'd upon the counter—it was
               narrow, and there was just room for the parcel to lay between us.</p>
            <p>
               <pb n="176"/> The beautiful Grisset look'd sometimes at the
               gloves, then side-ways to the window, then at the gloves—and then at me. I was not
               disposed to break silence—I follow'd her example: so I look'd at the gloves, then to
               the window, then at the gloves, and then at her—and so on alternately.</p>
            <p>I found I lost considerably in every attack—she had a quick black eye, and shot
               through two such long and silken eye-lashes with such penetration, that she look'd
               into my very heart and reins—It may seem strange, but I could actually feel she
               did—</p>
            <p>
               <pb n="177"/> —It is no matter, said I, taking up a couple
               of the pairs next me, and putting them into my pocket.</p>
            <p>I was sensible the beautiful Grisset had not ask'd above a single livre above the
               price—I wish'd she had ask'd a livre more, and was puzzling my brains how to bring
               the matter about—Do you think, my dear Sir, said she, mistaking my embarrassment,
               that I could ask a <hi rend="italic">sous</hi> too much of a stranger—and of a stranger whose
               politeness, more than his want of gloves, has done me the honour to lay himself at my
                  mercy?—<hi rend="italic">Men croyez capable?</hi>—Faith! not I, said I; and if you were, you are
               welcome— <pb n="178"/> So counting the money into her hand,
               and with a lower bow than one generally makes to a shopkeeper's wife, I went out, and
               her lad with his parcel followed me.</p>
         </div>
         <div type="section">
            <pb n="179"/>
            <head>THE TRANSLATION.</head>
            <head>PARIS.</head>
            <p>THERE was no body in the box I was let into but a kindly old French officer. I love
               the character, not only because I honour the man whose manners are softened by a
               profession which makes bad men worse; but that I once knew one—for he is no more—and
               why should I not rescue one page from violation by writing his name in it, and
               telling the world it was Captain Tobias Shandy, the dearest of my flock and friends,
               whose philanthropy I never <pb n="180"/> think of at this
               long distance from his death—but my eyes gush out with tears. For his sake, I have a
               predilection for the whole corps of veterans; and so I strode over the two back rows
               of benches, and placed myself beside him.</p>
            <p>The old officer was reading attentively a small pamphlet, it might be the book of the
               opera, with a large pair of spectacles. As soon as I sat down, he took his spectacles
               off, and putting them into a <ref target="_shagreen" corresp="shagreen">shagreen case</ref>,
               return'd them and the book into his pocket together. I half rose up, and made him a
               bow.</p>
            <p>
               <pb n="181"/> Translate this into any civilized language in
               the world—the sense is this:</p>
            <p>
               "Here's a poor stranger come in to the box—he seems as if
                  he knew no body; and is never likely, was he to be seven years in <placeName type="tgn" key="7008038">Paris</placeName>, if every
                  man he comes near keeps his spectacles upon his nose—'tis shutting the door of
                  conversation absolutely in his face—and using him worse than a German."
            </p>
            <p>The French officer might as well have said it all aloud; and if he had, I should in
               course have put the bow I made him into French too, and told him, "I was sensible of his attention, 
                  <pb n="182"/> and return'd him a thousand thanks for
                  it."
            </p>
            <p>There is not a secret so aiding to the progress of sociality, as to get master of
               this <hi rend="italic">short hand,</hi> and be quick in rendering the several turns of looks and
               limbs, with all their inflections and delineations, into plain words. For my own
               part, by long habitude, I do it so mechanically, that when I walk the streets of
               <placeName type="tgn" key="7011781">London</placeName>, I go translating all the way; and have more than once stood behind in the
               circle, where not three words have been said, and have brought off twenty different
               dialogues with me, which I could have fairly wrote down and sworn to.</p>
            <p>
               <pb n="183"/> I was going one evening to Martini's concert
               at Milan, and was just entering the door of the hall, when the Marquesina di F*** was
               coming out in a sort of a hurry—she was almost upon me before I saw her; so I gave a
               spring to one side to let her pass—She had done the same, and on the same side too;
               so we ran our heads together: she instantly got to the other side to get out: I was
               just as unfortunate as she had been; for I had sprung to that side, and opposed her
               passage again—We both flew together to the other side, and then back—and so on—it was
               ridiculous; we both blush'd intolerably; so I did at last the thing I should have <pb n="184"/> done at first—I stood stock still, and the
               Marquesina had no more difficulty. I had no power to go into the room, till I had
               made her so much reparation as to wait and follow her with my eye to the end of the
               passage—She look'd back twice, and walk'd along it rather side-ways, as if she would
               make room for any one coming up stairs to pass her—No, said I—that's a vile
               translation: the Marquesina has a right to the best apology I can make her; and that
               opening is left for me to do it in—so I ran and begg'd pardon for the embarrassment I
               had given her, saying it was my intention to have made her way. She answered, she <pb n="185"/> was guided by the same intention towards me—so
               we reciprocally thank'd each other. She was at the top of the stairs; and seeing no
                  <hi rend="italic">chichesbee</hi> near her, I begg'd to hand her to her coach—so we went down
               the stairs, stopping at every third step to talk of the concert and the
               adventure—Upon my word, Madame, said I when I had handed her in, I made six different
               efforts to let you go out—And I made six efforts, replied she, to let you enter—I
               wish to heaven you would make a seventh, said I—With all my heart, said she, making
               room—Life is too short to be long about the forms of it—so I instantly stepp'd in,
               and she carried me home with her—And <pb n="186"/> what
               became of the concert, <ref target="_Cecilia" corresp="Cecilia">St. Cecilia</ref>, who, I
               suppose, was at it, knows more than I.</p>
            <p>I will only add, that the connection which arose out of that translation, gave me
               more pleasure than any one I had the honour to make in <placeName type="tgn" key="1000080">Italy</placeName>.</p>
         </div>
         <div type="section">
            <pb n="187"/>
            <head>THE DWARF.</head>
            <head>PARIS.</head>
            <p>I HAD never heard the remark made by any one in my life, except by one; and who that
               was, will probably come out in this chapter; so that being pretty much
               unprepossessed, there must have been grounds for what struck me the moment I cast my
               eyes over the <hi rend="italic">
                        <ref target="_parterre" corresp="parterre">parterre</ref>
                    </hi>—and that was,
               the unaccountable sport of nature in forming such numbers of dwarfs—No doubt, she
               sports at certain times in almost every corner of the world; but in <placeName type="tgn" key="7008038">Paris</placeName>, there is
               no <pb n="188"/> end to her amusements—The goddess seems
               almost as merry as she is wise.</p>
            <p>As I carried my idea out of the <hi rend="italic">opera comique</hi> with me, I measured every body
               I saw walking in the streets by it—Melancholy application! especially where the size
               was extremely little—the face extremely dark—the eyes quick—the nose long—the teeth
               white—the jaw prominent—to see so many miserables, by force of accidents driven out
               of their own proper class into the very verge of another, which it gives me pain to
               write down—every third man a pigmy!—some by ricketty heads and hump backs— <pb n="189"/> others by bandy legs—a third set arrested by
               the hand of Nature in the sixth and seventh years of their growth—a fourth, in their
               perfect and natural state, like dwarf appletrees; from the first rudiments and
               stamina of their existence, never meant to grow higher.</p>
            <p>A medical traveller might say, 'tis owing to undue bandages—a splenetic one, to want
               of air—and an inquisitive traveller, to fortify the system, may measure the height of
               their houses—the narrowness of their streets, and in how few feet square in the sixth
               and seventh stories such numbers of the <hi rend="italic">
                        <ref target="_bourgeoisie" corresp="bourgeoisie">Bourgoisie</ref>
                    </hi> eat and sleep <pb n="190"/>
               together; but I remember, <ref target="_Shandy" corresp="Shandy">Mr. Shandy the
                  elder</ref>, who accounted for nothing like any body else, in speaking one evening
               of these matters, averred, that children, like other animals, might be increased
               almost to any size, provided they came right into the world; but the misery was, the
               citizens of <placeName type="tgn" key="7008038">Paris</placeName> were so coop'd up, that they had not actually room enough to get
               them—I do not call it getting any thing, said he—'tis getting nothing—Nay, continued
               he, rising in his argument, 'tis getting worse than nothing, when all you have got,
               after twenty or five and twenty years of the tenderest care and most nutritious
               aliment bestowed upon <pb n="191"/> it, shall not at last
               be as high as my leg. Now, Mr. Shandy being very short, there could be nothing more
               said upon it.</p>
            <p>As this is not a work of reasoning, I leave the solution as I found it, and content
               myself with the truth only of the remark, which is verified in every lane and by-lane
               of <placeName type="tgn" key="7008038">Paris</placeName>. I was walking down that which leads from the Carousal to the Palais Royal,
               and observing a little boy in some distress at the side of the gutter, which ran down
               the middle of it, I took hold of his hand, and help'd him over. Upon turning up his
               face to look at him after, I perceived he was about <pb n="192"/> forty—Never mind, said I; some good body will do as
               much for me when I am ninety.</p>
            <p>I feel some little principles within me, which incline me to be merciful towards this
               poor blighted part of my species, who have neither size or strength to get on in the
               world—I cannot bear to see one of them trod upon; and had scarce got seated beside my
               old French officer, ere the disgust was exercised, by seeing the very thing happen
               under the <ref target="_box" corresp="box">box</ref> we sat in.</p>
            <p>At the end of the <ref target="_orchestra" corresp="orchestra">orchestra</ref>, and betwixt that
               and the first <ref target="_side-boxes" corresp="side-boxes">side-box</ref>, <pb n="193"/> there is a small esplanade left, where, when the house
               is full, numbers of all ranks take sanctuary. Though you stand, as in the parterre,
               you pay the same price as in the orchestra. A poor defenceless being of this order
               had got thrust some how or other into this luckless place—the night was hot, and he
               was surrounded by beings two feet and a half higher than himself. The dwarf suffered
               inexpressibly on all sides; but the thing which incommoded him most, was a tall
               corpulent German, near seven feet high, who stood directly betwixt him and all
               possibility of his seeing either the stage or the actors. The poor dwarf did all he
               could to get a <pb n="194"/> peep at what was going
               forwards, by seeking for some little opening betwixt the German's arm and his body,
               trying first one side, then the other; but the German stood square in the most
               unaccommodating posture that can be imagined—the dwarf might as well have been placed
               at the bottom of the deepest draw-well in <placeName type="tgn" key="7008038">Paris</placeName>; so he civilly reach'd up his hand to
               the German's sleeve, and told him his distress—The German turn'd his head back,
               look'd down-upon him as Goliah did upon David—and unfeelingly resumed his
               posture.</p>
            <p>I was just then taking a pinch of snuff out of my monk's little horn box—And how
               would thy meek and <pb n="195"/> courteous spirit, my dear
               monk! so temper'd to <hi rend="italic">bear and forbear!</hi>—how sweetly would it have lent an ear
               to this poor soul's complaint!</p>
            <p>The old French officer seeing me lift up my eyes with an emotion, as I made the
               apostrophe, took the liberty to ask me what was the matter—I told him the story in
               three words; and added, how inhuman it was.</p>
            <p>By this time the dwarf was driven to extremes, and in his first transports, which are
               generally unreasonable, had told the German he would cut off his long <ref target="_queue" corresp="queue">queue</ref> with his knife—The German look'd back
               coolly, <pb n="196"/> and told him he was welcome if he
               could reach it.</p>
            <p>An injury sharpened by an insult, be it to who it will, makes every man of sentiment
               a party: I could have leaped out of the box to have redressed it.—The old French
               officer did it with much less confusion; for leaning a little over, and nodding to a
               centinel, and pointing at the same time with his finger to the distress—the centinel
               made his way up to it.—There was no occasion to tell the grievance—the thing told
               itself; so thrusting back the German instantly with his musket—he took the poor dwarf
               by the hand, and placed him <pb n="197"/> before him.—This
               is noble! said I, clapping my hands together—And yet you would not permit this, said
               the old officer, in England.</p>
            <p>—In England, dear Sir, said I, <hi rend="italic">we sit all at our ease.</hi>
            </p>
            <p>The old French officer would have set me at unity with myself, in case I had been at
               variance,—by saying it was a <hi rend="italic">
                        <ref target="_bon-mot" corresp="bon-mot">bon
               mot</ref>
                    </hi>—and as a <hi rend="italic">bon mot</hi> is always worth something at <placeName type="tgn" key="7008038">Paris</placeName>, he
               offered me a pinch of snuff.</p>
         </div>
         <div type="section">
            <pb n="198"/>
            <head>THE ROSE.</head>
            <head>PARIS.</head>
            <p>IT was now my turn to ask the old French officer "What was the
                  matter?" for a cry of "<hi rend="italic">Haussez les mains,
                     Monsieur l'Abbe,</hi>" reechoed from a dozen different parts of the
               parterre, was as unintellgible to me, as my apostrophe to the monk had been to
               him.</p>
            <p>He told me, it was some poor Abbe in one of the upper loges, who he supposed had got
               planted perdu behind a couple of grissets in <pb n="199"/>
               order to see the opera, and that the parterre espying him, were insisting upon his
               holding up both his hands during the representation.—And can it be supposed, said I,
               that an ecclesiastick would pick the Griffer's pockets? The old French officer
               smiled, and whispering in my car, open'd a door of knowledge which I had no idea
               of—</p>
            <p>Good God! said I, turning pale with astonishment—is it possible, that a people so
               smit with sentiment should at the same time be so unclean, and so unlike
                     themselves—<hi rend="italic">Quelle grossierte!</hi>
               added I.</p>
            
            <p>
               <pb n="200"/> The French officer told me, it was an
               illiberal sarcasm at the church, which had begun in the theatre about the time the
               <ref target="_Tartuffe" corresp="Tartuffe">Tartuffe</ref> was given in it, by Moliere—but,
               like other remains os Gothic manners, was declining—Every nation, continued he, have
               their refinements and <hi rend="italic">grossiertes,</hi> in which they take the lead, and lose it
               of one another by turns—that he had been in most countries, but never in one where he
               found not some delicacies, which others seemed to want. <hi rend="italic">Le</hi> POUR, <hi rend="italic">et
                  le</hi> CONTRE <hi rend="italic">se trouvent en chaque nation;</hi> there is a balance, said he,
               of good and bad every where; and nothing but the knowing it is so can emancipate one
               half of the world <pb n="201"/> from the prepossessions
               which it holds against the other—that the advantage of travel, as it regarded the
                  <hi rend="italic">sçavoir vivre,</hi> was by seeing a great deal both of men and manners; it
               taught us mutual toleration; and mutual toleration, concluded he, making me a bow,
               taught us mutual love.</p>
            <p>The old French officer delivered this with an air of such candour and good sense, as
               coincided with my first favourable impressions of his character—I thought I loved the
               man; but I fear I mistook the object—'twas my own way of thinking—the difference was,
               I could not have expressed it half so well.</p>
            <p>
               <pb n="202"/> It is alike troublesome to both the rider and
               his beast—if the latter goes pricking up his ears, and starting all the way at every
               object which he never saw before—I have as little torment of this kind as any
               creature alive; and yet I honestly confess, that many a thing gave me pain, and that
               I blush'd at many a word the first month—which I found inconsequent and perfectly
               innocent the second.</p>
            <p>Madame de Ramboulict, after an acquaintance of about six weeks with her, had done me
               the honour to take me in her coach about two leagues out of town—Of all women, Madame
               de Rambouliet is the most correct; and I never wish to see one of <pb n="203"/> more virtues and purity of heart—In our return back,
               Madame de Rambouliet desired me to pull the cord—I ask'd her if she wanted any
                     thing—<hi rend="italic">
                        <ref target="_pisser" corresp="pisser">Rien que pisser</ref>,</hi> said
               Madame de Rambouliet—</p>
            <p>Grieve not, gentle traveller, to let Madame de Rambouliet p—ss on—And, ye fair mystic
               nymphs! go each one <hi rend="italic">pluck your rose,</hi> and scatter them in your path—for
               Madame de Rambouliet did no more—I handed Madame de Rambouliet out of the coach; and
               had I been the priest of the chaste <ref target="_Castalia" corresp="Castalia">CASTALIA</ref>,
               I could not have served at her fountain with a more respectful decorum.</p>
         </div>

         <div type="trailer">
            <head type="sub">END OF VOL. I.</head>
         </div>


         <div type="title_page">
            <pb n="[Title Page Vol 2]"/>
            <div>
               <head type="main">A<lb/> SENTIMENTAL JOURNEY <lb/> THROUGH <lb/> FRANCE AND
                  ITALY.<lb/> BY MR. YORICK.<lb/> VOL. II.<lb/>
                    </head>
            </div>
            <div>
               <head type="sub">LONDON:<lb/> Printed for T. BECKET and P. A. DE HONDT, in the
                  Strand. <lb/> MDCCLXVIII.</head>
            </div>
         </div>


         <div type="section">
            <pb n="1"/>
            <head>
                    <ref target="_fille" corresp="fille">THE FILLE DE CHAMBRE</ref>
                </head>
            <head>PARIS.</head>
            <p>WHAT the old French officer had deliver'd upon travelling, bringing <ref target="_Polonius" corresp="Polonius">Polonius</ref>'s advice to his son upon the same
               subject into my head—and that bringing in <ref target="_Hamlet" corresp="Hamlet">Hamlet</ref>; and Hamlet, the rest of <persName type="lcnaf" key="n78095332">Shaksepear</persName>'s works, I stopp'd at the <ref target="_quai" corresp="quai">Quai de Conti</ref> in my return home, to purchase
               the whole set.</p>
            <p>
               <pb n="2"/> The bookseller said he had not a set in the
                  world—<hi rend="italic">Comment!</hi> said I; taking one up out of a set which lay upon the
               counter betwixt us.—He said, they were sent him only to be got bound, and were to be
               sent back to <placeName type="tgn" key="7008070">Versailles</placeName> in the morning to the Count de B****.</p>
            <p>—And does the Count de B**** said I, read <persName type="lcnaf" key="n78095332">Shaksepear</persName>? <hi rend="italic">C'est un Esprit fort;</hi>
               replied the bookseller.—He loves English books; and what is more to his honour,
               Monsieur, he love the English too. You speak this so civilly, said I, that 'tis
               enough to oblige an Englishman to lay out a Louis d'or or two at your shop—the
               bookseller made a bow, and was <pb n="3"/> going to say
               something, when a young decent girl of about twenty, who by her air and dress, seemed
               to be <hi rend="italic">fille de chambre</hi> to some devout woman of fashion, came into the shop
               and asked for <hi rend="italic">
                        <ref target="_egarments" corresp="egarments">Les Egarments du Coeur &amp; de
                     l'Esprit</ref>:</hi> the bookseller gave her the book directly; she pulled out
               a little <ref target="_purse" corresp="purse">green sattin purse</ref> run round with a
               ribband of the same colour, and putting her finger and thumb into it, she took out
               the money, and paid for it. As I had nothing more to stay me in the shop, we both
               walked out at the door together.</p>
            <p>—And what have you to do, my dear, said I, with <hi rend="italic">The Wanderings of the Heart,</hi>
               who scarce know yet you have one? nor till love has <pb n="4" facs="tcp:1269300202:6"/> first told you it, or some faithless shepherd has made it ache, can'st thou ever
               be sure it is so.—<hi rend="italic">Le Dieu m'en guard!</hi> said the girl.—With reason, said I—for
               if is a good one, 'tis pity it should be stolen: 'tis a little treasure to thee, and
               gives a better air to your face, than if it was dress'd out with pearls.</p>
            <p>The young girl listened with a submissive attention, holding her sattin purse by its
               ribband in her hand all the time—'Tis a very small one, said I, taking hold of the
               bottom of it—she held it towards me—and there is very little in it, my dear, said I;
               but be but as good as thou art handsome, and heaven will fill it: I had a <pb n="5"/> parcel of crowns in my hand to pay for Shakespear; and
               as she had let go the purse intirely, I put a single one in; and tying up the <ref target="_ribband" corresp="ribband">ribband</ref> in a bow-knot, returned it to her.</p>
            <p>The young girl made me more a humble courtesy than a low one—'twas one one of those
               quiet, thankful sinkings where the spirit bows itself down—the body does no more than
               tell it. I never gave a girl a crown in my life which gave me half the pleasure.</p>
            <p>My advice, my dear, would not have been worth a pin to you, said I, if I had not
               given this along with it: but now, when you see the crown, <pb n="6"/> you'll remember it—so don't, my dear, lay it out in
               ribbands.</p>
            <p>Upon my word, Sir, said the girl, earnestly, I am incapable—in saying which, as is
               usual in little bargains of honour, she gave me her hand—<hi rend="italic">En verite, Monsieur, je
                  mettrai cet argent apart,</hi> said she.</p>
            <p>When a virtuous convention is made betwixt man and woman, it sanctifies their most
               private walks: so notwithstanding it was dusky, yet as both our roads lay the same
               way, we made no scruple of walking along the Quai de Conti together</p>
            <p>
               <pb n="7"/> She made me a second courtesy in setting off, and
               before we got twenty yards from the door, as if she had not done enough before, she
               made a sort of a little stop to tell me again,—she thank'd me.</p>
            <p>It was a small tribute, I told her, which I could not avoid paying to virtue, and
               would not be mistaken in the person I had been rendering it to for the world—but I
               see innocence, my dear, in your face—and foul befal the man who ever lays a snare in
               its way!</p>
            <p>The girl seem'd affected some way or other with what I said—she gave a low sigh—I
               found I was not impowered <pb n="8"/> to enquire at all
               after it—so said nothing more till I got to the corner of the Rue de Nevers, where we
               were to part.</p>
            <p>—But is this the way, my dear, said I, to the hotel de Modene? she told me it was—or,
               that I might go by the Rue de Guineygaude, which was the next turn.—Then I'll go, my
               dear, by the Rue de Guineygaude, said I, for two reasons; first I shall please
               myself, and next I shall give you the protection of my company as far on your way as
               I can. The girl was sensible I was civil—and said, she wish'd the hotel de Modene was
               in the Rue de St. Pierre—You live there? said I.—She told me she was <hi rend="italic">fille de
                  chambre</hi> to Madame <pb n="9"/> R****—Good God! said
               I, 'tis the very lady for whom I have brought a letter from <placeName type="tgn" key="7010588">Amiens</placeName>—The girl told me that Madame R****, she believed
               expected a stranger with a letter, and was impatient to see him—so I desired the girl
               to present my compliments to Madame R****, and say I would certainly wait upon her in
               the morning.</p>
            <p>We stood still at the corner of the Rue de Nevers whilst this pass'd—We then stopp'd
               a moment whilst she disposed of her <hi rend="italic">Egarments de Coeur,</hi> &amp;c. more
               commodiously than carrying them in her hand—they were two volumes; so I held the
               second for her whilst she put the first into her pocket; and then <pb n="10"/> she held her pocket, and I put in the other after
               it.</p>
            <p>'Tis sweet to feel by what fine-spun threads our affections are drawn together.</p>
            <p>We set off a-fresh, and as she took her third step, the girl put her hand within my
               arm—I was just bidding her—but she did it of herself with that undeliberating
               simplicity, which shew'd it was out of her head that she had never seen me before.
               For my own part, I felt the conviction of <ref target="_consanguinity" corresp="consanguinity">consanguinity</ref> so strongly, that I could not help turning half round to look
               in her face, and see if I could trace out <pb n="11"/> any
               thing in it of a family likeness—Tut! said I, are we not all relations?</p>
            <p>When we arrived at the turning up of the Rue de Guineygaude, I stopp'd to bid her
               adieu for good an all: the girl would thank me again for my company and kindness—She
               bid me adieu twice—I repeated it as often; and so cordial was the parting between us,
               that had it happen'd any where else, I'm not sure but I should have signed it with a
               kiss of charity, as warm and holy as an apostle.</p>
            <p>But in <placeName type="tgn" key="7008038">Paris</placeName>, as none kiss each other but the men—I did, what amounted to the same
               thing—</p>
            <p>—I bid God bless her.</p>
         </div>
         <div type="section">
            <pb n="12"/>
            <head>THE <ref target="_passport" corresp="passport">PASSPORT</ref>.</head>
            <head>PARIS.</head>
            <p>WHEN I got home to my hotel, La Fleur told me I had been enquired after by the
               Lieutenant de Police—The duce take it! said I—I know the reason. It is time the
               reader should know it, for in the order of things in which it happened, it was
               omitted; not that it was out of my head; but that had I told it then, it might have
               been forgot now—and now is the time I want it.</p>
            <p>I had left London with so much precipitation, that it never enter'd my <pb n="13"/> mind that <ref target="_war" corresp="war">we were at
                  war with France</ref>; and had reach'd <placeName type="tgn" key="7011554">Dover</placeName>, and look'd through <ref target="_glass" corresp="glass">my
                     glass</ref> at the hills beyond <ref target="_Boulougne" corresp="Boulougne">
                        <placeName type="tgn" key="7659490">Boulogne</placeName>
                    </ref>,
               before the idea presented itself; and with this in its train, that there was no
               getting there without a passport. Go but to the end of a street, I have a mortal
               aversion for returning back no wiser than I sat out; and as this was one of the
               greatest efforts I had ever made for knowledge, I could less bear the thoughts of it:
               so hearing the Count de **** had hired the packet, I begg'd he would take me in his
                  <hi rend="italic">suite.</hi> The Count had some little knowledge of me, so made little or no
               difficulty—only said, his inclination to serve me could reach no further than
                  <placeName type="tgn" key="7009002">Calais</placeName>; <pb n="14"/> as he was to return by way of <placeName type="tgn" key="7007868">Brussels</placeName> to <placeName type="tgn" key="7008038">Paris</placeName>:
               however, when I had once pass'd there, I might get to <placeName type="tgn" key="7008038">Paris</placeName> without interruption; but
               that in <placeName type="tgn" key="7008038">Paris</placeName> I must make friends and shift for myself.—Let me get to <placeName type="tgn" key="7008038">Paris</placeName>, Monsieur
               le Count, said I—and I shall do very well. So I embark'd, and never thought more of
               the matter.</p>
            <p>When Le Fleur told me the Lieutenant de Police had been enquiring after me—the thing
               instantly recurred—and by the time Le Fleur had well told me, the master of the hotel
               came into my room to tell me the same thing, with this addition to it, that my
               passport had been particularly <pb n="15"/> ask'd after: the
               master of the hotel concluded with saying, He hoped I had one.—Not I, faith! said
               I.</p>
            <p>The master of the hotel retired three steps from me, as from an infected person, as I
               declared this—and poor Le Fleur advanced three steps towards me, and with that sort
               of movement which a good soul makes to succour a distress'd one—the fellow won my
               heart by it; and from that single <hi rend="italic">trait,</hi> I knew his character as perfectly,
               and could rely upon it as firmly, as if he had served me with fidelity for seven
               years.</p>
            <p>
               <pb n="16"/> Mon seignior! cried the master of the hotel—but
               recollecting himself as he made the exclamation, he instantly changed the tone of
               it—If Monsieur, said he, has not a passport <hi rend="italic">(apparament)</hi> in all likelihood
               he has friends in <placeName type="tgn" key="7008038">Paris</placeName> who can procure him one.—Not that I know of, quoth I, with an
               air of indifference.—Then <hi rend="italic">certes,</hi> replied he, you'll be sent to the <ref target="_Bastille" corresp="Bastille">
                        <persName type="lcnaf" key="7639997">Bastile</persName>
                    </ref> or the Chatelet, <hi rend="italic">au moins.</hi>
               Poo! said I, the king of France is a good natured soul—he'll hurt no body.—<hi rend="italic">
                        <ref target="_empecher" corresp="empecher">Cela n'empeche pas</ref>,</hi> said he—you will
               certainly be sent to the <persName type="lcnaf" key="7639997">Bastile</persName> to-morrow morning.—But I've taken your lodgings for
               a month, answer'd I, and I'll not quit them a day before the time for all the kings
               of France in the <pb n="17"/> world. La Fleur whisper'd in
               my ear, That no body could oppose the king of France.</p>
            <p>
               <hi rend="italic">Pardi!</hi> said my host, <hi rend="italic">ces Messieurs Anglois sont des gens tres
                  extraordinaires</hi>—and having both said and sworn it—he went out.</p>
         </div>
         <div type="section">
            <pb n="18"/>
            <head>THE PASSPORT.</head>
            <head>The Hotel at <placeName type="tgn" key="7008038">Paris</placeName>.</head>
            <p>I COULD not find in my heart to torture La Fleur's with a serious look upon the
               subject of my embarrassment, which was the reason I had treated it so : and to shew
               him how light it lay upon my mind, I dropt the subject entirely; and whilst he waited
               upon me at supper, talk'd to him with more than usual gaiety about <placeName type="tgn" key="7008038">Paris</placeName>, and of the
               opera comique.—La Fleur had been there himself, and had followed me through the
               streets as far as the bookseller's shop; but seeing me come <pb n="19"/> out with the young <hi rend="italic">fille de chambre,</hi> and that
               we walk'd <ref target="_cavalier" corresp="cavalier">cavalierly</ref> down the Quai de Conti
               together, La Fleur deem'd it unnecessary to follow me a step further—so making his
               own reflections upon it, he took a shorter cut—and got to the hotel in time to be
               inform'd of the affair of the Police against my arrival.</p>
            <p>As soon as the honest creature had taken away, and gone down to sup himself, I then
               began to think a little seriously about my situation.—</p>
            <p>—And here, I know, <ref target="_Eugenius" corresp="Eugenius">
                        <persName type="lcnaf" key="n85067385">Eugenius</persName>
                    </ref>, thou wilt smile
               at the remembrance of a short dialogue which pass'd betwixt <pb n="20"/> us the moment I was going to set out—I must tell it
               here.</p>
            <p>
                    <persName type="lcnaf" key="n85067385">Eugenius</persName>, knowing that I was as little subject to be overburthen'd with money as
               thought, had drawn me aside to interrogate me how much I had taken care for; upon
               telling him the exact sum, <persName type="lcnaf" key="n85067385">Eugenius</persName> shook his head, and said it would not do; so
               pull'd out his purse in order to empty it into mine.—I've enough in conscience,
               <persName type="lcnaf" key="n85067385">Eugenius</persName>, said I.—Indeed, Yorick, you have not, replied Eugenius—I know France and
               <placeName type="tgn" key="1000080">Italy</placeName> better than you.—But you don't consider, <persName type="lcnaf" key="n85067385">Eugenius</persName>, said I, refusing his offer,
               that before I have been three days in <placeName type="tgn" key="7008038">Paris</placeName>, I shall take care <pb n="21"/> to say or do something or other for which I shall get
               clapp'd up into the <persName type="lcnaf" key="7639997">Bastile</persName>, and that I shall live there a couple of months entirely
               at the king of France's expence.—I beg pardon, said <persName type="lcnaf" key="n85067385">Eugenius</persName>, drily: really, I had
               forgot that resource.</p>
            <p>Now the event I treated gaily came seriously to my door.</p>
            <p>Is it folly, or nonchalance, or philosophy, or <ref target="_pertinacity" corresp="pertinacity">pertinacity</ref>—or what is it in me, that, after all, when La Fleur had gone
               down stairs, and I was quite alone, that I could not bring down my mind to think of
               it otherwise than I had then spoken of it to <persName type="lcnaf" key="n85067385">Eugenius</persName>?</p>
            <p>
               <pb n="22"/> —And as for the <persName type="lcnaf" key="7639997">Bastile</persName>! the terror is in the
               word—Make the most of it you can, said I to myself, the <persName type="lcnaf" key="7639997">Bastile</persName> is but another word
               for a tower—and a tower is but another word for a house you can't get out of—Mercy on
               the gouty! for they are in it twice a year—but with nine livres a day, and pen and
               ink and paper and patience, albeit a man can't get out, he may do very well within—at
               least for a month or six weeks; at the end of which, if he is a harmless fellow his
               innocence appears, and he comes out a better and wiser man than he went in.</p>
            <p>I had some occasion (I forget what) to step into the court-yard, as I settled <pb n="23"/> this account; and remember I walk'd down stairs
               in no small triumph with the conceit of my reasoning—Beshrew the <hi rend="italic">sombre</hi>
               pencil! said I vauntingly—for I envy not its powers, which paints the evils of life
               with so hard and deadly a colouring. The mind sits terrified at the objects she has
               magnified herself, and blackened: reduce them to their proper size and hue she
               overlooks them—'Tis true, said I, correcting the proposition—the <persName type="lcnaf" key="7639997">Bastile</persName> is not an
               evil to be despised—but strip it of its towers—fill up the fossè—unbarricade the
               doors—call it simply a confinement, and suppose 'tis some tyrant of a distemper—and
               not of a man which holds you in <pb n="24"/> it—the evil
               vanishes, and you bear the other half without complaint.</p>
            <p>I was interrupted in the hey-day of this <ref target="_soliloquy" corresp="soliloquy">soliloquy</ref>, with a voice which I took to be of a child, which complained "it could not get out."—I look'd up and down the passage, and
               seeing neither man, woman, or child, I went out without further attention.</p>
            <p>In my return back through the passage, I heard the same words repeated twice over;
               and looking up, I saw it was a starling hung in a little cage.—"I can't get out—I can't get out," said the
               starling.</p>
            <p>
               <pb n="25"/> I stood looking at the bird: and to every
               person who came through the passage it ran fluttering to the side towards which they
               approach'd it, with the same lamentation of its captivity—"I can't
                  get out", said the starling—God help thee! said I, but I'll let thee out, cost
               what it will; so I turn'd about the cage to get to the door; it was twisted and
               double twisted so fast with wire, there was no getting it open without pulling the
               cage to pieces—I took both hands to it.</p>
            <p>The bird flew to the place where I was attempting his deliverance, and thrusting his
               head through the trellis, press'd his breast against it, as if impatient—I fear, poor
               creature! said I, <pb n="26"/> I cannot set thee at
               liberty—"No," said the starling—"I can't get out—I can't
                  get out," said the starling.</p>
            <p>I vow, I never had my affections more tenderly awakened; or do I remember an incident
               in my life, where the dissipated spirits, to which my reason had been a bubble, were
               so suddenly call'd home. Mechanical as the notes were, yet so true in tune to nature
               were they chanted, that in one moment they overthrew all my systematic reasonings
               upon the <persName type="lcnaf" key="7639997">Bastile</persName>; and I heavily walk'd up stairs, unsaying every word I had said in
               going down them.</p>
            <p>
               <pb n="27"/> Disguise thyself as thou wilt, still slavery!
               said I—still thou art a bitter draught; and though thousands in all ages have been
               made to drink of thee, thou art no less bitter on that account.—'tis thou, thrice
               sweet and gracious goddess, addressing myself to LIBERTY, whom all in public or in
               private worship, whose taste is grateful, and ever wilt be so, till NATURE herself
               shall change—no <hi rend="italic">tint</hi> of words can spot thy snowy mantle, or <ref target="_chymic" corresp="chymic">chymic</ref> power turn thy sceptre into iron—with
               thee to smile upon him as he eats his crust, the swain is happier than his monarch,
               from whose court thou art exiled—Gracious heaven! cried I, kneeling down upon the
               last step but one in my ascent— <pb n="28"/> grant me but
               health, thou great Bestower of it, and give me but this fair goddess as my
               companion—and shower down thy mitres, if it seems good unto thy divine providence,
               upon those heads which are aching for them.</p>
         </div>
         <div type="section">
            <pb n="29"/>
            <head>THE CAPTIVE.</head>
            <head>PARIS.</head>
            <p>THE bird in his cage pursued me into my room; I sat down close to my table, and
               leaning my head upon my hand, I begun to figure to myself the miseries of
               confinement. I was in a right frame for it, and so I gave full scope to my
               imagination.</p>
            <p>I was going to begin with the millions of <ref target="_slavery" corresp="slavery">my fellow
                  creatures born to no inheritance but slavery</ref>; but finding, however affecting
               the picture was, that I could not bring it <pb n="30"/> near
               me, and that the multitude of of sad groups in it did but distract me.—</p>
            <p>—I took a single captive, and having first shut him up in his dungeon, I then look'd
               through the twilight of his grated door to take his picture.</p>
            <p>I beheld his body half wasted away with long expectation and confinement, and felt
               what kind of sickness of the heart it was which arises from hope deferr'd. Upon
               looking nearer I saw him pale and feverish: in thirty years the western breeze had
               not once fann'd his blood—he had seen no sun, no moon in all that time—nor had the
                  <pb n="31"/> voice of friend or kinsman breathed through
               his lattice—his children—</p>
            <p>—But here my heart began to bleed—and I was forced to go on with another part of the
               portrait.</p>
            <p>He was sitting upon the ground upon a little straw, in the furthest corner of his
               dungeon, which was alternately his chair and bed: a little calender of small sticks
               were laid at the head notch'd all over with the dismal days and nights he had pass'd
               there—he had one of these little sticks in his hand, and with a rusty nail he was
               etching another day of misery to add to the heap. As I darkened the little light he
               had, he lifted up a hopeless <pb n="32"/> eye towards the
               door, then cast it down—shook his head, and went on with his work of affliction. I
               heard his chains upon his legs, as he turn'd his body to lay his little stick upon
               the bundle—He gave a deep sigh—I saw the iron enter into his soul—I burst into
               tears—I could not sustain the picture of confinement which my fancy had drawn—I
               startled up from my chair, and calling La Fleur, I bid him bespeak me a
                  <hi rend="italic">remise,</hi> and have it ready at the door of the hotel by nine in the
               morning.</p>
            <p>—I'll go directly, said I, myself to Monsieur Le Duke de Choiseul.</p>
            <p>
               <pb n="33"/> La Fleur would have put me to bed; but not
               willing he should see any thing upon my cheek, which would cost the honest fellow a
               heart ache—I told him I would go to bed by himself—and bid him go do the same.</p>
         </div>
         <div type="section">
            <pb n="33"/>
            <head>
                    <ref target="_starling" corresp="starling">THE STARLING</ref>.</head>
            <head>ROAD TO <ref target="_Versailles" corresp="Versailles">VERSAILLES</ref>.</head>
            <p>I GOT into my <hi rend="italic">remise</hi> the hour I proposed: La Fleur got up behind, and I bid
               the coachman make the best of his way to <placeName type="tgn" key="7008070">Versailles</placeName>.</p>
            <p>As there was nothing in this road, or rather nothing which I look for in travelling,
               I cannot fill up the blank better than with a short history of this self-same bird,
               which became the subject of the last chapter.</p>
            <p>
               <pb n="34"/> Whilst the Honourable Mr. **** was waiting for
               a wind at <placeName type="tgn" key="7011554">Dover</placeName> it had been caught
               upon the cliffs before it could well fly, by an English lad who was his groom; who
               not caring to destroy it, had taken it in his breast into the packet—and by course of
               feeding it. and taking it once under his protection, in a day or two grew fond of it,
               and got it safe along with him to <placeName type="tgn" key="7008038">Paris</placeName>.</p>
            <p>At <placeName type="tgn" key="7008038">Paris</placeName> the lad had laid out a a livre in a little cage for the starling, and as he
               had little to do better the five months his master stay'd there, he taught it in his
               mother's tongue the four simple words—(and no more)— <pb n="36"/>
                   to which I own'd myself so much it's debtor.</p>
            <p>Upon his master's going on for <placeName type="tgn" key="1000080">Italy</placeName>—the lad had given it to the master of the
               hotel—But his little song for liberty, being in an <hi rend="italic">unknown</hi> language at
               <placeName type="tgn" key="7008038">Paris</placeName>—the bird had little or no store set by him—so La Fleur bought both him and his
               cage for me for <ref target="_Burgundy" corresp="Burgundy">a bottle of Burgundy</ref>.</p>
            <p>In my return from <placeName type="tgn" key="1000080">Italy</placeName> I brought him with me to the country in whose language he had
               learn'd his notes—and telling the story of him to Lord A—Lord A begg'd the bird of
               me—in a week Lord A gave him to Lord B—Lord B made a present of him to Lord C—and
               Lord's C's <pb n="37"/> gentleman sold him to Lord D's for a
               shilling—Lord D gave him to Lord E—and so on—half round the alphabet—From that rank
               he pass'd into the lower house, and pass'd the hands of as many commoners—But as all
               these wanted to <hi rend="italic">get in</hi>—and my bird wanted to get out—he had almost as little
               store set by him in London as in <placeName type="tgn" key="7008038">Paris</placeName>.</p>
            <p>It is impossible but many of my readers must have heard of him; and if any by mere
               chance have ever seen him—I beg leave to inform them, that that bird was my bird—or
               some vile copy set up to represent him.</p>
            <p>I have nothing further to add upon him, but that from that time to this, <pb n="38"/> I have borne this poor starling as the crest to my
               arms.—Thus:</p>
            <p>
                    <figure>
                  <graphic url="notes/starlingGB.png"/>

               </figure>
                </p>
            <p>—And let the heralds officers twist his neck about if they dare.</p>
         </div>
         <div type="section">
            <pb n="39"/>
            <head>THE ADDRESS.</head>
            <head>VERSAILLES.</head>
            <p>I SHOULD not like to have my enemy take a view of my mind, when I am going to ask
               protection of any man: for which reason I generally endeavour to protect myself; but
               this going to Monsieur Le Duc de C***** was an act of compulsion—had it been an act
               of choice, I should have done it, I suppose, like other people.</p>
            <p>How many mean plans of dirty address, as I went along, did my <pb n="40"/> servile heart form! I deserved the <persName type="lcnaf" key="7639997">Bastile</persName> for every
               one of them.</p>
            <p>Then nothing would serve me, when I got within sight of <placeName type="tgn" key="7008070">Versailles</placeName>, but putting words
               and sentences together, and conceiving attitudes and tones to wreath myself into
               Monsieur Le Duc de C*****'s good graces—This will do—said I—Just as well, retorted I
               again, as a coat carried up to him by an adventurous taylor, without taking his
               measure—Fool! continued I—see Monsieur Le Duc's face first—observe what <ref target="_character" corresp="character">character</ref> is written in it; take notice in what
               posture he stands to hear you—mark the turns and expressions of <pb n="41"/> his body and limbs—And for the tone—the first sound
               which comes from his lips will give it you; and from all these together you'll
               compound an address at once upon the spot, which cannot disgust the Duke—the
               ingredients are his own, and most likely to go down.</p>
            <p>Well! said I, I wish it well over—Coward again! as if man to man was not equal,
               throughout the whole surface of the globe; and if in the field—why not face to face
               in the cabinet too? And trust me, Yorick, whenever it is not so, man is false to
               himself; and betrays his own succours ten times, where nature does it once. <pb n="42"/> Go to the Duc de C**** with the <persName type="lcnaf" key="7639997">Bastile</persName> in thy
               looks—My life for it, thou wilt be sent back to <placeName type="tgn" key="7008038">Paris</placeName> in half an hour, with an
               escort.</p>
            <p>I believe so, said I—Then I'll go to the Duke, by heaven! with all the gaity and debonairness in the world.—</p>
            <p>—And there you are wrong again, replied I—A heart at ease, Yorick, flies into no
               extremes—'tis ever on its center.—Well! well! cried I, as the coachman turn'd in at
               the gates—I find I shall do very well: and by the time he had wheel'd round the
               court, and brought me up to the door, I found myself so much the better for my own
               lecture, that I <pb n="43"/> neither ascended the steps like
               a victim to justice, who was to part with life upon the topmost,—nor did I mount them
               with a skip and a couple of strides, as I do when I fly up, Eliza! to thee, to meet
               it.</p>
            <p>As I enter'd the door of the saloon, I was met by a person who possibly might be the
               maitre d'hotel, but had more the air of one of the under secretaries, who told me the
               Duc de C**** was busy—I am utterly ignorant, said I, of the forms of obtaining an
               audience, being an absolute stranger, and what is worse in the present conjuncture of
               affairs, being an Englishman too.—He replied, that did not increase the difficulty.—I
               made <pb n="44"/> him a slight bow, and told him, I had
               something of importance to say to Monsieur Le Duc. The secretary look'd towards the
               stairs, as if he was about to leave me to carry up this account to some one—But I
               must not mislead you, said I—for what I have to say is of no manner of importance to
               Monsieur Le Duc de C****—but of great importance to myself.—<hi rend="italic">C'est une autre
                  affaire,</hi> replied he—Not at all, said I, to a man of <ref target="_gallantry" corresp="gallantry">gallantry</ref>.—But pray, good sir, continued I, when can a
               stranger hope to have <hi rend="italic">accesse?</hi> In not less than two hours, said he, looking
               at his watch. The number of equipages in the court-yard seem'd to justify the
               calculation, that I could <pb n="45"/> have no nearer a
               prospect—and as walking backwards and forwards in the saloon, without a soul to
               commune with, was for the time as bad as being in the <persName type="lcnaf" key="7639997">Bastile</persName> itself, I instantly
               went back to my <hi rend="italic">remise,</hi> and bid the coachman drive me to the <hi rend="italic">cordon
                  bleu,</hi> which was the nearest hotel.</p>
            <p>I think there is a fatality in it—I seldom go to the place I set out for.</p>
         </div>
         <div type="section">
            <pb n="46"/>
            <head>
                    <ref target="_patisser" corresp="patisser">LE PATISSER</ref>.</head>
            <head>VERSAILLES.</head>
            <p>BEFORE I had got half-way down the street, I changed my mind: as I am at <placeName type="tgn" key="7008070">Versailles</placeName>,
               thought I, I might as well take a view of the town; so I pull'd the cord, and
               ordered the coachman to drive round some of the principal streets—I suppose the town
               is not very large, said I.—The coachmen begg'd pardon for setting me right, and told
               me it was very superb, and that numbers of the first dukes and marquises and counts
               had hotels—The Count de B****, of <pb n="47"/> whom the
               bookseller at the Quai de Conti had spoke so handsomely the night before, came
               instantly into my mind.—And why should I not go, thought I, to the Count de B****,
               who has so high an idea of English books, and Englishmen—and tell him my story? so I
               changed my mind a second time—In truth it was the third; for I had intended that day
               for Madame de R**** in the Rue St. Pierre, and had devoutly sent her word by her
                  <hi rend="italic">fille de chambre</hi> that I would assuredly wait upon her—but I am govern'd
               by circumstances—I cannot govern them: so seeing a man standing with a basket on the
               other side of the street, as if he had something to sell, I bid La Fleur go up <pb n="48"/> to him and enquire for the Count's hotel.</p>
            <p>La Fleur return'd a little pale; and told me it was a <ref target="_chevalier" corresp="chevalier">Chevalier de St. Louis</ref> selling
               <hi rend="italic">
                        <ref target="_patè" corresp="patè">patès</ref>
                    </hi>—It is impossible, La
               Fleur! said I.—La Fleur could no more account for the phenomenon than myself; but
               persisted in his story: he had seen <ref target="_croix" corresp="croix">the croix set
                  in gold, with its red ribband</ref>, he said, tied to his button-hole—and had
               look'd into the basket and seen the <hi rend="italic">patès</hi> which the Chevalier was selling;
               so could not be mistaken in that.</p>
            <p>Such a reverse in man's life awakens a better principle than curiosity: I could not
               help looking for some time <pb n="49"/> at him as I sat in
               the <hi rend="italic">remise</hi>—the more I look'd at him—his croix and his basket, the stronger
               they wove themselves into my brain—I got out of the <hi rend="italic">remise</hi> and went towards
               him.</p>
            <p>He was begirt with a clean linen apron which fell below his knees, and with a sort of
               a bib went half way up his breast; upon the top of this, but a little below the hem,
               hung his croix. His basket of little <hi rend="italic">patès</hi> was cover'd over with a white
               <ref target="_damask" corresp="damask">damask napkin</ref>; another of the same kind
               was spread at the bottom; and there was a look of <hi rend="italic">propreté</hi> and neatness
               throughout; that one might have bought his <hi rend="italic">patès</hi> of him, as much from
               appetite as sentiment.</p>
            <p>
               <pb n="50"/> He made an offer of them to neither; but stood
               still with them at the corner of a hotel, for those to buy who chose it, without
               solicitation.</p>
            <p>He was about forty-eight—of a sedate look, something approaching to gravity. I did
               not wonder.—I went up rather to the basket than him, and having lifted up the napkin
               and taken one of his <hi rend="italic">patès</hi> into my hand—I begg'd he would explain the
               appearance which affected me.</p>
            <p>He told me in a few words, that the best part of his life had pass'd in the service,
               in which, after spending a small <ref target="_patrimony" corresp="patrimony">patrimony</ref>,
               he had obtain'd <ref target="_company" corresp="company">a company</ref> and the croix with
               it; <pb n="51"/> but that at the conclusion of the last
               peace, his regiment being reformed, and the whole corps, with those of some other
               regiments, left without any provision—he found himself in a wide world without
               friends, without a livre—and indeed, said he, without any thing but this—(pointing,
               as he said it, to his croix)—The poor chevalier won my pity, and he finish'd the
               scene, with winning my esteem too.</p>
            <p>The king, he said, was the most generous of princes, but his generosity could neither
               relieve or reward every one, and it was only his misfortune to be amongst the number.
               He had a little wife, he said, whom <pb n="52"/> he loved,
               who did the <hi rend="italic">
                        <ref target="_patisserie" corresp="patisserie">patisserie</ref>;</hi> and added,
               he felt no dishonour in defending her and himself from want in this way—unless
               Providence had offer'd him a better.</p>
            <p>It would be wicked to with-hold a pleasure from the good, in passing over what
               happen'd to this poor Chevalier of St. Louis about nine months after.</p>
            <p>It seems he usually took his stand near the iron gates which lead up to the palace,
               and as his croix had caught the eye of numbers, numbers had made the same enquiry
               which I had done—He had told them the same story, and always with <pb n="53"/> so much modesty and good sense, that it had reach'd at
               last the king's ears—who hearing the Chevalier had been a gallant officer, and
               respected by the whole regiment as a man of honour and integrity—he broke up his
               little trade by a pension of fifteen hundred livres a year.</p>
            <p>As I have told this to please the reader, I beg he will allow me to relate another
               out of its order, to please myself—the two stories reflect light upon each other,—and
               'tis a pity they should be parted.</p>
         </div>
         <div type="section">
            <pb n="54"/>
            <head>THE SWORD.</head>
            <head>
                    <ref target="_Rennes" corresp="Rennes">
                        <placeName type="tgn" key="7008263">RENNES</placeName>
                    </ref>.</head>
            <p>WHEN states and empires have their periods of declension, and feel in their turns
               what distress and poverty is—I stop not to tell the causes which gradually brought
               the house d'E**** in Britany into decay. The Marquis d'E**** had fought up against
               his condition with great firmness; wishing to preserve, and still shew to the world
               some little fragments of what his ancestors had been—their indiscretions had put it
               out of his power. There <pb n="55"/> was enough left for the
               little exigencies of <hi rend="italic">obscurity</hi>—But he had two boys who look'd up to him for
                  <hi rend="italic">light</hi>—he thought they deserved it. He had tried his sword—it could not
               open the way—the <hi rend="italic">mounting</hi> was too expensive—and simple oeconomy was not a
               match for it—there was no resource but commerce.</p>
            <p>In any other province in France, save Britany, this was smiting the root for ever of
               the little tree his pride and affection wish'd to see reblossom—But in Britany, there
               being a provision for this, he avail'd himself of it; and taking an occasion when the
               states were assembled at <placeName type="tgn" key="7008263">Rennes</placeName>, <pb n="56"/> the Marquis, attended with his two boys, enter'd
               the court; and having pleaded the right of an ancient law of the duchy, which, though
               seldom claim'd, he said, was no less in force; he took his sword from his
               side—Here—said he—take it; and be trusty guardians of it, till better times put me in
               condition to reclaim it.</p>
            <p>The president accepted the Marquis's sword—he stay'd a few minutes to see it
               deposited in the archives of his house—and departed.</p>
            <p>The Marquis and his whole family embarked the next day for <ref target="_Martinico" corresp="Martinico">Martinico</ref>, and in about nineteen or twenty years of
               successful application to business, <pb n="57"/> with some
               unlook'd for bequests from distant branches of his house—return'd home to reclaim his
               nobility and to support it.</p>
            <p>It was an incident of good fortune which will never happen to any traveller, but a
               sentimental one, that I should be at <placeName type="tgn" key="7008263">Rennes</placeName> at the very time of this solemn requisition: I call it
               solemn—it was so to me.</p>
            <p>The Marquis enter'd the court with his whole family: he supported his lady—his eldest
               son supported his sister, and his youngest was at the other extreme of the line next
               his mother.—he put his handkerchief to his face twice—</p>
            <p>
               <pb n="58"/> —There was a dead silence. When the Marquis had
               approach'd within six paces of the tribunal, he gave the <ref target="_Marchioness" corresp="Marchioness">Marchioness</ref> to his youngest son, and advancing three steps
               before his family—he reclaim'd his sword. His sword was given him, and the moment he
               got it into his hand he drew it almost out of the scabbard—'twas the shining face of
               a friend he had once given up—he look'd attentively along it, beginning at the hilt,
               as if to see whether it was the same—when observing a little rust which it had
               contracted near the point, he brought it near his eye, and bending his head down over
               it—I think I saw a tear fall upon the place: I could not be deceived by what
               followed.</p>
            <p>
               <pb n="59"/>
               "I shall find, said he, some <hi rend="italic">other way,</hi> to get
                  it off."
            </p>
            <p>When the Marquis had said this, he return'd his sword into its scabbard, made a bow
               to the guardians of it—and, with his wife and daughter and his two sons following
               him, walk'd out.</p>
            <p>O how I envied him his feelings!</p>
         </div>
         <div type="section">
            <pb n="60"/>
            <head>THE PASSPORT.</head>
            <head>VERSAILLES.</head>
            <p>I FOUND no difficulty in getting admittance to Monsieur Le Count de B****. The set of
               Shakespears was laid upon the table; and he was tumbling them over. I walk'd up close
               to the table, and giving first such a look at the books as to make him conceive I
               knew what they were—I told him I had come without any one to present me, knowing I
               should meet with a friend in his apartment who, I trusted, would do it for me—it is
               my countryman <pb n="61"/> the great Shakespear, said I,
               pointing to his works—<hi rend="italic">et ayez la bontè, mon cher ami,</hi> apostrophizing his
               spirit, added I, <hi rend="italic">de me faire cet honneur la.</hi>—</p>
            <p>The Count smil'd at the singularity of the introduction; and seeing I look'd a
               little pale and sickly, insisted upon my taking an arm-chair: so I sat down; and to
               save him conjectures upon a visit so out of all rule, I told him simply of the
               incident in the bookseller's shop, and how that had impell'd me rather to go to him
               with the story of a little embarrassment I was under, than to any other man in
               France—And what <pb n="62"/> is your embarrassment? let me
               hear it, said the Count. So I told him the story just as I have told it the
               reader—</p>
            <p>—And the master of my hotel, said I, as I concluded it, will needs have it, Monsieur
               le Count, that I shall be sent to the <persName type="lcnaf" key="7639997">Bastile</persName>—but I have no apprehensions, continued
               I—for in falling into the hands of the most polish'd people in the world, and being
               conscious I was a true man, and not come to spy the nakedness of the land, I scarce
               thought I laid at their mercy.—It does not suit the gallantry of the French, Monsieur
               le Count, said I, to shew it against invalids.</p>
            <p>
               <pb n="63"/> An animated blush came into the Count de
               B****'s cheeks, as I spoke this—<hi rend="italic">Ne craignez rien</hi>—Don't fear, said he—Indeed
               I don't, replied I again—besides, continued I a little sportingly—I have come
               laughing all the way from London to <placeName type="tgn" key="7008038">Paris</placeName>, and I do not think Monsieur le Duc de
               Choiseul is such an enemy to mirth, as to send me back crying for my pains.</p>
            <p>—My application to you, Monsieur le Compte de B**** (making him a low bow) is to
               desire he will not.</p>
            <p>The Count heard me with great good nature, or I had not said half <pb n="64"/> as much—and once or twice said—<hi rend="italic">C'est bien dit.</hi>
               So I rested my cause there—and determined to say no more about it.</p>
            <p>The Count led the discourse: we talk'd of indifferent things;—of books and politicks,
               and men—and then of women—God bless them all! said I, after much discourse about
               them—there is not a man upon earth who loves them so much as I do: after all the
               foibles I have seen, and all the satires I have read against them, still I love them;
               being firmly persuaded that a man who has not a sort of an affection for the whole
               sex, is incapable of ever loving a single one as he ought.</p>
            <p>
               <pb n="65"/>
               <hi rend="italic">Hèh bien! Monsieur l'Anglois,</hi> said the Count, gaily—You are not come to spy
               the nakedness of the land—I believe you—<hi rend="italic">ni encore,</hi> I dare say, <hi rend="italic">that</hi>
               of our women—But permit me to conjecture—if, <hi rend="italic">par hazard,</hi> they fell in your
               way—that the prospect would not affect you.</p>
            <p>I have something within me which cannot bear the shock of the least indecent
               insinuation: in the sportability of chit-chat I have often endeavoured to conquer it,
               and with infinite pain have hazarded a thousand things to a dozen of the sex
               together—the least of which I could not venture to a single one, to gain heaven.</p>
            <p>
               <pb n="66"/> Excuse me, Monsieur Le Count, said I—as for the
               nakedness of your land, if I saw it, I should cast my eyes over it with tears in
               them—and for that of your women (blushing at the idea he had excited in me) I am so
               evangelical in this, and have such a fellow-feeling for what ever is <hi rend="italic">weak</hi>
               about them, that I would cover it with a garment, if I knew how to throw it on—But I
               could wish, continued I, to spy the <hi rend="italic">nakedness</hi> of their hearts, and through
               the different disguises of customs, climates, and religion, find out what is good in
               them, to fashion my own by—and therefore am I come.</p>
            <p>
               <pb n="67"/> It is for this reason, Monsieur le Compte,
               continued I, that I have not seen the <ref target="_Palais-Royal" corresp="Palais-Royal">Palais
                  royal</ref>—nor the <ref target="_Luxembourg" corresp="Luxembourg">Luxembourg</ref>—nor the
               <ref target="_Collonade" corresp="Collonade">Façade of the Louvre</ref>—nor have attempted to
               swell the catalogues we have of pictures, statues, and churches—I conceive <ref target="_fair" corresp="fair">every fair being</ref> as a temple, and would rather
               enter in, and see the original drawings and loose sketches hung up in it, than <ref target="_Transfiguration" corresp="Transfiguration">the transfiguration of Raphael</ref> itself.</p>
            <p>The thirst of this, continued I, as impatient as that which inflames the breast of
               the connoisseur, has led me from my own home into France—and from France will lead me
               through <placeName type="tgn" key="1000080">Italy</placeName>—'tis a quiet journey <pb n="68"/> of the heart
               in pursuit of NATURE, and those affections which rise out of her, which make us love
               each other—and the world, better than we do.</p>
            <p>The Count said a great many civil things to me upon the occasion; and added very
               politely how much he stood obliged to Shakespear for making me known to him—but,
                  <hi rend="italic">a-propos,</hi> said he—Shakespear is full of great things—He forgot a small
               punctillio of announcing your name—it puts you under a necessity of doing it
               yourself.</p>
         </div>
         <div type="section">
            <pb n="69"/>
            <head>THE PASSPORT.</head>
            <head>VERSAILLES.</head>
            <p>THERE is not a more perplexing affair in life to me, than to set about telling any
               one who I am—for there is scarce any body I cannot give a better account of than of
               myself; and I have often wish'd I could do it in a single word—and have an end of it.
               It was the only time and occasion in my life, I could accomplish this to any
               purpose—for Shakespear lying upon the table, and recollecting I was in his books, I
               took up Hamlet, and turning immediately to the grave-diggers scene in <pb n="70"/> the fifth act, <ref target="_Yorick" corresp="Yorick">I
                  lay'd my finger upon YORICK</ref>, and advancing the book to the Count, with my
               finger all the way over the name—Me, <hi rend="italic">Voici!</hi> said I.</p>
            <p>Now whether the idea of poor Yorick's skull was put out of the Count's mind, by the
               reality of my own, or by what magic he could drop a period of seven or eight hundred
               years, makes nothing in this account—'tis certain the French conceive better than
               they combine—I wonder at nothing in this world, and the less at this; inasmuch as one
               of the first of our own church, for whose candour and paternal sentiments I have the
               highest veneration, fell <pb n="71"/> into the same mistake
               in the very same case.—"He could not bear, he said, to
                  look into sermons wrote by the king of Denmark's jester."—Good, my lord! said
               I—but there are two Yorick's. The Yorick your lordship thinks of, has been dead and
               buried eight hundred years ago; he flourish'd in Horwendillus's court—the other
               Yorick is myself, who have flourish'd my lord in no court—He shook his head—Good God!
               said I, you might as well confound Alexander the Great, with Alexander the
               Copper-smith, my lord—'Twas all one, he replied—</p>
            <p>—If Alexander king of Macedon could have translated your lordship, <pb n="72"/> said I—I'm sure your Lordship would not have said
               so.</p>
            <p>The poor Count de B**** fell but into the same <hi rend="italic">error</hi>—</p>
            <p>—<hi rend="italic">Et, Monsieur, est il Yorick?</hi> cried the Count.—<hi rend="italic">Je le suis,</hi> said
                  I.—<hi rend="italic">Vous?—Moi—moi qui ai l'honneur de vous parler, Monsieur le Compte—Mon
                  Dieu!</hi> said he, embracing me—<hi rend="italic">Vous etes Yorick.</hi>
            </p>
            <p>The Count instantly put the Shakespear into his pocket—and left me alone in his
               room.</p>
         </div>
         <div type="section">
            <pb n="73"/>
            <head>THE PASSPORT.</head>
            <head>VERSAILLES.</head>
            <p>I COULD not conceive why the Count de B**** had gone so abruptly out of the room, any
               more than I could conceive why he had put the Shakespear into his
                  pocket—<hi rend="italic">Mysteries which must explain themselves, are not worth the loss of
                  time, which a conjecture about them takes up:</hi> 'twas better to read
               <persName type="lcnaf" key="n78095332">Shaksepear</persName>; so taking up, "<hi rend="italic">Much Ado about Nothing,</hi>" I transported myself
               instantly from the chair I sat in to Messina in Sicily, and got so busy with Don
               Pedro and Benedick <pb n="74"/> and Beatrice, that I thought
               not of <placeName type="tgn" key="7008070">Versailles</placeName>, the Count, or the Passport.</p>
            <p>Sweet pliability of man's spirit, that can at once surrender itself to illusions,
               which cheat expectation and sorrow of their weary moments!——long—long since had ye
               number'd out my days, had I not trod so great a part of them upon this enchanted
               ground: when my way is too rough for my feet, or too steep for my strength, I get off
               it, to some smooth velvet path which fancy has scattered over with rose-buds of
               delights; and having taken a few turns in it, come back strengthen'd and
               refresh'd—When evils press sore upon me, and <pb n="75"/>
               there is no retreat from them in this world, then I take a new course—I leave it—and
               as I have a clearer idea of the elysian fields than I have of heaven, I force myself,
               like Eneas, into them—I see him meet the pensive shade of his forsaken Dido—and wish
               to recognize it—I see the injured spirit wave her head, and turn off silent from the
               author of her miseries and dishonours—I lose the feelings for myself in hers—and in
               those affections which were wont to make me mourn for her when I was at school.</p>
            <p>
               <hi rend="italic">Surely this is not walking in a vain shadow—nor does man disquiet himself</hi> in
               vain, <hi rend="italic">by it</hi>—he oftener does so in <pb n="76"/>
               trusting the issue of his commotions to reason only.—I can safely say for myself, I
               was never able to conquer any one single bad sensation in my heart so decisively, as
               by beating up as fast as I could for some kindly and gentle sensation, to fight it
               upon its own ground.</p>
            <p>When I had got to the end of the third act, the Count de B**** entered with my
               Passport in his hand. Mons. le Duc de C****, said the Count, is as good a prophet, I
               dare say, as he is a statesman—<hi rend="italic">Un homme qui rit,</hi> said the duke, <hi rend="italic">ne sera
                  jamais dangereuz.</hi>—Had it been for any one but the king's jester, added the
               Count, I <pb n="77"/> could not have got it these two
                  hours.—<hi rend="italic">Pardonncz moi,</hi> Mons. Le Compte, said I—I am not the king's
               jester.—But you are Yorick?—Yes.—<hi rend="italic">Et vous plaisantez?</hi>—I answered, Indeed I
               did jest—but was not paid for it—'twas entirely at my own expence.</p>
            <p>We have no jester at court, Mons. Le Compte, said I, the last we had was in <ref target="_Charles" corresp="Charles">the licentious reign of Charles the IId</ref>—since
               which time our manners have been so gradually refining, that our court at present is
               so full of patriots, who wish for <hi rend="italic">nothing</hi> but the honours and wealth of
               their country—and our ladies are all so chaste, so spotless, so good, so devout <pb n="78"/> —there is nothing for a jester to make a jest
               of—</p>
            <p>
               <hi rend="italic">
                        <ref target="_persiflage" corresp="persiflage">Voila un persiflage!</ref>
                    </hi> cried the
               Count.</p>
         </div>
         <div type="section">
            <pb n="79"/>
            <head>THE PASSPORT.</head>
            <head>VERSAILLES.</head>
            <p>AS the Passport was directed to all lieutenant governors, governors, and commandants
               of cities, generals of armies, justiciaries, and all officers of justice, to let Mr.
               Yorick, the king's jester, and his baggage, travel quietly along—I own the triumph of
               obtaining the Passport was not a little tarnish'd by the figure I cut in it—But there
               is nothing unmixt in this world; and some of the gravest of our divines have carried
               it so far as to affirm, that enjoyment itself <pb n="80"/>
               was attended even with a sigh—and that the greatest <hi rend="italic">they knew of,</hi> terminated
                  <hi rend="italic">in a general way,</hi> in little better than a convulsion.</p>
            <p>I remember the grave and learned <ref target="_Bevoricius" corresp="Bevoricius">Bevoriskius</ref>,
               in his commentary upon the generations from Adam, very naturally breaks off in the
               middle of a note to give an account to the world of a couple of sparrows upon the
               out-edge of his window, which had incommoded him all the time he wrote, and at last
               had entirely taken him off from his genealogy.</p>
            <p>—'Tis strange! writes Bevoriskius; but the facts are certain, for I have <pb n="81"/> had the curiosity to mark them down one by one with my
               pen—but the cock-sparrow during the little time that I could have finished the other
               half this note, has actually interrupted me with the reiteration of his caresses
               three and twenty times and a half.</p>
            <p>How merciful, adds Bevoriskius, is heaven to his creatures!</p>
            <p>Ill fated Yorick! that the gravest of thy brethren should be able to write that to
               the world, which stains thy face with crimson, to copy in even thy study.</p>
            <p>
               <pb n="82"/> But this is nothing to my travels—So I
               twice—twice beg pardon for it.</p>
         </div>
         <div type="section">
            <pb n="83"/>
            <head>CHARACTER.</head>
            <head>VERSAILLES.</head>
            <p>AND how do you find the French? said the Count de B****, after he had given me the
               Passport.</p>
            <p>The reader may suppose that after so obliging a proof of courtesy, I could not be at
               a loss to say something handsome to the enquiry.</p>
            <p>—<hi rend="italic">Mais passe, pour cela</hi>—Speak frankly, said he; do you find all the urbanity
               in the French which the <pb n="84"/> world give us the
               honour of?—I had found every thing, I said, which confirmed it—<hi rend="italic">Vraiment,</hi>
               said the count.—<hi rend="italic">Les Francois sont poli. s</hi>—To an excess, replied I.</p>
            <p>The count took notice of the word <hi rend="italic">excesse;</hi> and would have it I meant more
               than I said. I defended myself a long time as well as I could against it—he insisted
               I had a reserve, and that I would speak my opinion frankly.</p>
            <p>I believe, Mons. Le Compte, said I, that man has a certain compass, as well as an
               instrument; and that the social and other calls have occasion by turns for every key
               in him; sothat <pb n="85"/> if you begin a note too high or
               too low, there must be a want either in the upper or under part, to fill up the
               system of harmony.—The Count de B**** did not understand music, so desired me to
               explain it some other way. A polish'd nation, my dear Count, said I, makes every one
               its debtor; and besides urbanity itself, like the fair sex, has so many charms; it
               goes against the the heart to say it can do ill; and yet, I believe, there is but a
               certain line of perfection, that man, take him altogether, is empower'd to arrive
               at—if he gets beyond, he rather exchanges qualities, than gets them. I must not
               presume to say, how far this has affected the French in the subject <pb n="86"/> we are speaking of—but should it ever be the case of
               the English, in the progress of their resentments, to arrive at the same polish which
               distinguishes the French, if we did not lose the <hi rend="italic">politesse de coeur,</hi> which
               inclines men more to human actions, than courteous ones—we should at least lose that
               distinct variety and originality of character, which distinguishes them, not only
               from each other, but from all the world besides.</p>
            <p>I had a few <persName type="lcnaf" key="n85195818">king William</persName>'s shillings as smooth as
                  glass in my pocket; and foreseeing they would be of use in the illustration
               of my hypothesis, <pb n="87"/> I had got them into my hand,
               when I had proceeded so far—</p>
            <p>See, Mons. Le Compte, said I, rising up, and laying them before him upon the table—by
               jingling and ribbing one against another for seventy years together in one body's
               pocket or another's, they are become so much alike, you can scarce distinguish one
               shilling from another.</p>
            <p>The English, like antient medais, kept more apart, and passing but few peoples hands,
               preserve the first sharpnesses which the fine hand of nature has given them—they are
               not so pleasant to feel—but in return, <pb n="88"/> the
               legend is so visible, that at the first look you see whose image and superscription
               they bear.—But the French, Mons. Le Compte, added I, wishing to soften what I had
               said, have so many excellencies, they can the better spare this—they are a loyal, a
               gallant, a generous, an ingenious, and good temper'd people as is under heaven—if
               they have a fault—they are too <hi rend="italic">serious.</hi>
            </p>
            <p>
               <hi rend="italic">Mon Dieu!</hi> cried the Count, rising out of his chair.</p>
            <p>
               <hi rend="italic">
                        <ref target="_plaisantez" corresp="plaisantez">Mais vous plaisantez</ref>,</hi> said he, correcting his exclamation.—I laid my hand
               upon my breast, and with earnest <pb n="89"/> gravity
               assured him, it was my most settled opinion.</p>
            <p>The Count said he was mortified, he could not stay to hear my reasons, being engaged
               to go that moment to dine with the Duc de C****.</p>
            <p>But if it is not too far to come to <placeName type="tgn" key="7008070">Versailles</placeName> to eat your soup with me, I beg,
               before you leave France, I may have the pleasure of knowing you retract your
               opinion—or, in what manner you support it.—But if you do support it, Mons. Anglois,
               said he, you must do it with all your powers, because you have the whole <pb n="90"/> world against you.—I promised the Count I would do
               myself the honour of dining with him before I set out for <placeName type="tgn" key="1000080">Italy</placeName>—so took my leave.</p>
         </div>
         <div type="section">
            <pb n="91"/>
            <head>THE TEMPTATION.</head>
            <head>PARIS.</head>
            <p>WHEY I alighted at the hotel, the porter told me a young woman with a <ref target="_band-box" corresp="band-box">band-box</ref> had been that moment enquiring for
               me.—I do not know, said the porter, whether she is gone away or no. I took the key of
               my chamber of him, and went up stairs; and when I had got within ten steps of the top
               of the landing before my door, I met her coming easily down.</p>
            <p>It was the fair <hi rend="italic">fille de chambre</hi> I had walked along the Quai de Conti <pb n="92"/> with: Madame de R**** had sent her upon some
               commissions to a <hi rend="italic">merchande de modes</hi> within a step or two of the hotel de
               Modene; and as I had fail'd in waiting upon her, had bid her enquire if I had left
               <placeName type="tgn" key="7008038">Paris</placeName>; and if so, whether I had not left a letter address'd to her.</p>
            <p>As the fair <hi rend="italic">fille de chambre</hi> was so near my door she turned back, and went
               into the room with me for a moment or two whilst I wrote a card.</p>
            <p>It was a fine still evening in the latter end of the month of May—the crimson window
               curtains (which were of the same colour of those of <pb n="93"/> the bed) were drawn close—the sun was setting and
               reflected through them so warm a tint into the fair <hi rend="italic">fille de chambre</hi>'s
               face—I thought she blush'd—the idea of it made me blush myself—we were quite alone;
               and that super-induced a second blush before the first could get off.</p>
            <p>There is a sort of a pleasing half guilty blush, where the blood is more in fault
               than the man—'tis sent impetuous from the heart, and virtue flies after it—not to
               call it back, but to make the sensation of it more delicious to the nerves—'tis
               associated.—</p>
            <p>
               <pb n="94"/> But I'll not describe it.—I felt something at
               first within me which was not in strict unison with the lesson of virtue I had given
               her the night before—I sought five minutes for a card—I knew I had not one.—I took up
               a pen—I laid it down again—my hand trembled—the devil was in me.</p>
            <p>I know as well as any one, he is an adversary, whom if we resist, he will fly from
               us—but I seldom resist him at all; from a terror, that though I may conquer, I may
               still get a hurt in the combat—so I give up the triumph, for security; and instead of
               thinking to make him fly, I generally fly myself.</p>
            <p>
               <pb n="95"/> The fair <hi rend="italic">fille de chambre</hi> came close
               up to the bureau where I was looking for a card—took up first the pen I cast down,
               then offered to hold me the ink: she offer'd it so sweetly, I was going to accept
               it—but I durst not—I have nothing, my dear, said I, to write upon.—Write it, said
               she, simply, upon any thing.—</p>
            <p>I was just going to cry out, Then I will write it, fair girl! upon thy lips.—</p>
            <p>If I do, said I, I shall perish—so I took her by the hand, and led her to the door,
               and begg'd she would not forget the lesson I had given her—She said, Indeed she would
               not— <pb n="96"/> and as she utter'd it with some
               earnestness, she turned about, and gave me both her hands, closed together, into
               mine—it was impossible not to compress them in that situation—I wish'd to let them
               go; and all the time I held them, I kept arguing within myself against it—and still Ioc
               held them on.—In two minutes I found I had all the battle to fight over again—and I
               felt my legs and every limb about me tremble at the idea.</p>
            <p>The foot of the bed was within a yard and a half of the place where we were
               standingg—I had still hold of her hands—and how it happened I can give no account,
               but I neither <pb n="97"/> ask'd her—nor drew her—nor did I
               think of the bed—but so it did happen, we both sat down.</p>
            <p>I'll just shew you, said the fair <hi rend="italic">fille de chambre,</hi> the little purse I have
               been making to-day to hold your crown. So she put her hand into her right pocket,
               which was next me, and felt for it for sometime—then into into the left—"She had lost it."—I never bore expectation more quietly—it was
               in her right pocket at last—she pulled it out; it was of green taffeta, lined with a
               little bit of white quilted sattin, and just big enough to hold the crown—she put it
               into my hand—it was pretty; and I held it ten minutes with the back of my hand <pb n="98"/> resting upon her lap—looking sometimes at the
               purse, sometimes on one side of it.</p>
            <p>A stitch or two had broke out in the gathers of my stock—the fair <hi rend="italic">fille de
                  chambre,</hi> without saying a word, took out her little hussive, threaded a small
               needle, and sew'd it up—I foresaw it would hazard the glory of the day; and as she
               passed her hand in silence across and across my neck in the manoeuvre, I felt the
               laurels shake which fancy had wreath'd about my head.</p>
            <p>A strap had given way in her walk, and the buckle
                  of her shoe was just falling off—See, said the <hi rend="italic">fille de</hi>
               <pb n="99"/>
               <hi rend="italic">chambre,</hi> holding up her foot—I could not for my soul but fasten the buckle
               in return, and putting in the strap—and lifting up the other foot with it, when I had
               done, to see both were right—in doing it too suddenly—it unavoidably threw the fair
                  <hi rend="italic">fille de chambre</hi> off her center—and then—</p>
         </div>
         <div type="section">
            <pb n="100"/>
            <head>THE CONQUEST.</head>
            <p>YES—and then—Ye whose clay-cold heads and luke-warm hearts can argue down or mask
               your passions—tell me, what trespass is it that man should have them? or how his
               spirit stands answerable, to the father of spirits, but for his conduct under
               them?</p>
            <p>If nature has so wove her web of kindness, that some threads of love and desire are
               entangled with the piece—must the whole web be rent in drawing them out?—Whip me such
               stoics, great governor of nature! <pb n="101"/> said I to
               myself—Wherever thy providence shall place me for the trials of my virtue—whatever is
               my danger—whatever is my situation—let me feel the movements which rise out of it,
               and which belong to me as a man—and if I govern them as a good one—I will trust the
               issues to thy justice, for thou hast made us—and not we ourselves.</p>
            <p>As I finish'd my address, I raised the fair <hi rend="italic">fille de chambre</hi> up by the hand,
               and led her out of the room—she stood by me till I lock'd the door and put the key in
               my pocket—<hi rend="italic">and then</hi>—the victory being quite decisive—and not till then, I <pb n="102"/> press'd my lips to her cheek, and, taking her
               by the hand again, led her safe to the gate of the hotel.</p>
         </div>
         <div type="section">
            <pb n="103"/>
            <head>THE MYSTERY.</head>
            <head>PARIS.</head>
            <p>IF a man knows the heart, he will know it was impossible to go back instantly to my
               chamber—it was touching a cold key with a flat
                  third to it, upon the close of a piece of musick, which had call'd forth my
               affections—therefore, when I let go the hand of the <hi rend="italic">fille de chambre,</hi> I
               remain'd at the gate of the hotel for some time, looking at every one who pass'd by,
               and forming conjectures upon them, till my attention got fix'd <pb n="104"/> upon a single object which confounded all kind of
               reasoning upon him.</p>
            <p>It was a tall figure of a philosophic serious, adust look, which pass'd and repass'd
               sedately along the street, making a turn of about sixty paces on each side of the
               gate of the hotel—the man was about fifty-two—had a small cane under his arm—was
               dress'd in a dark <ref target="_drab" corresp="drab">drab-colour'd coat</ref>,
               waistcoat, and breeches, which seem'd to have seen some years service—they were still
               clean, and there was a little air of frugal
                     <hi rend="italic">propretè</hi> throughout him. By his pulling off his hat, and his
               attitude of accosting a good many in his way, I saw he was asking charity; so I got a
               sous or <pb n="105"/> two out of my pocket ready to give
               him, as he took me in his turn—he pass'd by me without asking any thing—and yet did
               not go five steps further before he ask'd charity of a little woman—I was much more
               likely to have given of the two—He had scarce done with the woman, when he pull'd off
               his hat to another who was coming the same way.—An ancient gentleman came slowly—and,
               after him, a young smart one—He let them both pass, and ask'd nothing: I stood
               observing him half an hour, in which time he had made a dozen turns backwards and
               forwards, and found that he invariably pursued the same plan.</p>
            <p>
               <pb n="106"/> There were two things very singular in this,
               which set my brain to work, and to no purpose—the first was, why the man should
                  <hi rend="italic">only</hi> tell his story to the sex—and secondly—what kind of story it was,
               and what species of eloquence it could be, which soften'd the hearts of the women,
               which he knew 'twas to no purpose to practise upon the men.</p>
            <p>There were two other circumstances which entangled this mystery—the one was, he told
               every woman what he had to say in her ear, and in a way which had much more the air
               of a secret than a petition—the other was, it was always successful—he never stopp'd
               a woman, but she <pb n="107"/> pull'd out her purse, and
               immediately gave him something.</p>
            <p>I could form no system to explain the phenomenon.</p>
            <p>I had got a riddle to amuse me for the rest of the evening, so I walk'd up stairs to
               my chamber.</p>
         </div>
         <div type="section">
            <pb n="108"/>
            <head>THE CASE OF CONSCIENCE.</head>
            <head>PARIS.</head>
            <p>I WAS immediately followed up by the master of the hotel, who came into my room to
               tell me I must provide lodgings else where.—How so, friend? said I.—He answer'd, I
               had had a young woman lock'd up with me two hours that evening in my bed-chamber, and
               'twas against the rules of his house.—Very well, said I, we'll all part friends
               then—for the girl is no worse—and I am no worse—and you will be just as I found
               you.—It was enough, he said, to <pb n="109"/> overthrow the
               credit of his hotel.—<hi rend="italic">Voyez vous, Monsieur,</hi> said he, pointing to the foot of
               the bed we had been sitting upon.—I own it had something of the appearance of an
               evidence; but my pride not suffering me to enter into any detail of the case, I
               exhorted him to let his soul sleep in peace, as I resolved to let mine do that night,
               and that I would discharge what I owed him at breakfast.</p>
            <p>I should not have minded, <hi rend="italic">Monsieur,</hi> said he, if you had had twenty
               girls—'Tis a score more, replied I, interrupting him, than I ever reckon'd
               upon—Provided, added he, it had been <pb n="110"/> but in a
               morning.—And does the difference of the time of the day at <placeName type="tgn" key="7008038">Paris</placeName> make a difference in
               the sin?—It made a difference, he said, in the scandal.—I like a good distinction in
               my heart; and cannot say I was intolerably out of temper with the man.—I own it is
               necessary, re-assumed the master of the hotel, that a stranger at <placeName type="tgn" key="7008038">Paris</placeName> should have
               the opportunities presented to him of buying lace and silk stockings and ruffles,
                  <hi rend="italic">et tout cela</hi>—and 'tis nothing if a woman comes with a band box.—O' my
               conscience, said I, she had one; but I never look'd into it.—Then, <hi rend="italic">Monsieur,</hi>
               said he, has bought nothing.—Not one earthly thing, replied I.—Because, said he, I
               could recommend <pb n="111"/> one to you who would use you
                  <hi rend="italic">en conscience.</hi>—But I must see her this night, said I.—He made me a low
               bow and walk'd down.</p>
            <p>Now shall I triumph over this <hi rend="italic">maitre d'hotel,</hi> cried I—and what then?—Then I
               shall let him see I know he is a dirty fellow.—And what then?—What then!—I was too
               near myself to say it was for the sake of others.—I had no good answer left—there was
               more of spleen than principle in my project, and I was sick of it before the
               execution.</p>
            <p>In a few minutes the Grisset came in with her box of lace—I'll buy <pb n="112"/> nothing however, said I, within myself.</p>
            <p>The Grisset would shew me every thing—I was hard to please: she would not seem to see
               it; she open'd her little <ref target="_magazine" corresp="magazine">magazine</ref>, laid all
               her laces one after another before me—unfolded and folded them up again one by one
               with the most patient sweetness—I might buy—or not—she would let me have every thing
               at my own price—the poor creature seem'd anxious to get a penny; and laid herself out
               to win me, and not so much in a manner which seem'd artful, as in one I felt simple
               and caressing.</p>
            <p>
               <pb n="113"/> If there is not a fund of honest cullibility
               in man, so much the worse—my heart relented, and I gave up my second resolution as
               quietly as the first—Why should I chastise one for the trespass of another? if thou
               art tributary to this tyrant of an host, thought I, looking up in her face, so much
               harder is thy bread.</p>
            <p>If I had not had more than four <hi rend="italic">Louis d'ors</hi> in my purse, there was no such
               thing as rising up and shewing her the door, till I had first laid three of them out
               in a pair of ruffles.</p>
            <p>—The master of the hotel will share the profit with her—no matter<pb n="114"/> —then I have only paid as many a poor soul has
                  <hi rend="italic">paid</hi> before me for an act he <hi rend="italic">could</hi> not do, or think of.</p>
         </div>
         <div type="section">
            <pb n="115"/>
            <head>THE RIDDLE.</head>
            <head>PARIS.</head>
            <p>WHEN La Fleur came up to wait upon me at supper, he told me how sorry the master of
               the hotel was for his affront to me in bidding me change my lodgings.</p>
            <p>A man who values a good night's rest will not lay down with enmity in his heart if he
               can help it—So I bid La Fleur tell the master of the hotel, that I was sorry on my
               side for the occasion I had given him— <pb n="116"/> and
               you may tell him, if you will, La Fleur, added I, that if the young woman should call
               again, I shall not see her.</p>
            <p>This was a sacrifice not to him, but myself, having resolved, after so narrow an
               escape, to run no more risks, but to leave <placeName type="tgn" key="7008038">Paris</placeName>, if it was possible, with all the
               virtue I enter'd in.</p>
            <p>
               <hi rend="italic">
                        <ref target="_deroger" corresp="deroger">C'est deroger à noblesse</ref>, Monsieur,</hi>
               said La Fleur, making me a bow down to the ground as he said it—<hi rend="italic">Et encore
                  Monsieur,</hi> said he, may change his sentiments—and if <hi rend="italic">(par hazard)</hi> he
               should like to amuse himself— <pb n="117"/> I find no
               amusement in it, said I, interrupting him—</p>
            <p>
               <hi rend="italic">Mon Dieu!</hi> said La Fleur—and took away.</p>
            <p>In an hour's time he came to put me to bed, and was more than commonly
               officious—something hung upon his lips to say to me, or ask me, which he could not
               get off: I could not conceive what it was; and indeed gave myself little trouble to
               find it out, as I had another riddle so much more interesting upon my mind, which was
               that of the man's asking charity before the door of the hotel—I would have given any
               thing to have got to the bottom of it; and <pb n="118"/>
               that, not out of curiosity—'tis so low a principle of enquiry, in general, I would
               not purchase the gratification of it with a two-sous piece—but a secret, I thought,
               which so soon and so certainly soften'd the heart of every woman you came near, was a
               secret at least equal to the philosopher's stone: <ref target="_Indies" corresp="Indies">had I had both the Indies</ref>, I would have given up one to have been master of
               it.</p>
            <p>I toss'd and turn'd it almost all night long in my brains to no manner of purpose;
               and when I awoke in the morning, I found my spirit as much troubled with my
                  <hi rend="italic">dreams,</hi> as ever the king of Babylon had been <pb n="119"/> with his; and I will not hesitate to affirm, it would
               have puzzled all the wise men of <placeName type="tgn" key="7008038">Paris</placeName>, as much as those of <ref target="_Chaldea" corresp="Chaldea">
                        <placeName type="tgn" key="7001554">Chaldea</placeName>
                    </ref>, to have given its interpretation.</p>
         </div>
         <div type="section">
            <pb n="120"/>
            <head>
                    <ref target="_dimanche" corresp="dimanche">LE DIMANCHE</ref>.</head>
            <head>PARIS.</head>
            <p>IT was Sunday; and when <ref target="_Fleur" corresp="Fleur">La Fleur</ref> came in, in
               the morning, with my coffee and role and butter, he had got himself so gallantly
               array'd, I scarce knew him.</p>
            <p>I had convenanted at <placeName type="tgn" key="7623294">Montreal</placeName> to give him <ref target="_tricorne" corresp="tricorne">a new hat
                  with a silver button and loop, and four Louis d'ors <hi rend="italic">pour
                  s'adoniser,</hi>
                    </ref> when we got to <placeName type="tgn" key="7008038">Paris</placeName>; and the poor fellow, to do him
               justice, had done wonders with it.</p>
            <p>
               <pb n="121"/> He had bought <ref target="_scarlet" corresp="scarlet">a bright, clean, good scarlet coat and a pair of breeches of the
                  same</ref>—They were not a crown worse, he said, for the wearing—I wish'd him
               hang'd for telling me—they look'd so fresh, that tho' I knew the thing could not be
               done, yet I would rather have imposed upon my fancy with thinking I had bought them
               new for the fellow, than that they had come out of the <hi rend="italic">
                        <ref target="_friperie" corresp="friperie">Rue de friperie</ref>.</hi>
            </p>
            <p>This is a nicety which makes not the heart sore at <placeName type="tgn" key="7008038">Paris</placeName>.</p>
            <p>He had purchased moreover <ref target="_fashion" corresp="fashion">a handsome blue sattin
                  waistcoat, fancifully enough embroidered</ref>—this <pb n="122"/> was indeed something the worse for the services it had
               done, but 'twas clean scour'd—the gold had been touch'd up, and upon the whole was
               rather showy than otherwise—and as the blue was not violent, it suited with the coat
               and breeches very well: he had squeez'd out of the money, moreover, <ref target="_wigbag" corresp="wigbag">a new bag</ref> and <ref target="_solitaire" corresp="solitaire">a solitaire</ref>; and had insisted with the <hi rend="italic">fripier,</hi> upon <ref target="_garters" corresp="garters">a gold pair of garters</ref> to his breeches knees—He
               had purchased <ref target="_ruffles" corresp="ruffles">muslin ruffles</ref>, <hi rend="italic">bien
                  brodées,</hi> with four livres of his own money—and a pair of white silk stockings for five more—and, to top all, nature
               had given him a handsome figure, without costing him a sous.</p>
            <p>
               <pb n="123"/> He enter'd the room thus set off, with his
               <ref target="_first-style" corresp="first-style">hair dress'd in the first stile</ref>, and with
               a handsome <hi rend="italic">bouquet</hi> in his breast—in a word, there was that look of festivity
               in every thing about him, which at once put me in mind it was Sunday—and by combining
               both together, it instantly struck me, that the favour he wish'd to ask of me the
               night before, was to spend the day, as every body in <placeName type="tgn" key="7008038">Paris</placeName> spent it, besides. I had
               scarce made the conjecture, when La Fleur, with infinite humility, but with a look of
               trust, as if I should not refuse him, begg'd I would grant him the day, <hi rend="italic">
                        <ref target="_galant" corresp="galant">pour faire le galant vis à vis de sa
                     maitresse</ref>.</hi>
 
               <pb n="124"/> Now it was the very thing I intended to do
               myself <hi rend="italic">vis à vis</hi> Madame de R****—I had retain'd the <hi rend="italic">remise</hi> on
               purpose for it, and it would not have mortified my vanity to have had a servant so
               well dress'd as La Fleur was to have got up behind it: I never could have worse
               spared him.</p>
            <p>But we must <hi rend="italic">feel,</hi> not argue in these embarrassments—<ref target="_service" corresp="service">the sons and daughters of service part with liberty, but not with
                  Nature in their contracts</ref>; they are flesh and blood, and have their little
               vanities and wishes in the midst of the house of bondage, as well as their
               task-masters <pb n="125"/> —no doubt, they have set their
               self-denials at a price—and their expectations are so unreasonable, that I would
               often disappoint them, but that their condition puts it so much in my power to do
               it.</p>
            <p>
               <hi rend="italic">Behold!—Behold, I am thy servant</hi>—disarms me at once of the powers of a
               master—</p>
            <p>—Thou shalt go, La Fleur! said I.</p>
            <p>—And what mistress, La Fleur, said I, canst thou have pick'd up in so little a time
               at <placeName type="tgn" key="7008038">Paris</placeName>? La Fleur laid his hand upon his breast, and said 'twas <pb n="126"/> a <hi rend="italic">petite demoiselle</hi> at Monsieur Le Compte de
               B****'s.—La Fleur had a heart made for society; and, to speak the truth of him let as
               few occasions slip him as his master—so that some how or other; but how—heaven
               knows—he had connected himself with the <hi rend="italic">demoiselle</hi> upon the landing of the
               stair-case, during the time I was taken up with my Passport; and as there was time
               enough for me to win the Count to my inteterest, La Fleur had contrived to make it do
               to win the maid to his—the family, it seems, was to be at <placeName type="tgn" key="7008038">Paris</placeName> that day, and he had
               made a party with her, and two or three more of the Count's houshold, upon the
                  <hi rend="italic">boulevards.</hi>
            </p>
            <p>
               <pb n="127"/> Happy people! that once a week at least are
               sure to lay down all your cares together; and dance and sing and sport away the
               weights of grievance, which bow down the spirit of other nations to the earth.</p>
         </div>
         <div type="section">
            <pb n="128"/>
            <head>THE FRAGMENT.</head>
            <head>PARIS.</head>
            <p>LA Fleur had left me something to amuse myself with for the day more than I had
               bargain'd for, or could have enter'd either into his head or mine.</p>
            <p>He had brought the little print of butter upon a currant leaf; and as the morning was
               warm, and he had a good step to bring it, he had begg'd a sheet of waste paper to put
               betwixt the currant leaf and his hand—As that was plate sufficient, I bad him lay it
               upon the table as it was, <pb n="129"/> and as I resolved
               to stay within all day I ordered him to call upon the <hi rend="italic">traileur</hi> to bespeak my
               dinner, and leave me to breakfast by myself.</p>
            <p>When I had finish'd the butter, I threw the currant leaf out of the window, and was
               going to do the same by the waste paper—but stopping to read a line first, and that
               drawing me on to a second and third—I thought it better worth; so I shut the window,
               and drawing a chair up to it, I sat down to read it.</p>
            <p>It was in the old French of <ref target="_Rabelais" corresp="Rabelais">Rabelais</ref>'s time,
               and for ought I know might have been wrote by him—it was moreover in <ref target="_gothic" corresp="gothic">a Gothic letter</ref>, and that <pb n="130"/> so faded and gone off by damps and length of time, it
               cost me infinite trouble to make any thing of it—I threw it down; and then wrote a
               letter to <persName type="lcnaf" key="n85067385">Eugenius</persName>—then I took it up again, and embroiled my patience with it
               afresh—and then to cure that, I wrote a letter to Eliza.—Still it kept hold of me;
               and the difficulty of understanding it increased but the desire.</p>
            <p>I got my dinner; and after I had enlightened my mind with a bottle of Burgundy, I at
               it again—and after two or three hours poring upon it, with almost as deep attention
               as ever <ref target="_Gruger" corresp="Gruger">
                        <persName type="lcnaf" key="n85112413">Gruter</persName> or <persName type="lcnaf" key="n84024698">Jacob Spon</persName>
                    </ref> did upon a
               nonsensical inscription, I thought I <pb n="131"/> made
               sense of it; but to make sure of it, the best way, I imagined, was to turn it into
               English, and see how it would look then—so I went on leisurely, as a trifling man
               does, sometimes writing a sentence—then taking a turn or two—and then looking how
               the world went, out of the window; so that it was nine o'clock at night before I had
               done it—I then begun and read it as follows.</p>
         </div>
         <div type="section">
            <pb n="132"/>
            <head>THE FRAGMENT.</head>
            <head>PARIS.</head>
            <p>—Now as the notary's wife disputed the point with the notary with too much heat—I
               wish, said the notary, throwing down the parchment, that there was another notary
               here only to set down and attest all this—</p>
            <p>—And what would you do then, Monsieur? said she, rising hastily up—the notary's wife
               was a little fume of a woman, and the notary thought it <pb n="133"/> well to avoid a hurricane by a mild reply—I would go,
               answer'd he, to bed.—You may go to the devil, answer'd the notary's wife.</p>
            <p>Now there happening to be but one bed in the house, the other two rooms being
               unfurnish'd, as is the custom at <placeName type="tgn" key="7008038">Paris</placeName>, and the notary not caring to lie in the same
               bed with a woman who had but that moment sent him pell-mell to the devil, went forth
               with his hat and cane and short cloak, the night being very windy, and walk'd out ill
               at ease towards the <hi rend="italic">pont neuf.</hi>
            </p>
            <p>Of all the bridges which ever were built, the whole world who have <pb n="134"/> pass'd over the <hi rend="italic">
                        <ref target="_Pont_Neuf" corresp="Pont_Neuf">pont neuf</ref>,</hi> must own, that it is the noblest—the finest—the
               grandest—the lightest—the longest—the broadest that ever conjoin'd land and land
               together upon the face of the terraqueous globe—</p>
            <p>
               <hi rend="italic">By this, it seems, as if the author of the fragment had not been a
                  Frenchman.</hi>
            </p>
            <p>The worst fault which divines and the doctors of the Sorbonne can allege against it,
               is, that if there is but a cap-full of wind in or about <placeName type="tgn" key="7008038">Paris</placeName>, 'tis more
               blasphemously <hi rend="italic">sacre Dieu'd</hi> there than in any other aperture of the whole
               city—and with reason, <pb n="135"/> good and cogent
               Messieurs; for it comes against you without crying <hi rend="italic">garde d'eau,</hi> and with
               such unpremeditable puffs, that of the few who cross it with their hats on, not one
               in fifty but hazards two livres and a half, which is its full worth.</p>
            <p>The poor notary, just as he was passing by the sentry, instinctively clapp'd his cane
               to the side of it, but in raising it up the point of his cane catching hold of the
               loop of the sentinel's hat hoisted it over the spikes of the <ref target="_ballustrade" corresp="ballustrade">ballustrade</ref> clear into the <placeName type="tgn" key="7009707">Seine</placeName>—</p>
            <p>
               <pb n="136"/> —<hi rend="italic">'Tis an ill wind,</hi> said a boatsman,
               who catch'd it, <hi rend="italic">which blows no body any good.</hi>
            </p>
            <p>The sentry being a <ref target="_Gascon" corresp="Gascon">gascon</ref> incontinently
               twirl'd up his whiskers, and levell'd his <ref target="_harquebuss" corresp="harquebuss">harquebuss</ref>.</p>
            <p>Harquebusses in those days went off with matches; and an old woman's <ref target="_lanthorn" corresp="lanthorn">paper lanthorn</ref> at the end of the bridge
               happening to be blown out, she had borrow'd the sentry's match to light it—it gave a
               moment's time for the gascon's blood to run cool, and turn the accident better to his
                  advantage—<hi rend="italic">'Tis an ill wind,</hi> said he, catching off the notary's castor,
               and <pb n="137"/> legitimating the capture with the
               boatman's adage.</p>
            <p>The poor notary cross'd the bridge, and passing along the rue de Dauphine into the
               fauxbourgs of St. Germain, lamented himself as he walk'd along in this manner:</p>
            <p>Luckless man! that I am, said the <ref target="_notary" corresp="notary">notary</ref>, to
               be the sport of hurricanes all my days—to be born to have the storm of ill language
               levell'd against me and my profession wherever I go—to be forced into marriage by the
               thunder of the church to a tempest of a woman—to be driven forth out of my house by
                  <pb n="136"/>
               
               <pb n="138"/> domestic winds, and despoil'd of my castor by
               pontific ones—to be here, bare-headed, in a windy night at the mercy of the ebbs and
               flows of accidents—where I am to lay my head?—miserable man! what wind in the
               two-and-thirty points of the whole compass can blow unto thee, as it does to the rest
               of thy fellow creatures, good!</p>
            <p>As the notary was passing on by a dark passage, complaining in this sort, a voice
               call'd out to a girl, to bid her run for the next notary—now the notary being the
               next, and availing himself of his situation, walk'd up the passage to the door, and
               passing <pb n="139"/> through an old sort of a saloon, was
               usher'd into a large chamber dismantled of every thing but a long military pike—a
               breast plate—a rusty old sword, and bandoleer, hung up equi-distant in four different
               places against the wall.</p>
            <p>An old personage, who had heretofore been a gentleman, and unless decay of fortune
               taints the blood along with it was a gentleman at that time, lay supporting his head
               upon his hand in his bed; a little table with a taper burning was set close beside
               it, and close by the table was placed a chair—the notary sat him down in it; and
               pulling out his <ref target="_inkhorn" corresp="inkhorn">ink-horn</ref> and a sheet or two of paper which he had in his <pb n="140"/> pocket, he placed them before him, and dipping his pen
               in his ink, and leaning his breast over the table, he disposed every thing to make
               the gentleman's <ref target="_wills" corresp="wills">last will and testament</ref>.</p>
            <p>Alas! Monsieur le Notaire, said the gentleman, raising himself up a little, I have
               nothing to bequeath which will pay the expence of bequeathing, except the history of
               myself, which, I could not die in peace unless I left it as a legacy to the world;
               the profits arising out of it, I bequeath to you for the pains of taking it from
               me—it is a story so uncommon, it must me read by all <pb n="141"/> mankind—it will make the fortunes of your house—the
               notary dipp'd his pen into his ink-horn—Almighty director of every event in my life!
               said the old gentleman, looking up earnestly and raising his hands towards
               heaven—thou whose hand has led me on through such a labyrinth of strange passages
               down into this scene of desolation, assist the decaying memory of an old, infirm, and
               broken-hearted man—direct my tongue, by the spirit of thy eternal truth, that this
               stranger may set down naught but what is written in that Book, from whose records,
               said he, clasping his hands together, I am to be condemn'd or acquitted!—the notary
               held up <pb n="142"/> the point of his pen betwixt the
               taper and his eye—</p>
            <p>—It is a story, Monsieur le Notaire, said the gentleman, which will rouse up every
               affection in nature—it will kill the humane, and touch the heart of cruelty herself
               with pity—</p>
            <p>—The notary was inflamed with a desire to begin, and put his pen a third time into
               his ink-horn—and the old gentleman turning a little more towards the notary, began to
               dictate his story in these words—</p>
            <p>
               <pb n="143"/> —And where is the rest of it, La Fleur? said
               I, as he just then enter'd the room.</p>
         </div>
         <div type="section">
            <pb n="144"/>
            <head>THE FRAGMENT AND THE <ref target="auth5" corresp="nauth5">*</ref>BOUQUET.</head>
            <head>PARIS.</head>
            <p>WHEN La Fleur came up close to the table, and was made to comprehend what I wanted,
               he told me there were only two other sheets of it which he had wrapt round the stalks
               of a <hi rend="italic">bouquet</hi> to keep it together, which he had presented to the
                  <hi rend="italic">demoiselle</hi> upon the <hi rend="italic">boulevards</hi>—Then, <pb n="145"/> prithee, La Fleur, said I, step back to her to the
               Count de B****'s hotel, and <hi rend="italic">see if you canst get</hi>—There is no doubt of it,
               said La Fleur—and away he flew.</p>
            <p>In a very little time the poor fellow came back quite out of breath, with deeper
               marks of disappointment in his looks than could arise from the simple irreparability
               of the fragment—<hi rend="italic">Juste ciel!</hi> in less than two minutes that the poor fellow
               had taken his last tender farewel of her—his faithless mistress had given his
                  <hi rend="italic">gage d'amour</hi> to one of the Count's footmen—the footman to a young
               sempstress—and the sempstress to a fiddler, with my fragment at the end of it— <pb n="146"/> Our misfortunes were involved together—I gave
               a sigh—and La Fleur echo'd it back again to my ear—</p>
            <p>—How perfidious! cried La Fleur—How unlucky! said I.—</p>
            <p>—I should not have been mortified, Monsieur, quoth La Fleur, if she had lost it—Nor
               I, La Fleur, said I, had I found it.</p>
            <p>Whether I did or no, will be seen hereafter.</p>
         </div>
         <div type="section">
            <pb n="147"/>
            <head>THE ACT OF CHARITY.</head>
            <head>PARIS.</head>
            <p>THE man who either disdains or fears to walk up a dark entry may be an excellent good
               man, and fit for a hundred things; but he will not do to make a good sentimental
               traveller. I count little of the many things I see pass at broad noon day, in large
               and open streets.—Nature is shy, and hates to act before spectators; but in such an
               unobserved corner, you sometimes see a single short scene of her's worth all the
               sentiments of a dozen French plays compounded together—and yet <pb n="148"/> they are <hi rend="italic">absolutely</hi> fine;—and whenever I have
               a more brilliant affair upon my hands than common, as they suit a preacher just as
               well as a hero, I generally make my sermon out of 'em—and for the text—"Capadosia, Pontus and Asia, Phrygia and
               Pamphilia"—is as good as any one in the Bible.</p>
            <p>There is a long dark passage issuing out from the opera comique into a narrow
               street; 'tis trod by a few who humbly wait for a <hi rend="italic">
                        <ref target="_fiacre" corresp="fiacre">fiacre</ref>
                    </hi>
               <ref target="auth6" corresp="nauth6">*</ref>, or wish to get off quietly o'foot when
               the opera is done. At the end of it, towards the theatre, 'tis lighted by a small
               candle, <pb n="149"/> the light of which is almost lost
               before you get half-way down, but near the door—'tis more for ornament than use: you
               see it as a fix'd star of the least magnitude; it burns—but does little good to the
               world, that we know of.</p>
            <p>In returning along this passage, I discern'd, as I approach'd within five or six
               paces of the door, two ladies standing arm in arm, with their backs against the wall,
               waiting, as I imagined, for a <hi rend="italic">fiacre</hi>—as they were next the door, I thought
               they had a prior right; so edged myself up within a yard or little more of them, and
               quietly took my stand—I was in black, and scarce seen.</p>
            <p>
               <pb n="150"/> The lady next me was a tall lean figure of a
               woman of about thirty-six; the other of the same size and make, of about forty; there
               was no mark of wife or widow in any one part of either of them—they seem'd to be two
               upright <ref target="_vestal" corresp="vestal">vestal sisters</ref>, unsapp'd by caresses,
               unbroke in upon by tender salutations: I could have wish'd to have made them
               happy—their happiness was destin'd, that night, to come from another quarter.</p>
            <p>A low voice, with a good turn of expression, and sweet cadence at the end of it,
               begg'd for a twelve-sous piece betwixt them, for the love of heaven. I thought it
               singular, that <pb n="151"/> a beggar should fix the quota
               of an alms—and that the sum should be twelve times as much as what is usually given
               in the dark. They both seemed astonish'd at it as much as myself.—Twelve sous! said
               one—a twelve-sous piece! said the other—and made no reply.</p>
            <p>The poor man said, He knew not how to ask less of ladies of their rank; and bow'd
               down his head to the ground.</p>
            <p>Poo! said they—we have no money.</p>
            <p>The beggar remained silent for a moment or two, and renew'd his supplication.</p>
            <p>
               <pb n="152"/> Do not, my fair young ladies, said he, stop
               your good ears against me—Upon my word, honest man! said the younger, we have no
               change—Then God bless you, said the poor man, and multiply those joys which you can
               give to others without change!—I observed the elder sister put her hand into her
               pocket—I'll see, said she, if I have a sous.—A sous! give twelve, said the
               supplicant; Nature has been bountiful to you, be bountiful to a poor man.</p>
            <p>I would, friend, with all my heart, said the younger, if I had it.</p>
            <p>My fair charitable! said he, addressing himself to the elder— <pb n="153"/> What is it but your goodness and humanity which makes
               your bright eyes so sweet, that they outshine the the morning even in this dark
               passage? and what was it which made the Marquis de Santerre and his brother say so
               much of you both as they just pass'd by?</p>
            <p>The two ladies seemed much affected; and impulsively at the same time they both put
               their hands into their pocket, and each took out a twelve-sous piece.</p>
            <p>The contest betwixt them and the poor supplicant was no more—it was continued betwixt
               themselves, which 
               
               <pb n="154"/> of the two should give the twelve-sous piece
               in charity—and to end the dispute, they both gave it together, and the man went
               away.</p>
         </div>
         <div type="section">
            <pb n="155"/>
            <head>THE RIDDLE EXPLAINED.</head>
            <head>PARIS.</head>
            <p>I Stepp'd hastily after him: it was the very man whose success in asking charity of
               the women before the door of the hotel had so puzzled me—and I found at once his
               secret, or at least the basis of it—'twas flattery.</p>
            <p>Delicious essence! how refreshing art thou to nature! how strongly are all its powers
               and all its weaknesses on thy side! how sweetly dost thou mix with the blood, and
               help it through the most difficult and tortuous passages to the heart!</p>
            <p>
               <pb n="156"/> The poor man, as he was not straighten'd for
               time, had given it here in a larger dose: 'tis certain he had a way of bringing it
               into less form, for the many sudden cases he had to do with in the streets; but how
               he contrived to correct, sweeten, concentre, and qualify it—<ref target="a179.2" corresp="n179.2">I vex not my spirit with
               the inquiry</ref>—it is enough, the beggar gain'd two twelve-sous pieces—and they can best
               tell the rest, who have gain'd much greater matters by it.</p>
         </div>
         <div type="section">
            <pb n="157"/>
            <head>PARIS.</head>
            <p>WE get forwards in the world not so much by doing services, as receiving them: you
               take a withering twig, and put it in the ground; and then you water it, because you
               have planted it.</p>
            <p>Mons. Le Compte de B****, merely because he had done me one kindness in the affair of
               my passport, would go on and do me another, the few days he was at <placeName type="tgn" key="7008038">Paris</placeName>, in making
               me known to a few people of rank; and they were to present me to others, and so
               on.</p>
            <p>
               <pb n="158"/> I had got master of my <hi rend="italic">secret,</hi> just
               in time to turn these honours to some little account; otherwise, as is commonly the
               case, I should have din'd or supp'd a single time or two round, and then by
                  <hi rend="italic">translating</hi> French looks and attitudes into plain English, I should
               presently have seen, that I had got hold of the <hi rend="italic">couvert</hi>
               <ref target="auth7" corresp="nauth7">*</ref> of some more entertaining guest; and in
               course, should have resigned all my places one after another, merely upon the
               principle that I could not keep them.—As it was, things did not go much amiss.</p>
            <p>I had the honour of being introduced to the old Marquis de B****: <pb n="159"/> in days of yore he had signaliz'd himself by some
               small feats of chivalry in the <hi rend="italic">Cour d'amour,</hi> and had dress'd himself out to
               the idea of tilts and tournaments ever since—the Marquis de B**** wish'd to have it
               thought the affair was somewhere else than in his brain. "He could like to take a trip to England," and ask'd much of the English
               ladies. Stay where you are, I beseech you, Mons. le Marquise, said I—Les Messrs.
               Angloise can scarce get a kind look from them as it is.—The Marquis invited me to
               supper.</p>
            <p>Mons. P**** the farmer-general was just as inquisitive about our taxes.—They were
               very considerable, <pb n="160"/> he heard—If we knew but
               how to collect them, said I, making him a low bow.</p>
            <p>I could never have been invited to Mons. P****'s concerts upon any other terms.</p>
            <p>I had been misrepresented to Madame de Q*** as an <hi rend="italic">esprit</hi>—Madam de Q*** was
               an <hi rend="italic">
                        <ref target="_esprit" corresp="esprit">esprit</ref>
                    </hi> herself; she burnt with
               impatience to see me, and hear me talk. I had not taken my seat, before I saw she did
               not care a sous whether I had any wit or no—I was let in, to be convinced she had.—I
               call heaven to witness I never once open'd the door of my lips.</p>
            <p>
               <pb n="161"/> Madame de Q*** vow'd to every creature she
               met, "She had never had a more improving conversation
                  with a man in her life."
            </p>
            <p>There are three epochas in the empire of a French-woman—She is <ref target="_coquette" corresp="coquette">coquette</ref>—then <ref target="_deist" corresp="deist">deist</ref>—then <hi rend="italic">
                        <ref target="_devotee" corresp="devotee">devôte</ref>:</hi> the empire
               during these is never lost—she only changes her subjects: when thirty-five years and
               more have unpeopled her dominions of the slaves of love, she re-peoples it with
               slaves of infidelity—and then with the slaves of the Church.</p>
            <p>Madame de V*** was vibrating betwixt the first of these epochas: the colour of the
               rose was shading <pb n="162"/> fast away—she ought to have
               been a deist five years before the time I had the honour to pay my first visit.</p>
            <p>She placed me upon the same sopha with her, for the sake of disputing the point of
               religion more closely.—In short, Madame de V*** told me she believed nothing.</p>
            <p>I told Madame de V*** it might be her principle; but I was sure it could not be her
               interest to level the outworks, without which I could not conceive how such a citadel
               as hers could be defended—that there was not a more dangerous thing in the world,
               than for a beauty to be a deist—that it was a debt I owed my <pb n="163"/> creed, not to conceal it from her—that I had not been
               five minutes sat upon the sopha besides her, but I had begun to form designs—and what
               is it, but the sentiments of religion, and the persuasion they had existed in her
               breast, which could have check'd them as they rose up.</p>
            <p>We are not adamant, said I, taking hold of her hand—and there is need of all
               restraints, till age in her own time steals in and lays them on us—but, my dear lady,
               said I, kissing her hand—'tis too—too soon—</p>
            <p>I declare I had the credit all over <placeName type="tgn" key="7008038">Paris</placeName> of unperverting Madame de V***.—She
               affirmed to Mons. <pb n="164"/> D*** and the Abbe M***,
               that in one half hour I had said more for revealed religion, than all their
               Encyclopedia had said against it—I was listed directly into Madame de V***'s
                  <hi rend="italic">Coterie</hi>—and she put off the epocha of deism for two years.</p>
            <p>I remember it was in this <hi rend="italic">Coterie,</hi> in the middle of a discourse, in which I
               was shewing the necessity of a <hi rend="italic">first cause,</hi> that the young Count de Faineant
               took me by the hand to the furthest corner of the room, to tell me my
                  <hi rend="italic">solitaire</hi> was pinn'd too strait about my neck—It should be <hi rend="italic">plus
                  badinant,</hi> said the Count, looking down upon his own—but a word, Mons. Yorick,
               to <hi rend="italic">the wise</hi>—.</p>
            <p>
               <pb n="165"/> —And from the wise, Mons. Le Compte, replied
               I, making him a bow—<hi rend="italic">is enough.</hi>
            </p>
            <p>The Count de Faineant embraced me with more ardour than ever I was embraced by mortal
               man.</p>
            <p>For three weeks together, I was of every man's opinion I met.—<hi rend="italic">Pardi! ce Mons.
                  Yorick a autant d'esprit que nous autres.—Il raisonne bien,</hi> said
                  another.—<hi rend="italic">C'est un bon enfant,</hi> said a third.—And at this price I could
               have eaten and drank and been merry all the days of my life at <placeName type="tgn" key="7008038">Paris</placeName>; but 'twas a
               dishonest <hi rend="italic">reckoning</hi>—I grew ashamed of it—it was the gain of a slave— <pb n="166"/> every sentiment of honour revolted against
               it—the higher I got, the more was I forced upon my <hi rend="italic">beggarly system</hi>—the
               better the <hi rend="italic">
                        <ref target="_coterie" corresp="coterie">Coterie</ref>
                    </hi>—the more children
               of Art—I languish'd for those of Nature: and one night, after a most vile
               prostitution of myself to half a dozen different people, I grew sick—went to
               bed—order'd La Fleur to get me horses in the morning to set out for <placeName type="tgn" key="1000080">Italy</placeName>.</p>
         </div>
         <div type="section">
            <pb n="167"/>
            <head>MARIA.</head>
            <head>
                    <placeName type="tgn" key="7008198">
                        <ref target="_Moulines" corresp="Moulines">MOULINES</ref>
                    </placeName>
                </head>
            <p>I NEVER felt what the distress of plenty was in any one shape till now—to travel it
               through <ref target="_Bourbonnois" corresp="Bourbonnois">the <placeName type="tgn" key="7017221">Bourbonnois</placeName>, the sweetest part of
                  France</ref>—in the hey-day of the vintage, when Nature is pouring her abundance
               into every one's lap, and every eye is lifted up—a journey through each step of which
               music beats time to <hi rend="italic">Labour,</hi> and all her children are rejoicing as they carry
               in their clusters—to pass through this with my affections flying out, and kindling
               at every <pb n="168"/> group before me—and every one of 'em
               was pregnant with adventures.</p>
            <p>Just heaven!—it would fill up twenty volumes—and alas! I have but a few small pages
               left of this to croud it into—and half of these must be taken up with the poor Maria
                  <ref target="_Shandy" corresp="Shandy">my friend, Mr. Shandy</ref>, met with near
                  <placeName type="tgn" key="7008198">Moulines</placeName>.</p>
            <p>The story he had told of that disorder'd maid affect'd me not a little in the
               reading; but when I got within the neighbouthood where she lived, it returned so
               strong into my mind, that I could not resist an impulse which prompted me to go half
               a league out of the road to the village <pb n="169"/> where
               her parents dwelt to enquire after her.</p>
            <p>'Tis going, I own, like the <ref target="_Quixote" corresp="Quixote">Knight of the Woeful
                  Countenance</ref>, in quest of melancholy adventures—but I know not how it is, but
               I am never so perfectly conscious of the existence of a soul within me, as when I am
               entangled in them.</p>
            <p>The old mother came to the door, her looks told me the story before she open'd her
               mouth—She had lost her husband; he had died, she said, of anguish, for the loss of
               Maria's senses about a month before.—She had feared at first, she added, that it
               would have plunder'd her poor girl <pb n="170"/> of what
               little understanding was left—but, on the contrary, it had brought her more to
               herself—still she could not rest—her poor daughter, she said, crying, was wandering
               somewhere about the road—</p>
            <p>—Why does my pulse beat languid as I write this? and what made La Fleur, whose heart
               seem'd only to be tuned to joy, to pass the back of his hand twice across his eyes,
               as the woman stood and told it? I beckon'd to the postilion to turn back into the
               road.</p>
            <p>When we had got within half a league of <placeName type="tgn" key="7008198">Moulines</placeName>, at a little opening in the road leading to a thicket, I <pb n="171"/> discovered poor Maria sitting under a
               poplar—she was sitting with her elbow in her lap, and her head leaning on one side
               within her hand—a small brook ran at the foot of the tree.</p>
            <p>I bid the postilion go on with the chaise to <placeName type="tgn" key="7008198">Moulines</placeName>—and La Fleur to bespeak my supper—and that I would walk
               after him.</p>
            <p>She was dress'd in white, and much as my friend described her, except that her hair
               hung loose, which before was twisted within a <ref target="_net" corresp="net">silk
                  net</ref>.—She had, superadded likewise to her jacket, a pale green ribband which fell across her shoulder to the waist;
               at the end <pb n="172"/> of which hung <ref target="_pipe" corresp="pipe">her pipe</ref>.—Her goat had been as faithless as her lover; and
               she had got <ref target="_lapdog" corresp="lapdog">a little dog</ref> in lieu of him,
               which she had kept tied by a string to her girdle; as I look'd at her dog, she drew
               him towards her with the string.—"Thou shalt not leave
                  me, Sylvio," said she. I look'd in Maria's eyes, and saw she was thinking more
               of her father than of her lover or her little goat; for as she utter'd them the tears
               trickled down her cheeks.</p>
            <p>I sat down close by her; and Maria let me wipe them away as they fell with my
               handkerchief.—I then sleep'd it in my own—and then in hers—and then in mine—and then
                  <pb n="173"/> I wip'd hers again—and as I did it, I felt
               such undescribable emotions within me, as I am sure could not be accounted for from
               any combinations of matter and motion.</p>
            <p>I am positive I have a soul; nor can all the books with which materialists have
               pester'd the world ever convince me of the contrary.</p>
         </div>
         <div type="section">
            <pb n="174"/>
            <head>MARIA.</head>
            <p>WHEN Maria had come a little to herself, I ask'd her if she remember'd a pale thin
               person of a man who had sat down betwixt her and her goat about two years before? She
               said, she was unsettled much at that time, but remember'd it upon two accounts—that
               ill as she was she saw the person pitied her; and next, that her goat had stolen his
               handkerchief, and she had beat him for the theft—she had wash'd it, she said, in the
               brook, and kept it ever since in her pocket to restore it to him in case she should
               ever see him again, which, <pb n="175"/> she added, he had
               half promised her. As she told me this, she took the handkerchief out of her pocket
               to let me see it; she had folded it up neatly in a couple of vine leaves, tied round
               with a tendril—on opening it, I saw an S mark'd in one of the corners.</p>
            <p>She had since that, she told me, stray'd as far as <placeName type="tgn" key="7000874">Rome</placeName>, and walk'd round St Peter's
               once—and return'd back—that she found her way alone across the Apennines—had
               travell'd over all <placeName type="tgn" key="7003237">Lombardy</placeName> without money—and through the flinty roads of Savoy
               without shoes—how she had borne it, and how she had got supported, she could not
               tell—but <hi rend="italic">God</hi>
               <pb n="176"/>
               <hi rend="italic">tempers the wind,</hi> said Maria, to the shorn lamb.</p>
            <p>Shorn indeed! and to the quick, said I; and wast thou in my own land, where I have a
               cottage, I would take thee to it and shelter thee: thou shouldst eat of my own bread,
               and drink of my own cup—I would be kind to thy Sylvio—in all thy weaknesses and
               wanderings I would seek after thee and bring thee back—when the sun went down I would
               say my prayers, and when I had done thou shouldst play thy evening song upon thy
               pipe, nor would the incense of my sacrifice be worse accepted for entering heaven
               along with that of a broken heart.</p>
            <p>
               <pb n="177"/> Nature melted within me, as I utter'd this;
               and Maria observing, as I took out my handkerchief, that it was steep'd to much
               already to be of use, would needs go wash it in the stream.—And where will you dry
               it, Maria? said I—I'll dry it in my bosom, said she—'twill do me good.</p>
            <p>And is your heart still so warm, Maria? said I.</p>
            <p>I touch'd upon the string on which hung all her sorrows—she look'd with wistful
               disorder for some time in my face; and then, without saying any thing, took her pipe,
               and play'd her service to the Virgin—The string I had touch'd ceased to vibrate—in a
                  <pb n="178"/> moment or two Maria returned to
               herself—let her pipe fall—and rose up.</p>
            <p>And where art you going, Maria? said I.—She said to <placeName type="tgn" key="7008198">Moulines</placeName>.—Let us go, said I, together.—Maria put her arm
               within mine, and lengthening the string, to let the dog follow—in that order we
               entered Moulines.</p>
         </div>
         <div type="section">
            <pb n="179"/>
            <head>MARIA.</head>
            <head>
                    <placeName type="tgn" key="7008198">MOULINES</placeName>.</head>
            <p>THO' I hate salutations and greetings in the market-place, yet when we got into the
               middle of this, I stopp'd to take my last look and last farewel of Maria.</p>
            <p>Maria, tho' not tall, was nevertheless of the first order of fine forms—affliction
               had touch'd her looks with something that was scarce earthly—still she was
               feminine—and so much was there about her of all that the <pb n="180"/> heart wishes, or the eye looks for in woman, that
               could the traces be ever worn out of her brain, and those of Eliza's out of mine, she
               should <hi rend="italic">not only eat of my bread and drink of my own cup,</hi> but Maria should
               lay in my bosom, and be unto me as a daughter.</p>
            <p>Adieu, poor luckless maiden!—imbibe the oil and wine which the compassion of a
               stranger, as he journieth on his way, now pours into thy wounds—the being who has
               twice bruised thee can only bind them up for ever.</p>
         </div>
         <div type="section">
            <pb n="181"/>
            <head>THE BOURBONNOIS.</head>
            <p>THERE was nothing from which I had painted out for myself so joyous a riot of the
               affections, as in this journey in the vintage, through this part of France; but
               pressing through this gate of sorrow to it, my sufferings has totally unfitted me: in
               every scene of festivity I saw Maria in the back-ground of the piece, sitting pensive
               under her <ref target="_poplar" corresp="poplar">poplar</ref>; and I had got almost to
               Lyons before I was able to cast a shade across her—</p>
            <p>
               <pb n="182"/> —Dear sensibility! source inexhausted of all
               that's precious in our joys, or costly in our sorrows! thou chainest thy martyr down
               upon his bed of straw—and 'tis thou who lifts him up to HEAVEN—eternal fountain of
               our feelings!—'tis here I trace thee—and this is thy divinity which stirs within
               me—not, that in some sad and sickening moments,"<hi rend="italic">my
                     soul shrinks back upon herself, and startles at destruction</hi>"—mere pomp
               of words!—but that I feel some generous joys and generous cares beyond myself—all
               comes from thee, great—great SENSORIUM of the
               world! which vibrates, if a hair of our heads but falls upon the ground, in the
               remotest <pb n="183"/> desert of thy creation.—Touch'd with
               thee, <persName type="lcnaf" key="n85067385">Eugenius</persName> draws my curtain when I languish—hears my tale of symptoms, and blames
               the weather for the disorder of his nerves. Thou giv'st a portion of it sometimes to
               the roughest peasant who traverses the bleakest mountains—he finds the lacerated lamb
               of another's flock—This moment I beheld him leaning with his head against his crook,
               with piteous inclination looking down upon it—Oh! had I come one moment sooner!—it
               bleeds to death—his gentle heart bleeds with it—</p>
            <p>Peace to thee, generous swain!—I see thou walkest off with anguish <pb n="184"/> —but thy joys shall balance it—for happy is thy
               cottage—and happy is the sharer of it—and happy are the lambs which sport about
               you.</p>
         </div>
         <div type="section">
            <pb n="185"/>
            <head>THE SUPPER.</head>
            <p>A SHOE coming loose from the fore-foot of the thill-horse, at the beginning of the
               ascent of mount Taurira, the postilion dismounted, twisted the shoe off, and put it
               in his pocket; as the ascent was of five or six miles, and that horse our main
               dependence, I made a point of having the shoe fasten'd on again, as well as we could;
               but the postilion had thrown away the nails, and the hammer in the chaise-box, being
               of no great use without them, I submitted to go on.</p>
            <p>
               <pb n="186"/> He had not mounted half a mile higher, when
               coming to a flinty piece of road, the poor devil lost a second shoe, and from off his
               other fore-foot; I then got out of the chaise in good earnest; and seeing a house
               about a quarter of a mile to the left-hand, with a great deal to do, I prevailed upon
               the postilion to turn up to it. The look of the house, and of every thing about it,
               as we drew nearer, soon reconciled me to the disaster.—It was a little farm-house
               surrounded with about twenty acres of vineyard, about as much corn—and close to the
               house, on one side, was a <hi rend="italic">potagerie</hi> of an acre and a half, full of every
               thing <pb n="187"/> which could make plenty in a French
               peasant's house—and on the other side was a little wood which furnished wherewithal
               to dress it. It was about eight in the evening when I got to the house—so I left the
               postilion to manage his point as he could—and for mine, I walk'd directly into the
               house.</p>
            <p>The family consisted of an old grey-headed man and his wife, with five or six sons
               and sons-in-law and their several wives, and a joyous genealogy out of 'em.</p>
            <p>They were all sitting down together to their lentil-soup; a large wheaten loaf was in
               the middle of the <pb n="188"/> table; and a <ref target="_flagon" corresp="flagon">flaggon of wine</ref> at each end of it promised joy
               thro' the stages of the repast—'twas a feast of love.</p>
            <p>The old man rose up to meet me, and with a respectful cordiality would have me sit
               down at the table; my heart was sat down the moment I enter'd the room; so I sat down
               at once like a son of the family; and to invest myself in the character as speedily
               as I could, I instantly borrowed the old man's knife, and taking up the loaf cut
               myself a hearty luncheon; and as I did it I saw a testimony in every eye, not only of
               an honest welcome, but of a welcome mix'd with thanks that I had not seem'd to doubt
               it.</p>
            <p>
               <pb n="189"/> Was it this; or tell me, Nature, what else it
               was which made this morsel so sweet—and to what magick I owe it, that the draught I
               took of their flaggon was so delicious with it, that they remain upon my palate to
               this hour?</p>
            <p>If the supper was to my taste—the grace which follow'd it was much more so.</p>
         </div>
         <div type="section">
            <pb n="190"/>
            <head>THE GRACE.</head>
            <p>WHEN supper was over, the old man gave a knock upon the table with the haft of his
               knife—to bid them prepare for the dance: the moment the signal was given, the women
               and girls ran all together into a back apartment to tye up their hair—and the young
               men to the door to wash their faces, and change their <ref target="_sabot" corresp="sabot">sabots</ref>; and in three minutes every soul was ready upon a
               little esplanade before the house to begin—The old man and his wife came out last,
               and, placing me betwixt them, sat down upon a sopha of turf by the door.</p>
            <p>
               <pb n="191"/> The old man had some fifty years ago been no
               mean performer upon the <ref target="_vielle" corresp="vielle">vielle</ref>—and at the age
               he was then of, touch'd it well enough for the purpose. His wife sung now-and-then a
               little to the tune—then intermitted—and joined her old man again as their children
               and grand-children danced before them.</p>
            <p>It was not till the middle of the second dance, when, from some pauses in the
               movement wherein they all seemed to look up, I fancied I could distinguish an
               elevation of spirit different from that which is the cause or the effect of simple
               jollity.—In a word, I thought I beheld <hi rend="italic">Religion</hi> mixing in the dance—but as I
               had never seen <pb n="192"/> her so engaged, I should have
               look'd upon it now, as one of the illusions of an imagination which is eternally
               misleading me, had not the old man, as soon as the dance ended, said, that this was
               their constant way; and that all his life long he had made it a rule, after supper
               was over, to call out his family to dance and rejoice; believing, he said, that a
               chearful and contented mind was the best sort of thanks to heaven that an illiterate
               peasant could pay—</p>
            <p>—Or a learned prelate either, said I.</p>
         </div>
         <div type="section">
            <pb n="193"/>
            <head>THE CASE OF DELICACY.</head>
            <p>WHEN you have gained the top of mount Taurira, you run presently down to Lyons—adieu
               then to all rapid movements! 'Tis a journey of caution; and it fares better with
               sentiments, not to be in a hurry with them; so I contracted with a <ref target="_voiturin" corresp="voiturin">Voiturin</ref> to take his time with a couple of mules, and convey
               me in my own chaise safe to <placeName type="tgn" key="7005688">Turin</placeName> through Savoy.</p>
            <p>Poor, patient, quiet, honest people! fear not; your poverty, the treasury of your
               simple virtues, will <pb n="194"/> not be envied you by the
               world, nor will your vallies be invaded by it.—Nature! in the midst of thy disorders,
               thou art still friendly to the scantiness thou hast created—with all thy great works
               about thee, little hast thou left to give, either to the scithe or to the sickle—but
               to that little, thou grantest safety and protection; and sweet are the dwellings
               which stand so shelter'd.</p>
            <p>Let the way-worn traveller vent his complaints upon the sudden turns and dangers of
               your roads—your rocks—your precipices—the difficulties of getting up—the horrors of
               getting down—mountains impracticable—and <ref target="_cataracts" corresp="cataracts">cataracts</ref>, which roll down great <pb n="195"/>
               stones from their summits, and block his up road.—The peasants had been all day at
               work in removing a fragment of this kind between St. Michael and Madane; and by the
               time my Voiturin got to the place, it wanted full two hours of compleating before a
               passage could any how be gain'd: there was nothing but to wait with patience—'twas a
               wet and tempestuous night; so that by the delay, and that together, the Voiturin
               found himself obliged to take up five miles short of his stage at a little decent
               kind of an inn by the road side.</p>
            <p>I forthwith took possession of my bed-chamber—got a good fire—order'd <pb n="196"/> supper; and was thanking heaven it was no worse—when a
               voiture arrived with a lady in it and her servant-maid.</p>
            <p>As there was no other bed-chamber in the house, the hostess, without much nicety, led
               them into mine, telling them, as she usher'd them in, that there was no body in it
               but an English gentleman—that there were two good beds, in it and a closet within the
               room which held another—the accent in which she spoke of this third bed did not say
               much for it—however, she said, there were three beds, and but three people—and she
               durst say, the gentleman would do <pb n="197"/> any thing
               to accommodate matters.—I left not the lady a moment to make a conjecture about it—so
               instantly made a declaration I would do any thing in my power.</p>
            <p>As this did not amount to an absolute surrender of my bed-chamber, I still felt
               myself so much the proprietor, as to have a right to do the honours of it—so I
               desired the lady to sit down—pressed her into the warmest seat—call'd for more
               wood—desired the hostess to enlarge the plan of the supper, and to favour us with the
               very best wine.</p>
            <p>The lady had scarce warm'd herself five minutes at the fire, before <pb n="198"/> she began to turn her head back, and give alook at the
               beds; and the oftener she cast her eyes that way, the more they return'd perplex'd—I
               felt for her—and for myself; for in a few minutes, what by her looks, and the case
               itself, I found myself as much embarrassed as it was possible the lady could be
               herself.</p>
            <p>That the beds we were to lay in were in one and the same room, was enough simply by
               itself to have excited all this—but the position of them, for they stood parallel,
               and so very close to each other as only to allow space for a small wicker chair
               betwixt them, render'd the affair <pb n="199"/> still more
               oppressive to us—they were fixed up moreover near the fire, and the projection of the
               chimney on one side, and a large beam which cross'd the room on the other, form'd a
               kind of recess for them that was no way favourable to the nicety of our
               sensations—if any thing could have added to it, it was, that the two beds were both
               of 'em so very small, as to cut us off from every idea of the lady and the maid lying
               together; which in either of them, could it have been feasible, my lying besides
               them, tho' a thing not to be wish'd, yet there was nothing in it so terrible which
               the imagination might not have pass'd over without torment.</p>
            <p>
               <pb n="200"/> As for the little room within, it offer'd
               little or no consolation to us; 'twas a damp cold closet, with a half dismantled
               window shutter, and with a window which had neither glass or oil paper in it to keep
               out the tempest of the night. I did not endeavour to stifle my cough when the lady
               gave a peep into it; so it reduced the case in course to this alternative—that the
               lady should sacrifice her health to her feelings, and take up with the closet
               herself, and abandon the bed next mine to her maid—or that the girl should take the
               closet, &amp;c. &amp;c.</p>
            <p>The lady was a <ref target="_Piedmontese" corresp="Piedmontese">Piedmontese</ref> of about thirty,
               with a glow of health <pb n="201"/> in her cheeks.—The maid
               was a <ref target="_Lyonnais" corresp="Lyonnais">Lyonoise</ref> of twenty, and as brisk and
               lively a French girl as ever moved.—There were difficulties every way—and the
               obstacle of the stone in the road, which brought us into the distress, great as it
               appeared whilst the peasants were removing it, was but a pebble to what lay in our
               ways now—I have only to add, that it did not lessen the weight which hung upon our
               spirits, that we were both too delicate to communicate what we felt to each other
               upon the occasion.</p>
            <p>We sat down to supper; and had we not had more generous wine to it than a little inn
               in Savoy could have 
               <pb n="202"/> furnish'd, our tongues had been tied up, till
               necessity herself had set them at liberty—but the lady having a few bottles of
               Burgundy in her voiture sent down her Fille de Chambre for a couple of them; so that
               by the time supper was over, and we were left alone, we felt ourselves inspired with
               a strength of mind sufficient to talk, at least, without reserve upon our situation.
               We turn'd it every way, and debated and considered it in all kind of lights in the
               course of a two hours negociation; at the end of which the <ref target="_articles" corresp="articles">articles</ref> were settled finally betwixt us, and stipulated for
               in form and manner of a treaty of peace—and I believe with as much <pb n="203"/> religion and good faith on both sides, as in any
               treaty which as yet had the honour of being handed down to posterity.</p>
            <p>They were as follows:</p>
            <p>First. As the right of the bed-chamber is in Monsieur—and he thinking the bed next to
               the fire to be the warmest, he insists upon the concession on the lady's side of
               taking up with it.</p>
            <p>Granted, on the part of Madame; with a <ref target="_proviso" corresp="proviso">proviso</ref>, That as the curtains of that bed are of a flimsy transparent
               cotton, and appear likewise too scanty to draw close, that the <pb n="204"/> Fille de Chambre, shall fasten up the opening, either
               by corking pins, or needle and thread, in such manner as shall be deemed a sufficient
               barrier on the side of Monsieur.</p>
            <p>2dly. It is required on the part of Madame, that Monsieur shall lay the whole night
               through in his robe de chambre.</p>
            <p>Rejected: inasmuch Monsieur is not worth a robe de chambre; he having nothing in his
               portmanteau but six shirts and a black silk pair of breeches.</p>
            <p>The mentioning the silk pair of breeches made an entire change of the article—for the
               breeches were accepted <pb n="205"/> as an equivalent for
               the robe de chambre, and so it was stipulated and agreed upon that I should lay in my
               black silk breeches all night.</p>
            <p>3dly. It was insisted upon, and stipulated for by the lady, that after Monsieur was
               got to bed, and the candle and fire extinguished, that Monsieur should not speak one
               single word the whole night.</p>
            <p>Granted; provided Monsieur's saying his prayers might not be deem'd an infraction of
               the treaty.</p>
            <p>There was but one point forgot in this treaty, and that was the manner in which the
               lady and myself should <pb n="206"/> be obliged to undress
               and get to bed—there was but one way of doing it, and that I leave to the reader to
               devise; protesting as I do it, that if it is not the most delicate in nature, 'tis
               the fault of his own imagination—against which this is not my first complaint.</p>
            <p>Now when we were got to bed, whether it was the novelty of the situation, or what it
               was, I know not; but so it was, I could not shut my eyes; I tried this side and that,
               and turn'd and turn'd again, till a full hour after midnight; when Nature and
               patience both wearing out—O my God! said I—</p>
            <p>—You have broke the treaty, Monsieur, said the lady, who had no <pb n="207"/> more slept than myself.—I begg'd a thousand
               pardons—but insisted it was no more than en ejaculation—she maintain'd 'twas an
               entire infraction of the treaty—I maintain'd it was provided for in the clause of the
               third article.</p>
            <p>The lady would by no means give up her point, tho' she weakened her barrier by it;
               for in the warmth of the dispute, I could hear two or three corking pins fall out of
               the curtain to the ground.</p>
            <p>Upon my word and honour, Madame, said I—stretching my arm out of bed, by way
               asseveration—</p>
            <p>
               <pb n="208"/> —(I was going to have added, that I would not
               have trespass'd against the remotest idea of decorum for the world)—</p>
            <p>—But the Fille de Chambre hearing there were words between us, and fearing that
               hostilities would ensue in course, had crept silently out of her closet, and it being
               totally dark, had stolen so close to our beds, that she had got herself into the
               narrow passage which separated them, and had advanc'd so far up as to be in a line
               betwixt her mistress and me—</p>
            <p>So that when I stretch'd out my hand, I caught hold of the Fille de Chambre's</p>
         </div>
         <div>
            <head type="sub">END OF VOL. II.</head>
         </div>

      </body>
      <back>
         <div type="notes1">
            <note type="gloss" xml:id="sentimental" target="_sentimental" resp="editors.xml#TH"> Sterne is using
               the word "sentimental" in its eighteenth-century context of emotion in opposition to
               reason. With the development of the novel as a form of writing came the sub-genre of
               the sentimental novel, which sought to celebrate emotion as a means to moral truth,
               and to similarly generate emotion in its readers.</note>
            <note type="gloss" xml:id="quoth" target="_quoth" resp="editors.xml#BC">"Quoth" means
               "Said" in modern day English (OED)</note>
            <note type="gloss" xml:id="shirt" target="_shirt" resp="editors.xml#SA">
                    <graphic url="notes/shirt.jpg" alt="A photograph of an 18th-century linen shirt on a male mannequin" source="https://collections.vam.ac.uk/item/O13939/shirt-unknown/" desc="Men's linen shirt (Great Britain, 1740-1780), Victoria and Albert Museum"/>According to the Victoria and Albert Museum, in the 18th
               century a shirt was a piece of underwear made out of linen. they were usually bought
               in bulk if the owner could afford it so that a clean one could be worn daily. The
               image here shows a man's shirt from the mid 18th century, from the <ref target="https://collections.vam.ac.uk/item/O13939/shirt-unknown/">Victoria and
                  Albert Museum</ref>. </note>
            <note type="gloss" xml:id="Dover" target="_Dover" resp="editors.xml#TH">
                    <graphic url="notes/HogarthStageCoach.jpg" alt="Print engraving by William Hogarth" source="https://collections.vam.ac.uk/item/O1157910/the-stage-coach-print-hogarth-william/" desc="William Hogarth, 'The Stage Coach (or Country Inn Yard)' (1747), Victoria and Albert Museum"/>The "<placeName type="tgn" key="7011554">Dover</placeName> stage" is a stage-coach going to <placeName type="tgn" key="7011554">Dover</placeName>. This is how Yorick got to the boat that takes him
               to <placeName type="tgn" key="7009002">Calais</placeName>. Here is an image (1747) by
               William Hogarth showing travelers entering a stage-coach in the mid-eighteenth century. Image via <ref target="https://collections.vam.ac.uk/item/O1157910/the-stage-coach-print-hogarth-william/">Victoria and Albert Museum</ref>.</note>
            <note type="gloss" xml:id="packet" target="_packet" resp="editors.xml#TH">Given that the
               packet is "sailing at nine the next morning," this is likely a reference to a ship,
               and probably a ship that carries mail (OED).</note>
            <note type="authorial" xml:id="nauth1" target="auth1">All the effects of strangers
               (Swiss and Scotch excepted) dying in France, are seized by virtue of this law, tho'
               the heir be upon the spot—the profit of these contingencies being farm'd, there is no
               redress. [Sterne's note]</note>
            <note type="gloss" xml:id="portmanteau" target="_portmanteau" resp="editors.xml#TH">From the French meaning "carry" and "mantle" or "coat," a portmanteau is an early piece of luggage (OED).</note>
            <note type="gloss" xml:id="case" target="_case" resp="editors.xml#FJZ">A leather case or
               traveling bag. During the eighteenth century people used it as a suitcase to pack
               clothing and other necessary accessories for travel.</note>
            <note type="gloss" xml:id="spleen" target="_spleen" resp="editors.xml#ZE">"Spleen" in this case is a noun
               meaning deep anger (OED).</note>
            <note type="gloss" xml:id="Bourbon" target="_Bourbon" resp="editors.xml#ZE">"The Bourbon...race" is a reference to a dynastic French family that long held the throne (OED).</note>
            <note type="gloss" xml:id="livre" target="_livre" resp="editors.xml#AG">A livre is an old
               French currency. Yorick is saying that each bottle of his burgundy costs 2 livres.
               (OED). For more general information on the livre, see <ref target="https://en.wikipedia.org/wiki/French_livre">Wikipedia</ref>.</note>
            <note type="gloss" xml:id="precieuse" target="_precieuse" resp="editors.xml#TH">Used in this
               context as a noun, "précieuse" is of French adoption and refers to a woman who is
               overly affected or delicate in her mannerisms (OED, n.A). </note>
            <note type="gloss" xml:id="materialism" target="_materialism" resp="editors.xml#MUStudStaff">Materialism is a preference for material values at the detriment of moral or other
               values. According to the OED, the concept of materialism is related to matter or the
               material world. Materialism is “[a]n emphasis on or
               preference for that which is material, at the expense of spiritual or other values;
               (now) esp. the tendency to treat material possessions and physical comfort as more
               important or desirable than spiritual values; a way of life based on material
               interests” (OED, 2).</note>
            <note type="gloss" xml:id="Calais" target="_Calais" resp="editors.xml#TH">Calais is the major port of entry to France
               from England. It is located on the north coast of France just across the English
               Channel.</note>
            <note type="gloss" xml:id="puissant" target="_puissant" resp="editors.xml#ZE">Someone who is
               puissant is powerful and influential (OED).</note>
            <note type="gloss" xml:id="sous" target="_sous" resp="editors.xml#PEJ">A sou is a form
               of small currency, 1/20th of a livre or 5 centimes (OED).</note>
            <note type="gloss" xml:id="tonsure" target="_tonsure" resp="editors.xml#AG">
                    <graphic url="notes/tonsure.jpg" alt="Porcelain figurine of a monk, hair in a tonsure. Made in England, by Bow Porcelain Factory, c.1755" source="https://collections.vam.ac.uk/item/O337137/figure-bow-porcelain-factory/" desc="Porcelain figure of a seated monk, tonsured (Bow Porcelain Factory, c.1755), Victoria and Albert Museum"/>A tonsure is a bald spot that some monks would have due
               to shaving the tops of their heads. The image here shows a porcelain figurine of a
               seated monk, with tonsure, from 1755, housed in the <ref target="https://collections.vam.ac.uk/item/O337137/figure-bow-porcelain-factory/">Victoria and Albert Museum</ref>.</note>
            <note type="gloss" xml:id="Guido" target="_Guido" resp="editors.xml#SN">Guido Reni was an
               Italian painter (1575-1642). He is mainly known for his religious work
               (Wikipedia).</note>
            <note type="gloss" xml:id="Bramin" target="_Bramin" resp="editors.xml#SN">Bramin are the
               members of high or religious caste in the Hindu religion (OED, n).</note>
            <note type="gloss" xml:id="Indostan" target="_Indostan" resp="editors.xml#SN">When he says
               Indostan, he is referring to Hindustan, which is also called India. Here there are
               more Bramins than any other part of world. </note>
            <note type="gloss" xml:id="Franciscan" target="_Franciscan" resp="editors.xml#MUStudStaff">Franciscans are
               members of a Catholic religious organization characterized by a vow of poverty
               (Wikipedia). </note>
            <note type="gloss" xml:id="smote" target="_smote" resp="editors.xml#AG">Smote is the past tense of smite, which means to strike firmly. The word smite is often used in a religious context, but not here (OED).</note>
            <note type="gloss" xml:id="desobligeant" target="_desobligeant" resp="editors.xml#ZK">The OED cites this passage in <hi rend="italic">A Sentimental Journey</hi> as the first use of the word, which Sterne goes on to describe. This is a small carriage or chaise, an 18th century form of travel, for hire or owned by the wealthy of the time period. It seats only one.</note>
            <note type="gloss" xml:id="expatriated" target="_expatriated" resp="editors.xml#AG">Someone who is
               expatriated is someone who is outside of their native country (Merriam-Webster). Here
               Yorick is saying that mercy is against those people.</note>
            <note type="authorial" xml:id="nauth2" target="auth2">A chaise, so called in France,
               from its holding but one person. [Sterne's note.]</note>
            <note type="gloss" xml:id="delinquent" target="_delinquent" resp="editors.xml#SA">"Delinquent" in
               this line means one who violates rules or laws, especially debts or taxes
               (OED).</note>
            <note type="gloss" xml:id="felonious" target="_felonious" resp="editors.xml#SA">The word
               "felonious" is used in the context of this sentence to mean criminal or related to
               having committed a felony (OED).</note>
            <note type="gloss" xml:id="sojourn" target="_sojourn" resp="editors.xml#FJZ">A sojourn is a
               temporary visit or stay at a place for a limited time. This can also mean vacation
               (OED).</note>
            <note type="editorial" xml:id="travellers" target="_travellers" resp="editors.xml#MAH">Yorick classifies
               himself as a sentimental traveller, meaning that he is traveling for sentimental or
               emotional reasons.</note>
            <note type="gloss" xml:id="Cape" target="_Cape" resp="editors.xml#AG">This is a geographical protrusion at the
               southern tip of Africa. It was often considered very dangerous waters and was popular for
               Dutch shipping.</note>
            <note type="gloss" xml:id="mynheer" target="_mynheer" resp="editors.xml#HT">From the Dutch
               "mijnheer," this is a way to address a Dutchman in a friendly or respectful manner
               (OED). It was also used by non-Dutch people to refer to all people of Dutch descent, sometimes in a
               derogatory way. </note>
            <note type="gloss" xml:id="Sancho" target="_Sancho" resp="editors.xml#ZK">
                    <graphic url="notes/quixotePanza.jpg" alt="Painting of Don Quixote, seated and gesturing with his hands, Sancho Panza perched on a stool, listening" source="https://collections.vam.ac.uk/item/O123321/don-quixote-and-sancho-panza-oil-painting-gilbert-john-sir" desc="Sir John Gilbert, 'Don Quixote and Sancho Panza' (1840), Victoria and Albert Museum"/>An allusion to Sancho Panza, the donkey-riding
               squire to the absurd self-proclaimed knight, Don Quixote. The image here shows a <ref target="https://collections.vam.ac.uk/item/O123321/don-quixote-and-sancho-panza-oil-painting-gilbert-john-sir">painting of Don Quixote and Sancho Panza from 1840 by John Gilbert</ref>, via the
               Victoria and Albert Museum.</note>
            <note type="gloss" xml:id="chaise" target="_chaise" resp="editors.xml#MUStudStaff">A carriage
               or chaise was an 18th-century form of travel for hire or owned by the wealthy of the
               time period. Typically a carriage for one or two people, a chaise has two wheels and
               usually accommodates one horse (Dictionary.com). As Sterne continues his story,
               though, it would seem that his post-chaise was probably four-wheeled and accommodated
               more than one horse.</note>
            <note type="gloss" xml:id="vis-a-vis" target="_vis-a-vis" resp="editors.xml#SN">A vis-à-vis is a
               carriage in which the travelers sit directly with the front travelers facing backward
               and the back travelers looking ahead. Vis-à-Vis is a French phrase which means “face
               to face” (OED).</note>
            <note type="gloss" xml:id="Cenis" target="_Cenis" resp="editors.xml#SA">More commonly known
               in French as "Mont Cenis," this is a pass from France to Italy located in the Alps.
               The carriage was "twice taken apart" to get it over the rugged terrain.</note>
            <note type="gloss" xml:id="true" target="_true" resp="editors.xml#FJZ">"C'est bien
               vrai" is French for "It's true."</note>
            <note type="gloss" xml:id="Hyde" target="_Hyde" resp="editors.xml#MUStudStaff">Hyde Park is a large park in London. In the eighteenth century, it was a common place for duels to take place (<ref target="https://en.wikipedia.org/wiki/Hyde_Park,_London">Wikipedia</ref>).</note>
            <note type="gloss" xml:id="duel" target="_duel" resp="editors.xml#HT">A duel is a battle
               between two people, usually with swords and later, pistols, that has been settled upon as a way of
               resolving a conflict (OED). The practice was falling out of favor in the eighteenth
               century.</note>
            <note type="gloss" xml:id="Turk" target="_Turk" resp="editors.xml#ZK">
                    <graphic url="notes/europeMap.jpeg" source="https://digitalcollections.nypl.org/items/510d47e1-cba7-a3d9-e040-e00a18064a99" alt="1814 map of Europe showing Turkey" desc="Map of Europe [showing Turkey], from 'Carey's general atlas, improved and enlarged' (1814), New York Public Library."/>A Turk is a person from the country of Turkey. In this
               context, Turk--and Jew--is used negatively as "an other." The map shown here, from
               1814, includes Turkey (<ref target="https://digitalcollections.nypl.org/items/510d47e1-cba7-a3d9-e040-e00a18064a99">NYPL</ref>). </note>
            <note type="gloss" xml:id="gloves" target="_gloves" resp="editors.xml#ZA">
                    <graphic url="notes/gloves.jpg" source="https://collections.vam.ac.uk/item/O135229/pair-of-mittens-unknown/" alt="A pair of yellow taffeta women's gloves, fingerless" desc="Yellow taffeta women's mittens (Great Britain, 1780-1800), Victoria and Albert Museum"/>Gloves were routinely worn by both men and women during
               the eighteenth century. This is an image of women's gloves--or mittens--from the late
               18th century, via the <ref target="https://collections.vam.ac.uk/item/O135229/pair-of-mittens-unknown/">Victoria and Albert Museum</ref>. In Sterne's text, Yorick notes that the thumb
               and two forefingers were open, allowing delicate work with the hands.</note>
            <note type="gloss" xml:id="remise" target="_remise" resp="editors.xml#AG">A remise is an old
               term for a place to store horses or carriages (OED).</note>
            <note type="gloss" xml:id="colloquy" target="_colloquy" resp="editors.xml#BC">A colloquy is a
               formal conversation (OED add sense). A colloquy can take place in a small gathering
               or in a big conference. In the text, Yorick describes "a colloquy of five mi|nutes",
               meaning a short formal conversation. </note>
            <note type="gloss" xml:id="Tiber" target="_Tiber" resp="editors.xml#ZK">
                    <graphic url="notes/tiber.jpg" alt="Watercolor landscape view, with seated man, of the Tiber river" source="https://collections.vam.ac.uk/item/O1296281/on-the-river-tiber-near-watercolour-collingham-moore-john/" desc="John Collingham Moore, watercolor, 'On the River Tiber, near Acquacetosa' (c.1850-1880), Victoria and Albert Museum"/>The Tiber River is the third largest river in Italy that
               goes through the capital city of Rome. This image shows a late 19th century painting
               of the Tiber River by John Collingham Moore, housed in the Victoria and Albert
               Museum. </note>
            <note type="gloss" xml:id="slut" target="_slut" resp="editors.xml#ZK">Contrary to the
               modern derogatory and highly sexualized definition, the word had a 17th-19th century meaning that ranged
               from neutral to positive connotation when describing a woman informally (OED, 3).</note>
            <note type="gloss" xml:id="Esdras" target="_Esdras" resp="editors.xml#MUStudStaff">Esdras is a version of "Ezra," here referring to the biblical scribe. Yorick is referring to the time of Esdras, meaning 440-480 BCE (Wikipedia).esdras</note>
            <note type="gloss" xml:id="Fortune" target="_Fortune" resp="editors.xml#TH">
                    <graphic url="notes/fortuna.jpeg" alt="engraving showing the goddess Fortuna, carrying vegetation in one hand and a wheel in the other" source="https://www.britannica.com/topic/Fortuna-Roman-goddess" desc="Hans Sebald Beham, Fortuna (1541), Encyclopedia Britannica"/>Fortune was the Roman goddess of chance, luck, and propsperity; she is often depicted with agriculture or a wheel, as in this 1541 engraving by Hans Sebald Beham (<ref target="https://www.britannica.com/topic/Fortuna-Roman-goddess">Britannica</ref>).</note>
            <note type="gloss" xml:id="snuff" target="_snuff" resp="editors.xml#TH">
                    <graphic url="notes/snuffbox.jpg" source="https://collections.vam.ac.uk/item/O157826/snuffbox-philipp-ernst-schindler/" alt="Gold and enamel snuffbox, Vienna, ca.1760, made by Philipp Ernst Schindler" desc="Gold and enamel snuffbox, Vienna, made by Philipp Ernst Schindler (ca.1760), Victoria and Albert Museum"/>A snuff-box is a small, decorative box fashionable in
               the eighteenth-century as a device for holding powdered tobbacco, or snuff. The image
               included here shows an elaborate Viennese snuff box wrought in gold with ivory and enamel, held by
               the Victoria and Albert Museum. </note>
            <note type="gloss" xml:id="Amiens" target="_Amiens" resp="editors.xml#MUStudStaff">
                    <placeName type="tgn" key="7010588">Amiens</placeName> is a city situated north of the
               capital, <placeName type="tgn" key="7008038">Paris</placeName>. <placeName type="tgn" key="7010588">Amiens</placeName> is home to the
               Notre Dame cathedral, and it is known for its gothic architecture and design.</note>
            <note type="gloss" xml:id="cabal" target="_cabal" resp="editors.xml#MA">According to the
                  <ref target="https://www.oxfordlearnersdictionaries.com/definition/english/cabal?q=cabals">Oxford Learner’s Dictionary</ref>, a cabal is a small group of people that are secretly planning to seize
               political power. The term is used in the text to signify the struggle in Yorick’s
               mind over whether or not he should offer the woman a place in his carriage.</note>
            <note type="gloss" xml:id="axiom" target="_axiom" resp="editors.xml#HT">An axiom is a
               generally accepted proposition (OED).</note>
            <note type="gloss" xml:id="tour" target="_tour" resp="editors.xml#ZK">The grand tour was
               an educational journey that men of wealthy means would undertake across the major
               cities of Europe in order to become more cultured and civilized (OED)</note>
            <note type="gloss" xml:id="gallantry" target="_gallantry" resp="editors.xml#AB">Gallantry, used as
               an adjective in this context, describes actions politeness or courtliness to the
               female sex; men who are gallant are characterized by “polite or courteous bearing or
               attention to ladies” (OED)</note>
            <note type="gloss" xml:id="guinea" target="_guinea" resp="editors.xml#MUStudStaff">A "guinea"
               is gold coin produced in Great Britain between 1663 and 1814. It was made of about a
               quarter of an ounce of gold, and it was called a "guinea" because it was made of gold
               mined in Guinea (Wikipedia). Twelve guineas was a notable sum of money in the
               eighteenth century.</note>
            <note type="gloss" xml:id="Beersheba" target="_Beersheba" resp="editors.xml#VDS">Beersheba is a
               town in the northern part of the Negev region of Israel, and Dan, in the south. As a
               phrase, "from Dan to Beersheba" is used in the Bible on several occasions to refer to
               the tribes of Israel (<ref target="https://en.wikipedia.org/wiki/From_Dan_to_Beersheba">Wikipedia</ref>).
               </note>
            <note type="authorial" xml:id="nauth3" target="auth3">Vide S----'s's Travels. [Sterne's note]</note>
            <note type="gloss" xml:id="Smelfungus" target="_Smelfungus" resp="editors.xml#PRT">A satirization of
               a real author; an allusion to Tobias Smollett, who published <hi rend="italic">Travels Through France and Italy</hi> in 1766. "<persName type="lcnaf" key="n79149073">Smelfungus</persName>" has now come to mean
               a traveller who finds fault in every aspect of his or her travels (Merriam-Webster). </note>
            <note type="gloss" xml:id="Mundungus" target="_Mundungus" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/medallions.jpeg" source="https://victorianweb.org/art/illustration/johannot/16.html" alt="Illustration by Tony Johannot for the 1857 edition of 'Sentimental Journey' showing the two travelers in profile engraved on coins" desc="Engraving of Smelfungus and Mundungus, by Tony Johannot (1857), The Victorian Web"/>"Mundungus" is the name Sterne has given to Dr. Samuel Sharp, a "hard-nosed,
               unimaginative English" travel writer, like Smollett, who was satirized as <persName type="lcnaf" key="n79149073">Smelfungus</persName>. The image included here shows an engraving of the satirized travel writers--Smelfungus and Mundungus--included in an 1857 illustrated edition of <hi rend="italic">A Sentimental Journey</hi> by Tony Johannot
                  (<ref target="https://victorianweb.org/art/illustration/johannot/16.html">Victorian Web</ref>).</note>
            <note type="gloss" xml:id="grand_tour" target="_grand_tour" resp="editors.xml#FIO">The grand tour is
               a rite of passage for aristocratic young men in the 18th century. The journey
               typically involved three or four years of travel around Europe (<ref target="https://www.britannica.com/topic/Grand-Tour">Britannica</ref>). </note>
            <note type="gloss" xml:id="Montriul" target="_Montriul" resp="editors.xml#BC">Montriul is a town about 7km from <placeName type="tgn" key="7008038">Paris</placeName>.</note>
            <note type="gloss" xml:id="spatterdash" target="_spatterdash" resp="editors.xml#MAH">
                    <graphic url="notes/spats.jpg" source="https://collections.vam.ac.uk/item/O1248775/pair-of-spats/" alt="a pair of short purple silk and cotton spats with leather straps" desc="Pair of spats (England, 1860-1869), Victoria and Albert Museum"/>Spatterdashes, also known as spats, are extended gaiters or
               leggings, worn over boots or pants to keep them clean, especially when riding (OED). The image included here shows a pair of 19th-century lilac-colored
               spatterdashes made from silk and leather. These particular spatterdashes are held by
               the <ref target="https://collections.vam.ac.uk/item/O1248775/pair-of-spats/">Victoria
                  and Albert Museum</ref>. </note>
            <note type="gloss" xml:id="pasquinade" target="_pasquinade" resp="editors.xml#MAH">Used in this
               context a noun, "pasquinade" is of Italian adoption and refers to a public satirical
               writing meant to ridicule someone (OED).</note>
            <note type="gloss" xml:id="Perseus" target="Perseus" resp="editors.xml#HT">
                    <graphic url="notes/perseus.jpeg" source="https://collections.vam.ac.uk/item/O41512/copy-of-the-sn-mark" alt="large bronze fountain with a sculpture of Perseus holding the head of Medusa" desc="Herbert Gerhard, Perseus Fountain (c.1867, 1590), Victoria and Albert Museum"/>In Greek mythology, Perseus is the son of Poseidon, God of the sea. Perseus was known for killing and beheading Medusa, as in this 19th century bronze sculpture, <ref target="https://collections.vam.ac.uk/item/O41512/copy-of-the-sn-mark/">via the Victoria and Albert Museum</ref>.</note>
            <note type="gloss" xml:id="Abdera" target="_Abdera" resp="editors.xml#VDS">Abdera is a place in Thrace, associated with the 8th labor of Hercules. Thrace is an ancient term for Eastern and Southeastern Europe (Getty TGN).</note>
            <note type="gloss" xml:id="place" target="_place" resp="editors.xml#MAH">The French phrase,
               "place aux dames," is translated as "make room for the ladies"
               (Merriam-Webster).</note>
            <note type="gloss" xml:id="politesse" target="_politesse" resp="editors.xml#MUStudStaff">Politesse is a French term, adapted by the English, to refer to politeness (OED).</note>
            <note type="authorial" xml:id="nauth4" target="auth4">Post horse. [Sterne's
               note.]</note>
            <note type="gloss" xml:id="cuckold" target="_cuckold" resp="editors.xml#SA">A cuckold is, according to the OED, "[a] derisive name for the husband of an unfaithful wife." So, cuckoldom refers to the state of being a cuckold.</note>
            <note type="gloss" xml:id="Nampont" target="_Nampont" resp="editors.xml#PRT">Nampont is a small town situated northwest of the capital, <placeName type="tgn" key="7008038">Paris</placeName> (Getty TGN).</note>
            <note type="gloss" xml:id="postillion" target="_postillion" resp="editors.xml#MAH">A postillion is a person who rides the leading horse or group of horses to
               guide them, especially when there is no one driving the carriage (OED). </note>
            <note type="gloss" xml:id="deuce" target="_deuce" resp="editors.xml#TH">"The deuce!" is an expression of incredulity, invoking the devil or the spirit of mischief (OED).</note>
            <note type="editorial" xml:id="handkerchief" target="_handkerchief" resp="editors.xml#AB">
                    <graphic url="notes/handkerchief.jpg" source="https://collections.vam.ac.uk/item/O360365/handkerchief-unknown/" alt="a photograph of a finely woven and embroidered lace handkerchief from the 18th century" desc="Lace handkerchief, 18th century, Victoria and Albert Museum"/>This passage demonstrates the use of the
               handkerchief as a symbol of a bond or relationship between the two characters.
               Typically, handkerchiefs were used as a fashion accessory and given as gifts. This
               handkerchief is embroidered with the letter "S," and it was originally given to Maria
               by Tristram Shandy, who had met her before Yorick does, here. The image included here
               is an 18th century embroidered handkerchief with a monogram, via the <ref target="https://collections.vam.ac.uk/item/O360365/handkerchief-unknown/">Victoria
                  and Albert Museum</ref>.</note>
            <note type="gloss" xml:id="auberge" target="_auberge" resp="editors.xml#BC">An auberge is an
               inn (or public place for travelers to stay) in France (OED).</note>
            <note type="gloss" xml:id="apocrypha" target="_apocrypha" resp="editors.xml#SA">According to the
               OED, "apocrypha" are writings included in the Old Testament that are not considered
               authentic since they aren't genuine and have no authorship. In this context, Yorick
               is describing the long list of “inquiries after Madame de L***'s health” as
               apocryphal, meaning non-existent or made up.</note>
            <note type="gloss" xml:id="billet" target="_billet" resp="editors.xml#BC">A billet, from the
               French, is a short, informal letter (OED).</note>
            <note type="gloss" xml:id="tis" target="_tis" resp="editors.xml#MA">"'Tis" is a contraction of "it is" (OED).</note>
            <note type="gloss" xml:id="writing" target="_writing" resp="editors.xml#TH">
                    <graphic url="notes/inkstand.jpeg" source="https://collections.vam.ac.uk/item/O74001/inkstand-unknown/" desc="Pewter Inkstand (c.1770), Victoria and Albert Museum" alt="Square-shaped pewter inkstand with a pounce pot in one side of the container and an inkwell in the other. A diagonal bar with two holes for quills."/>The eighteenth-century was a letter writing period, and writing tools were sometimes elaborate, though here, Yorick is in a rush. Yorick's pen was likely a quill pen, or a feather from a turkey or a goose cut in a specific way with a pen-knife to absorb and release ink; ink was either in powder or liquid form, made with a variety of ingredients, and sometimes stored together in the inkwell with pounce, or a sandy substance made to blot the ink, as in this inkwell from the 1770s, via the Victoria and Albert Museum. 
               Paper was typically made from fabric--linen or cotton--and sometimes treated to prevent over-absorption of ink</note>
            <note type="gloss" xml:id="sand" target="_sand" resp="editors.xml#TH">These items common to letter-writing in the period, sand and seal
               wax, were used to prepare the letter for sending. The "sand" Yorick calls for is pounce, which is, according to the OED, "[a] fine powder, made from pulverized sandarac or cuttle shell, used to prevent ink from spreading (esp. when writing on unsized paper) or to prepare the surface of parchment to receive writing" (pounce, n3.1). Wax was heated with a candle and dripped onto a folded letter, then impressed with a signet or mark to indicate the author. Read more about seal wax <ref target="https://en.wikipedia.org/wiki/Sealing_wax">online</ref>.</note>
            <note type="gloss" xml:id="billet-doux" target="_billet-doux" resp="editors.xml#FIO">A "billet doux"
               refers to a love letter (OED). </note>

            <note type="gloss" xml:id="translation" target="_translation" resp="editors.xml#PRT">Translation:
                  <p>MADAME,<lb/> I am penetrated by the keenest pain, and at the same time reduced
                  to despair by this unexpected return of the Corporal making our interview tonight
                  the most impossible thing in the world.<lb/> But long live the joy! and all of
                  mine will be thinking of you.<lb/> Love is nothing without feeling.<lb/> And the
                  feeling is even less without love.<lb/> They say we should never be in
                  despair.<lb/> It is also said that the Corporal stands guard Wednesday; then it
                  will be my turn.<lb/> Each one has their turn.<lb/> In the meantime — Long live
                  love! and long live the trifle!<lb/> I am MADAME, With all the most respectful and
                  tender feelings, <lb/>all yours, <lb/>JAQUES ROQUE</p>
            </note>
            <note type="gloss" xml:id="flambeau" target="_flambeau" resp="editors.xml#PEJ">A flambeau is
               torch used to light up areas (OED)</note>
            <note type="gloss" xml:id="grissette" target="_grissette" resp="editors.xml#MAH">Grissette is of
               French origin and refers to a young woman of the working class, often a shop
               assistant. It is also an low-quality fabric in gray, which was the common material
               used by such workers for their clothing (OED).</note>
            <note type="gloss" xml:id="periwig" target="_periwig" resp="editors.xml#MAH">
                    <graphic url="notes/wigFashion.jpg" source="https://collections.vam.ac.uk/item/O1109347/fashion-plate-unknown/" alt="Colour print showing men's costume. The print shows a man wearing a yellow coat with stripes, red waistcoat, powdered wig, pale blue breeches and stockings with blue and red stripes. The man is shown full-length, turned slightly to the left and facing to the right. In his right hand he holds a tricorne hat and in the other an extremely large muff." desc="Color fashion plate, satirical, showing men's fashion, including a powedered wig and an enormous muff (1780s), Victoria and Albert Museum"/>A wig or "periwig" is a styled wig worn formerly as a
               fashionable headdress by both women and men. Today, judges in the UK retain the wig
               as part of their professional clothing (OED). The
               image included here shows a fashionable young man wearing a wig. This image is from
               the 1780s and is held by the <ref target="https://collections.vam.ac.uk/item/O1109347/fashion-plate-unknown/">VAM</ref>. </note>
            <note type="gloss" xml:id="periwig-maker" target="_periwig-maker" resp="editors.xml#TH">A "periwig" is another type of wig; hence, a periwig-maker is a maker of periwigs.</note>
            <note type="gloss" xml:id="opera" target="_opera" resp="editors.xml#ZE">According to <ref target="https://www.britannica.com/art/opera-comique">Encyclopedia
                  Britannica</ref>, this is French form of opera in which spoken dialogue alternates
               with musical numbers, song, and dance. The Opera Comique is also a French theatrical
               company of the eighteenth century and particular theater in <placeName type="tgn" key="7008038">Paris</placeName> (<ref target="https://en.wikipedia.org/wiki/Opéra-Comique">Wikipedia</ref>). To learn
               more about eighteenth-century opera, see <ref target="https://www.vam.ac.uk/articles/opera-an-introduction">the Victoria and
                  Albert Museum's introduction to opera</ref>.</note>
            <note type="gloss" xml:id="ruffles" target="_ruffles" resp="editors.xml#HT">
                    <graphic url="notes/ruffle.jpeg" alt="A photograph of white linen ruffles protruding from the sleeve of a brown men's coat, made in England c.1750" source="https://collections.vam.ac.uk/item/O315926/pair-of-sleeve-unknown" desc="Pair of linen sleeve ruffles (England, c.1750), Victoria and Albert Museum"/>A pair of ruffles is a piece of clothing--ruffled fabric that protrudes from a man's coat sleeve. The image here shows an eighteenth-century ruffle, via the <ref target="https://collections.vam.ac.uk/item/O315926/pair-of-sleeve-unknown/">Victoria and Albert Museum</ref>.</note>
            <note type="gloss" xml:id="louis" target="_louis" resp="editors.xml#FJZ">A louis d'or is a
               gold coin issued in the reign of Louis XIII (Wikipedia). </note>

            <note type="gloss" xml:id="par" target="_par" resp="editors.xml#PRT">This is an
               idiomatic phrase meaning "to be equalled with, to be in tune with (something or
               someone); sharing a mind and direction" (<ref target="https://www.merriam-webster.com/dictionary/on%20a%20par%20with">Merriam-Webster</ref>). </note>
            <note type="gloss" xml:id="tally" target="_tally" resp="editors.xml#PRT">Another idiomatic
               expression, this means to be in agreement (OED).</note>
            <note type="gloss" xml:id="salique" target="_salique" resp="editors.xml#PEJ">A French law "by
               which females were excluded from succession to the crown" (OED). </note>
            <note type="gloss" xml:id="shagreen" target="_shagreen" resp="editors.xml#FIO">
                    <graphic url="notes/shagreenCase.jpg" source="https://collections.vam.ac.uk/item/O22383/angyeongjip-spectacle-case-angyeongjip-unknown" alt="sharkskin shagreen glasses case, early 20th century" desc="Spectacle case, wood and lacquered shagreen (Korea, c.1900-1930), Victoria and Albert Museum"/>A shagreen case is a case of any kind made out of
               ray or shark skin. It was commonly used in the 17th and 18th century. The image
               included here shows a sharkskin shagreen case for glasses, from the early 20th
               century, via the <ref target="https://collections.vam.ac.uk/item/O22383/angyeongjip-spectacle-case-angyeongjip-unknown/">Victoria and Albert Museum</ref>. </note>

            <note type="gloss" xml:id="Cecilia" target="_Cecilia" resp="editors.xml#PRT">St. Cecilia is a
               patron saint of music and musicians (<ref target="https://www.britannica.com/biography/Saint-Cecilia">Britannica</ref>)</note>
            <note type="gloss" xml:id="parterre" target="_parterre" resp="editors.xml#TH">In this context, the parterre is "[t]he part of the ground floor of a theatre in front of the orchestra"; in the U.S., it is "the part of an auditorium beneath the galleries" (OED, 3).</note>
            <note type="editorial" xml:id="Shandy" target="_Shandy" resp="editors.xml#TH">Mr. Shandy the Elder refers to Toby Shandy, Tristram's father and Yorick's close friend, featured in <hi rend="italic">The Life and Opinions of Tristram Shandy, Gentleman</hi>,</note>
            <note type="gloss" xml:id="box" target="_box" resp="editors.xml#TH">Here, the "box" is also a portion of the stage. Yorick is at the Opera Comique. The boxes are "[a]n exclusive, enclosed seating area within a theatre auditorium, for a limited number of people, typically located at various levels along the side of the stage" (OED 16a).</note>
            <note type="gloss" xml:id="orchestra" target="_orchestra" resp="editors.xml#TH">The orchestra is another portion of the space inside a theater--either the place where musicians sit, or the seating area for patrons near the front of the central seating area. See sense 2 in the OED.</note>
            <note type="gloss" xml:id="side-boxes" target="_side-boxes" resp="editors.xml#TH">In a theater, the side-boxes are boxes for private seating that are located along the sides of the theater. Typically, these seats afford a limited view of the stage--but full view of those who are seated there (OED 1).</note>
            <note type="gloss" xml:id="queue" target="_queue" resp="editors.xml#TH">Here, the queue is not a line one stands in--rather, as the context shows, it is a piece of hair that the dwarf cuts from the head (or wig) of the German standing in front of him. See sense 4 in the OED.</note>
            <note type="gloss" xml:id="bon-mot" target="_bon-mot" resp="editors.xml#MAH">Used in this
               context as a noun, a "bon mot" is of French adaptation and it translates to "witty
               remark" (OED). </note>
            <note type="gloss" xml:id="Tartuffe" target="_Tartuffe" resp="editors.xml#FIO">Tartuffe was a
               theatrical comedy performed in 1664 and written by the French playwright Moliere. It
               also refers to a religious hypocrite or an impostor (OED). </note>
            <note type="gloss" xml:id="pisser" target="_pisser" resp="editors.xml#TH">When Yorick asks if Madame Ramboulict wants anything, she replies, "Rien que pisser!" or "Nothing but to piss!"</note>
            <note type="gloss" xml:id="Castalia" target="_Castalia" resp="editors.xml#PEJ">A spring on Mount
               Parnassus, in Greece, thought of as "sacred to the Muses" (OED). </note>
            <note type="gloss" xml:id="bourgeoisie" target="_bourgeoisie" resp="editors.xml#FIO">Bourgeoisie is
               used in this context as a noun. It refers to those who live in French towns. It is
               also more generally used to refer to the middle class (<ref target="https:www.oed.com/view/Entry/22112">OED</ref>)</note>

         </div>
         <div type="notes2">
            <note type="gloss" xml:id="fille" target="_fille" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/1967.4_toilette.jpg" source="https://www.museothyssen.org/en/collection/artists/boucher-francois/toilette" alt="Painting by Boucher showing a young lady tying her garter and choosing a cap--she is completing her toilette, getting ready for the day" desc="François Boucher,                 'La Toilette' (1742), Museo Nacional Thyssen-Bornemisza, Madrid"/>A fille de chambre a young chambermaid or a woman's
               personal maid. They usually would help make the beds or take care of the lady in her
               chambers. The image here shows a French lady and her fille de chambre, with her back
               turned, showing two caps for her lady to choose from; read more about this painting
               by François Boucher at <ref target="https://www.museothyssen.org/en/collection/artists/boucher-francois/toilette">Museo Nacional Thyssen-Bornemisza, Madrid</ref>.</note>
            <note type="gloss" xml:id="Polonius" target="_Polonius" resp="editors.xml#ZE">
                    <graphic url="notes/hamlet.jpeg"/>Polonius is a character in William Shakespeare's <hi rend="italic">Hamlet</hi> who gave notable advice to his son, Laertes, and was
               killed inadvertently by Hamlet. The image provided here, via the Victoria and Albert
               Museum, shows an 18th century rendering of the scene where Hamlet kills Polonius, who
               is concealed behind a curtain. Sterne would not have seen this particular
               performance.</note>
            <note type="gloss" xml:id="Hamlet" target="_Hamlet" resp="editors.xml#MA">
                    <hi rend="italic">Hamlet</hi> is a famous tragedy by William Shakespeare (1609). In one well-known
               scene, Hamlet speaks to the skull of the dead King’s jester, Yorick, which had been
               unearthed as the gravediggers were preparing a plot for Ophelia.</note>
            <note type="gloss" xml:id="quai" target="_quai" resp="editors.xml#PRT">
                    <graphic url="notes/conti.jpg"/>Quai means dock, platform, or street in French, but it is
               typically used to describe a street near the embankment of a river (OED). The Quai de
               Conti is a street in <placeName type="tgn" key="7008038">Paris</placeName> located beside the Seine River. On the street, there is a
               row of shops where Yorick visits a bookstore. Here is an image of the Quai de Conti
               by Guilhem Vellut, via Flickr. </note>
            <note type="gloss" xml:id="egarments" target="_egarments" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/egarements.jpeg"/>This is the title of a libertine novel by Crebillon, which translates to the wanderings of the heart and mind (<ref target="https://en.wikipedia.org/wiki/Les_%C3%89garements_du_c%C5%93ur_et_de_l%27esprit">Wikipedia</ref>). The image here is the title page of the first French edition in 1736, via <ref target="https://gallica.bnf.fr/essentiels/crebillon-fils/egarements-coeur-esprit">Gallica</ref>. Sterne's novel is both sentimental and erotically suggestive. </note>
            <note type="editorial" xml:id="purse" target="_purse" resp="editors.xml#TH">
                    <graphic url="notes/purse.jpeg"/>The young woman carries a small green satin purse; the image here shows a more elaborate purse from <ref target="https://collections.vam.ac.uk/item/O365272/purse/">the Victoria and Albert Museum</ref>.Note the sexual suggestiveness of the conversation here.</note>
            <note type="gloss" xml:id="ribband" target="ribband" resp="editors.xml#SA">"Ribband" or riband
               is a word for a ribbon or a decorative strip of fabric or lace (OED).</note>
            <note type="gloss" xml:id="consanguinity" target="_consanguinity" resp="editors.xml#MAH">Used in this
               context as a noun, "consanguinity" is of French origin and means the fact of sharing
               an ancestor (OED). </note>
            <note type="gloss" xml:id="passport" target="_passport" resp="editors.xml#TH">
                    <graphic url="notes/passport1640.jpg" source="https://www.passport-collector.com/bishop-of-london-william-juxon-passport-1640/" desc="Passport made out to Captain Thomas Edwards by William Juxon to travel abroad (1640), Passport Collector" alt="handwritten passport with text and signatures"/>A passport in Sterne's time was usually a piece of
               paper issued by an authority--sometimes simply a letter by a well-known
               individual--granting safe conduct. Read more about the history of the passport at <hi rend="italic">
                        <ref target="https://www.theguardian.com/travel/2006/nov/17/travelnews">The
                     Guardian</ref>
                    </hi> and at Anna Thane's website <ref target="https://regency-explorer.net/passport/">Regency Explorer</ref>. The image
               included here, via <ref target="https://smhttp-ssl-53905.nexcesscdn.net/catalogue_images/auction//large/12135-18_1.jpg">Forum Auctions</ref>, shows a passport from 1640.</note>
            <note type="gloss" xml:id="war" target="_war" resp="editors.xml#SN">Yorick travelled to
               <placeName type="tgn" key="7008038">Paris</placeName> just before the Seven Years' War ended. This demonstrates the political
               tensions between France and England at that time. According to information included
               in the OED, "The main issues of the war were the struggle between Britain and France
               for supremacy overseas, and that between Prussia and Austria for the domination of
               Germany. The British made substantial gains over France abroad, capturing French
               Canada and undermining French influence in India. The war was ended by the Treaties
               of <placeName type="tgn" key="7008038">Paris</placeName> and Hubertusburg in 1763, leaving Britain the supreme European naval and
               colonial power and Prussia in an appreciably stronger position than before in central
               Europe" (OED, c2). </note>
            <note type="gloss" xml:id="glass" target="_glass" resp="editors.xml#TH">
                    <graphic url="notes/spyglass.png"/>Yorick here refers to a small personal telescope that gentlemen who traveled frequently carried with them. Here is a very early example of a spy glass, <ref target="https://www.britishmuseum.org/collection/object/H_1890-0209-2">via the British Museum</ref>.</note>
            <note type="gloss" xml:id="Boulougne" target="_Boulougne" resp="editors.xml#FIO">Boulougne is a city on the coast of northern France, southwest of Calais (<ref target="https://www.britannica.com/place/Boulogne">Britannica</ref>).</note>
            <note type="gloss" xml:id="Bastille" target="_Bastille" resp="editors.xml#ZK">
                    <graphic url="notes/bastille.jpg"/>The Bastille was a castle built in <placeName type="tgn" key="7008038">Paris</placeName> during the 14th
               century and used as a jail during the 17th and 18th centuries (OED). It was famously
               stormed during the French Revolution. The image here, via Wikimedia Commons, shows
               the Bastille.</note>
            <note type="gloss" xml:id="empecher" target="_empecher" resp="editors.xml#ZE">"Cela n'empeche pas" is a common French phrase meaning one thing does not prevent the other.</note>
            <note type="gloss" xml:id="cavalier" target="_cavalier" resp="editors.xml#AG">Cavaliers are
               horsemen or knights, but someone who acts "cavalierly" is someone who is arrogant or
               haughty (OED, adj.)</note>
            <note type="gloss" xml:id="Eugenius" target="_Eugenius" resp="editors.xml#TH">Eugenius is a pseudonym Sterne gave to a fellow writer and friend, John Hall-Stevenson. Read more about Hall-Stevenson in this <ref target="https://doi.org/10.2307/461108">PMLA article</ref> by Lodwick Hartley.</note>
            <note type="gloss" xml:id="pertinacity" target="_pertinacity" resp="editors.xml#MA">According to the
               OED the word "pertinacity" means the state of being persistent, almost obstinantly
               so.</note>
            <note type="gloss" xml:id="soliloquy" target="_soliloquy" resp="editors.xml#SA">"Soliloquy" means
               to think out loud by yourself in disregard to anyone who could be listening
               (OED).</note>
            <note type="gloss" xml:id="chymic" target="_chymic" resp="editors.xml#AB">"Chymic" is an
               obsolete or no-longer-used term related to chemistry or alchemy (OED)</note>
            <note type="gloss" xml:id="slavery" target="_slavery" resp="editors.xml#TH">This is an important section in the novel as it expresses sentimental views regarding the inhumanity of slavery. Sterne corresponded with Ignatius Sancho (1729-1780), a well-known Black Briton and early symbol of abolition. According to an article on Sancho's letters <ref target="https://publicdomainreview.org/collection/letters-of-the-late-ignatius-sancho-an-african-1784">from the Public Domain Review</ref>, "At the height of the debate about slavery, in 1766, Sancho wrote to Sterne encouraging the writer to lend his fame to help lobby for the abolition of the slave trade. 'That subject, handled in your striking manner,' wrote Sancho, 'would ease the yoke (perhaps) of many – but if only one – Gracious God! – what a feast to a benevolent heart!'" Note that Sancho seems to draw on Sterne's sentimental style; <hi rend="italic">A Sentimental Journey</hi> was published in 1768.</note>
            <note type="gloss" xml:id="starling" target="_starling" resp="editors.xml#PRT">
                    <graphic url="notes/starling.jpeg"/>Sterne refers here
               to a starling, a type of bird. Yorick’s starling was probably a European Starling
               (sturnus vulgaris), which he has put on his coat of arms or family crest. To read
               more about starlings, see the Cornell Ornithology Lab's <hi rend="italic">
                        <ref target="https://www.allaboutbirds.org/guide/European_Starling">All About
                     Birds</ref>
                    </hi>. </note>
            <note type="gloss" xml:id="Versailles" target="_Versailles" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/versailles.jpg"/>Situated to the west of <placeName type="tgn" key="7008038">Paris</placeName>, <placeName type="tgn" key="7008070">Versailles</placeName> is one of
               the most notable cities in France, known for an extravagant Palace and luxurious gardens. Attached is a photograph, via Wikimedia Commons of
               the Palace of Versailles.</note>
            <note type="gloss" xml:id="Burgundy" target="_Burgundy" resp="editors.xml#HT">
                    <graphic url="notes/burgundyTicket.jpeg" alt="A photograph of silver bottle ticket, made in England, meant to hang around the neck of a bottle of wine. An engraved ribbon reading 'Burgundy' identifies the bottle contents as red wine from Burgundy, France." source="https://collections.vam.ac.uk/item/O95432/bottle-ticket-drinkwater-sandylands/" desc="A silver bottle-ticket (c.1755) by Sandylands Drinkwater, Victoria and Albert Museum"/>Burgundy is a specific kind of red wine made in
               the Burgundy region of France (OED). The image here shows an English bottle ticket from 1755,
               via the Victoria and Albert Museum, which would have been used to identify bottles or
               carafes of wine before paper labels, introduced in the 1790s (VAM).</note>

            <note type="gloss" xml:id="character" target="_character" resp="editors.xml#FIO">Character is being
               used in this context as a noun. It refers to the specific features or signs that
               distinguish something or someone (OED).</note>

            <note type="gloss" xml:id="gallantry" target="_gallantry" resp="editors.xml#AB">Gallantry is used as a noun in this context, describing a polite or courteous attitude toward ladies--even a courtly show of devotion (OED).</note>
            <note type="gloss" xml:id="patisser" target="_patisser" resp="editors.xml#VDS">A patisser is an individual selling pastries or patès en croute (OED).</note>
            <note type="editorial" xml:id="chevalier" target="_chevalier" resp="editors.xml#MUStudStaff">A chevalier is a horseman in the armed forces. This individual is specifically a "Chevalier de St Louis," which is a class in the Order of Saint Louis (<ref target="https://en.wikipedia.org/wiki/Order_of_Saint_Louis">Wikipedia</ref>). La Fleur is appalled to find him selling food on the street.</note>
            <note type="gloss" xml:id="patè" target="_patè" resp="editors.xml#AG">A patè is a paste
               that is usually made from multiple ingredients that have been mashed up together.
               Typically it includes proteins such as meat or fish, and was sometimes encased in pastry (OED, n.3).</note>
            <note type="gloss" xml:id="croix" target="_croix" resp="editors.xml#MUStudStaff">La Fleur knows the man is a Chevalier in the Order of St. Louis because he as seen the "croix" or cross of the order, which he wore from his coat. This would have indicated a highly decorated soldier. </note>
            <note type="gloss" xml:id="damask" target="_damask" resp="editors.xml#MUStudStaff">A damask
               napkin is a napkin or piece of fabric made of damask. In this case, it is probably a
               "twilled linen" the weaving of which shows designs in the light (OED II.3.b)</note>
            <note type="gloss" xml:id="patrimony" target="_patrimony" resp="editors.xml#FIO">Patrimony is used
               in this context as a noun. It refers to property inherited from one's father, or
               generally, through the ancestral line (OED).</note>
            <note type="gloss" xml:id="patisserie" target="_patisserie" resp="editors.xml#BC">"Patisserie" is a
               French word meaning pastry making or a shop that sells pastry (OED).</note>
            <note type="gloss" xml:id="Rennes" target="_Rennes" resp="editors.xml#AG">A place in
               northwest France, the capital of Brittany. </note>
            <note type="gloss" xml:id="Martinico" target="_Martinico" resp="editors.xml#TH">
                    <graphic url="notes/martinico.png"/>Martinico is another name for the island of Martinique, then a French colony. The image included here is an eighteenth-century map of Martinique <ref target="https://www.loc.gov/item/2010593366/">held in the Library of Congress.</ref>
                </note>
            <note type="gloss" xml:id="Marchioness" target="_Marchioness" resp="editors.xml#AB">This term (or
               Marquess) is a title used to describe a wife or widow of a nobleman carrying the rank
               of Marquis. It is also used to refer to a woman holding the rank in her own right
               (OED). </note>
            <note type="gloss" xml:id="Palais-Royal" target="_Palais-Royal" resp="editors.xml#AG">
                    <graphic url="notes/palais-royal.jpg"/>The Palais-Royal is a palace built in <placeName type="tgn" key="7008038">Paris</placeName> in 1639
               (Wikipedia). It was raided, trashed and looted during Revolution of 1849, and during
               the French Revolution of 1789, it became the Palais de l'Égalité (Palace of
               Equality). Pictured here is the front of the Palais-Royal, now housing the French
               courts, via Wikimedia Commons.</note>
            <note type="editorial" xml:id="Luxembourg" target="_Luxembourg" resp="editors.xml#MUStudStaff">This is probably a reference to the Luxembourg Palace, located in <placeName type="tgn" key="7008038">Paris</placeName> and near the grounds of the Luxembourg Gardens. These are all sights that a traveler on the Grand Tour might see, but as a sentimental traveller, Yorick eschews.</note>
            <note type="gloss" xml:id="Collonade" target="_Collonade" resp="editors.xml#BC">
                    <graphic url="notes/louvre.jpeg"/>The facade of the Palais du Louvre in <placeName type="tgn" key="7008038">Paris</placeName>, or the Louvre
               Collonade, is a great example of classical architecture and often visited by those on
               the grand tour (<ref target="https://en.wikipedia.org/wiki/Louvre_Colonnade">Wikipedia</ref>). The photograph included here, via Wikimedia Commons and showing
               the Louvre Colonnade, is by Christian Bortes.</note>
            <note type="gloss" xml:id="fair" target="_fair" resp="editors.xml#TH">Yorick is here refering to women, identified, as the OED (sense A.I.f) notes, collectively, and "as expressing a quality considered as characteristic of the female sex"--that is, beauty.</note>
            <note type="gloss" xml:id="Transfiguration" target="_Transfiguration" resp="editors.xml#TH">
                    <graphic url="notes/transfiguration.jpeg"/>The <hi rend="italic">Transfiguration</hi> is a painting by Renaissance artist Raphael. Image via Wikimedia Commons.</note>
            <note type="gloss" xml:id="Yorick" target="_Yorick" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/jester.jpeg"/>The Count's English is not very strong, so Yorick points
               to his name, which appears in <hi rend="italic">Hamlet</hi>, to introduce himself. In
               Shakespeare's play, Yorick was the King of Denmark's Jester, long since dead. A
               jester is a historical entertainer, usually a clown or a buffoon. In the accompanying image, from the <ref target="https://collections.vam.ac.uk/item/O128646/ia-country-fairi-painting-elwood-j/">Victoria and Albert Museum</ref>, you can see two popular jesters on the
               fairground stage.</note>
            <note type="gloss" xml:id="Charles" target="_Charles" resp="editors.xml#TH">
                    <graphic url="notes/charles2.jpeg"/>Charles II, pictured here in the coronation painting by John Michael Wright (1661), was known as "the merry monarch" and his court, for a licentious or sexually free air. Read more about Charles II, who reigned from 1661-1685 at <ref target="https://historycollection.com/money-mistresses-mayhem-charles-iis-womanizing-almost-destroyed-britain/3/">History Collection</ref>.</note>
            <note type="gloss" xml:id="Bevoricius" target="_Bevoricius" resp="editors.xml#TH">According to a footnote by Melvin New in his edition of <hi rend="italic">A Sentimental Journey</hi>, this is a reference to a Dutch physician Johannes Bevoricius who wrote <hi rend="italic">Commentary on the Generations of Adam</hi>, mentioned by Yorick here. According the footnote, sparrows in this text were described as lecherous and signs of sexual desire (<ref target="https://www.google.com/books/edition/A_Sentimental_Journey_Through_France_and/BbYOmcopQQUC">123 n2</ref>).</note>
            <note type="gloss" xml:id="band-box" target="_band-box" resp="editors.xml#SN">A band-box is a
               “slight box of card-board or very thin chip covered with paper, for collars, caps,
               hats, and millinery; originally made for the ‘bands’ or ruffs” from the seventeenth
               century (OED).</note>
            <note type="gloss" xml:id="drab" target="_drab" resp="editors.xml#SN">A "drab colored coat" was specifically muted light brown or yellow brown in color (OED).</note>
            <note type="gloss" xml:id="magazine" target="_magazine" resp="editors.xml#ZK">The OED describes a magazine as "[a] portable receptacle (usually for articles of value)," and it cites this instance of Sterne's work. The Grisset carries the laces she has for sale in her magazine.
            </note>
            <note type="gloss" xml:id="deroger" target="_deroger" resp="editors.xml#BC">This is a French
               phrase meaning "It is a derogation of nobility"--that is, it's unfitting of nobility
               (OED).</note>
            <note type="gloss" xml:id="Indies" target="_Indies" resp="editors.xml#TH">This is a proverbial phrase meaning great wealth achieved through colonial expansion. The East Indies were India, and the West Indies, the islands of the Caribbean. For more information, read <ref target="https://www.metmuseum.org/toah/hd/ingd/hd_ingd.htm">"The Gold of the Indies" by the Metropolitan Museum of Art</ref>.</note>
            <note type="gloss" xml:id="Chaldea" target="_Chaldea" resp="editors.xml#MUStudStaff">Chaldea is
               located in what is today southern Iraq, along the Persian Gulf (<ref target="http://www.britannica.com/place/Chaldea">Brittanica</ref>). </note>
            <note type="gloss" xml:id="Fleur" target="_Fleur" resp="editors.xml#ZE">La Fleur is a name
               that historically referred to a soldier or a servant, and La Fleur is both. It also means "flower" or
               "blossom" in French, making it especially appropriate for this character (<ref target="https://www.ancestry.com/name-origin?surname=lafleur">Ancestry.com</ref>).</note>
            <note type="gloss" xml:id="tricorne" target="_tricorne" resp="editors.xml#TH">La Fleur probably has a second-hand tricorne hat edged with sliver lace, which, according to the <ref target="https://fashionhistory.fitnyc.edu/tricorne-hat/">Fashion History Timeline</ref>, was popular throughout the period.</note>
            <note type="gloss" xml:id="scarlet" target="_scarlet" resp="editors.xml#MUStudStaff">La Fleur has found a good second-hand coat and breeches of scarlet red. For an example of the kind of suit La Fleur might have found, see <ref target="https://artsandculture.google.com/asset/_/KwEDS4mG_EFAqQ">this salmon-pink French suit from the 1760s</ref>, housed in the Kunstgewerbemuseum, Staatliche Museen zu Berlin. For a good history of fashion during the eighteenth century, see the <ref target="https://fashionhistory.fitnyc.edu/category/18th-century/">Fashion History Timeline</ref>.
               and breeches of the same</note>
            <note type="gloss" xml:id="friperie" target="_friperie" resp="editors.xml#MUStudStaff">The "Rue de Friperie" was a street--perhaps a real street name, but also likely simply a street with a lot of thrift stores on it--known as the place to find cheap second hand clothing. </note>
            <note type="gloss" xml:id="fashion" target="_fashion" resp="editors.xml#TH">For some exceptionally high quality images of men's fashion in the period, see <ref target="https://artsandculture.google.com/exhibit/the-elegant-men%E2%80%99s-fashion-of-the-18th-and-19th-century/EwICDcK7Flj0Lg">The Elegant: Men’s Fashion of the 18th and 19th Century</ref>.</note>
            <note type="gloss" xml:id="wigbag" target="_wigbag" resp="editors.xml#TH">
                    <graphic url="notes/wigBag.jpg"/>La Fleur has purchased a new bag for his wig. These "wig
               bags" would decoratively contain the queue or tail of the wig, as visible in this eighteenth-century European wig with various accoutrements. The bag is the black fabric item, and the queue of the wig is the braided tail. Image via <ref target="https://www.colonialwilliamsburg.org/learn/living-history/head-over-heels/">Colonial Williamsburg</ref>.</note>
            <note type="gloss" xml:id="solitaire" target="_fashion" resp="editors.xml#TH">
                    <graphic url="notes/solitaire.jpeg"/>While today the word "solitaire" might suggest a diamond, in this context, La Fleur is talking about his wig and his other pieces of second-hand clothing. In this sense, a solitaire is part of the wig-bag, with extra ribbons or fabric that is pulled around and tied in a bow at the neck. This painting by Philippe Coypel (1732), via Wikimedia Commons, shows the sitter in a red lace-trimmed waistcoat, a drab coat, and a shirt with lace ruffles. He also wears a bag-wig, with a solitaire--note the black fabric tied at his throat.</note>
            <note type="editorial" xml:id="garters" target="_garters" resp="editors.xml#TH">Garters, or pieces of fabric or ribbon that are tied around the leg to hold up stockings, would have been worn by both men and women during the period.</note>
            <note type="gloss" xml:id="ruffle" target="_ruffle" resp="editors.xml#HT">
                    <graphic url="notes/ruffle.jpeg" alt="A photograph of white linen ruffles protruding from the sleeve of a brown men's coat, made in England c.1750" source="https://collections.vam.ac.uk/item/O315926/pair-of-sleeve-unknown" desc="Pair of linen sleeve ruffles (England, c.1750), Victoria and Albert Museum"/>Ruffles in this context are sleeve accessories that are
               visible beneath a coat or at the end of the sleeve. They can be separate
               from the shirt. Here, La Fleur has purchased a pair of second-hand muslin sleeve
               ruffles. The image included here shows mid-century men's sleeve ruffles in linen, via
               the Victoria and Albert Museum. </note>
            <note type="gloss" xml:id="first-style" target="_first-style" resp="editors.xml#TH">Hair "dressed in the first style" means that La Fleur's hairstyle was at the height of fashion.</note>
            <note type="editorial" xml:id="galant" target="_galant" resp="editors.xml#TH">La Fleur asks Yorick for a day off to take his girlfriend out--to play the gallant.</note>
            <note type="gloss" xml:id="service" target="_service" resp="editors.xml#TH">"Service" here refers to the state of being in the employ of someone else (see sense 8a in the OED). Hence, "sons and daughters
               of service" are those men and women whose lives are devoted to serving others--chambermaids, cooks, footment, and so on.</note>
            <note type="gloss" xml:id="Rabelais" target="_Rabelais" resp="editors.xml#MUStudStaff">François Rabelais is a French author and humanist (ca.1494-1553), noted for his satires (<ref target="https://biography.yourdictionary.com/francois-rabelais">Your Dictionary</ref>). </note>
            <note type="gloss" xml:id="gothic" target="_gothic" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/gothicLetter.jpeg"/>Gothic or blackletter was a typeface, derived from
               medieval germanic calligraphic lettering of the same kind. In the image here, via
               Wikimedia Commons, the main body of the text is in blackletter or gothic type
               (Wikipedia).</note>
            <note type="editorial" xml:id="Gruger" target="_Gruger" resp="editors.xml#TH">Jan Gruger (1560-1627) and Jacob Spon (1647-1685) were scholars; hence Yorick's comparison of his contemplation of the Burgundy wine to that of these scholars on an ancient "nonsensical inscription."</note>
            <note type="gloss" xml:id="Pont_Neuf" target="_Pont_Neuf" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/pontNeuf.jpeg"/>The Pont Neuf is the oldest bridge of many that cross
               the Seine in <placeName type="tgn" key="7008038">Paris</placeName>. The image here, showing the bridge, was taken by Sumit
               Surai.</note>
            <note type="gloss" xml:id="ballustrade" target="_ballustrade" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/balustrade.jpeg"/>A ballustrade is a row of short, often decorative pillars, in a railing (OED). The image included here shows an English example of an eighteenth-century iron balustrade, via the Victoria and Albert Museum. </note>
            <note type="gloss" xml:id="Gascon" target="_Gascon" resp="editors.xml#TH">A Gascon is a person from Gascony; however, it had come also to mean someone who brags or boasts, traits stereotypically associated with Gascons (OED).</note>
            <note type="gloss" xml:id="harquebuss" target="_harquebuss" resp="editors.xml#MAH">
                    <graphic url="notes/harquebuss.jpg" alt="A 19th-century sepia photograph showing four harquebuss guns in a vertical orientation" source="https://collections.vam.ac.uk/item/O1074897/photograph-franck/" desc="French harquebuss guns (1868), Victoria and Albert Museum"/>Used in this context as a noun, a harquebuss is a
               "matchlock gun invented in the 15th century which was portable but heavy and was
               usually fired from a support” (OED). Pictured here is a 19th-century photograph of
               harquebusses, from the <ref target="https://collections.vam.ac.uk/item/O1074897/photograph-franck/">Victoria
                  and Albert Museum</ref>
                </note>
            <note type="gloss" xml:id="lanthorn" target="_lanthorn" resp="editors.xml#PEJ">
                    <graphic url="notes/lanthorn.jpeg"/>A lanthorn is an older way of referring to a lantern, or something that gives light. The image here, <ref target="https://www.metmuseum.org/art/collection/search/360134">from the Metropolitan Museum of Art</ref>, shows a young woman reading ballads by the light of a paper lantern.</note>
            <note type="gloss" xml:id="notary" target="_notary" resp="editors.xml#MAH">A notary is a
               lawyer or a legal authority who overlooks the signing of documents (OED).</note>
            <note type="gloss" xml:id="inkhorn" target="_inkhorn" resp="editors.xml#VDS">
                    <graphic url="notes/inkhorn.jpeg" alt="A photograph of several different 18th-century English glass inkhorns with labels" source="https://collections.vam.ac.uk/item/O3227/ink-horn/" desc="Glass ink-horns (English, 18th century), Victoria and Albert Museum"/>An ink-horn was a container for ink. This photograph from the Victoria and Albert Museum shows a variety of eighteenth-century glass ink horns. Unlike ink stands, ink horns (the earliest were made of animal horn) were meant to be portable (OED).</note>
            <note type="gloss" xml:id="wills" target="_wills" resp="editors.xml#TH">For more information on wills int the eighteenth century, read this engaging post from <ref target="https://georgianera.wordpress.com/2020/05/27/the-contents-of-wills/">
                        <hi rend="italic">Georgiana</hi>
                    </ref>.</note>
            <note type="authorial" xml:id="nauth5" target="auth5">Nosegay. [Sterne's note. A nosegay is a
               sweet-smelling bunch of flowers or herbs (OED).]</note>

            <note type="gloss" xml:id="fiacre" target="_fiacre" resp="editors.xml#MAH">Of French origin,
               a fiacre is a small horse-drawn carriage (OED)--or "hackney coach" as Sterne
               notes.</note>
            <note type="authorial" xml:id="nauth6" target="auth6">Hackney-coach. [Sterne's
               note.]</note>
            <note type="gloss" xml:id="vestal" target="_vestal" resp="editors.xml#TH">The word "vestal" suggests sexual purity or chastity (OED).</note>
            <note type="authorial" xml:id="nauth7" target="auth7">Plate, napkin, knife, fork, and
               spoon. [Sterne's note.]</note>
            <note type="gloss" xml:id="esprit" target="_esprit" resp="editors.xml#MAH">Used in this
               context as a noun, "esprit" is of French adaptation and is defined as a lively and
               witty person (OED).</note>
            <note type="gloss" xml:id="coquette" target="_coquette" resp="editors.xml#PEJ">According to the
               OED, a coquette is "A woman (more or less young), who uses arts to gain the
               admiration and affection of men, merely for the gratification of vanity or from a
               desire of conquest, and without any intention of responding to the feelings aroused;
               a woman who habitually trifles with the affections of men; a flirt." </note>
            <note type="gloss" xml:id="deist" target="_deist" resp="editors.xml#ZK">A person who
               believes that God's existence is determined through logic and exploration of the
               world (OED).</note>
            <note type="gloss" xml:id="devotee" target="_devotee" resp="editors.xml#TH">A devotee is one
               who is religiously zealous or superstitious, and often extremly so (OED).</note>
            <note type="gloss" xml:id="coterie" target="_coterie" resp="editors.xml#PRT">A coterie is an
               exclusive circle or society of people, or an elite club (OED).</note>
            <note type="gloss" xml:id="Bourbonnois" target="_Bourbonnois" resp="editors.xml#MUStudStaff">
                    <graphic url="notes/bourbonnais.png"/>The Bourbonnois is an area of France. According to
               Brittanica, in the 18th century "different parts of Bourbonnais formed parts of five
               [Catholic] dioceses. . . . The principal towns of Bourbonnais were Moulins (the
               capital), Gannat, Montluçon, and Lapalisse. The province had a military government
               with headquarters at Moulins" (<ref target="http://www.britannica.com/place/Bourbonnais">Brittanica</ref>). The image
               included here shows where the Bourbonnais existed in historical France, via Wikimedia
               Commons. </note>
            <note type="editorial" xml:id="Shandy" target="_Shandy" resp="editors.xml#TH">Yorick here refers to either Tristram Shandy or Tristram's father, Toby Shandy. All three characters were featured in Sterne's <hi rend="italic">The Life and Opinions of Tristram Shandy, Gentleman</hi>.</note>
            <note type="gloss" xml:id="Quixote" target="_Quixote" resp="editors.xml#MUStudStaff">Don Quixote is paradigmatically referred to as "the Knight of the
               Woeful Countenance."</note>
            <note type="gloss" xml:id="net" target="_net" resp="editors.xml#TH">Likely a reference to a silk hairnet, similar to the wig-bag that La Fleur procures from the second-hand store.</note>
            <note type="editorial" xml:id="pipe" target="_pipe" resp="editors.xml#TH">A pipe in this sense is not likely something Maria is smoking; rather, it is a simple musical instrument, in keeping with her pastoral setting.</note>
            <note type="gloss" xml:id="lapdog" target="_lapdog" resp="editors.xml#TH">Maria has a little dog with her; pets were increasingly common in the eighteenth century, and often were objects of satire, though not in this case. To read more about the history of lapdogs, see <ref target="https://www.bbc.co.uk/programmes/articles/2sBLB7W4fpk5tLY7722yYSl/pooch-epistles-a-little-history-of-lapdogs">this article from BBC3</ref>.</note>
            <note type="gloss" xml:id="poplar" target="_poplar" resp="editors.xml#PEJ">
                    <graphic url="notes/poplars.jpg"/>According to the OED, a poplar a "fast-growing [deciduous
               tree], sometimes narrowly erect"; it typically grows in the northern hemisphere and
               is characteristic of the French countryside. The image here shows a row of French
               Lombardy poplars in England, by <ref target="https://www.flickr.com/photos/mwf2005/36430532103">Mike Finn via
                  Flickr</ref>
                </note>
            <note type="gloss" xml:id="flagon" target="_flagon" resp="editors.xml#PRT">
                    <graphic url="notes/flagon.jpg"/>Although the pictured flagon is from the early 19th
               century, this is the fashion in which the flagon referenced in the text would've
               looked like. Typically used to store wine; could have been made of pottery or metal
               (OED). Here is an image of an early 19th century rendering of a flagon, via <ref target="https://www.nga.gov/collection/art-object-page.25224.html">National
                  Gallery of Art</ref>, Index of American Design</note>
            <note type="gloss" xml:id="sabot" target="_sabot" resp="editors.xml#AB">
                    <graphic url="notes/sabot.jpg"/>A sabot is a wooden shoe commonly worn among the lower
               classes up to the 19th century (OED, Wikipedia). The image here shows a 19th century
               French sabot, via the <ref target="http://collections.vam.ac.uk/item/O355185/sabot/">Victoria and Albert Museum. </ref>Knowing the clothing the characters are wearing
               allows the reader to get a good visual idea of them.</note>
            <note type="gloss" xml:id="vielle" target="_vielle" resp="editors.xml#FJZ">
                    <graphic url="notes/vielle.jpg"/>A vielle--or a
               hurdy-gurdy--is a musical instrument mostly used by peasants and "associated with
               pastoral music" (VAM). Here is an image of an 18th-century French vielle from the
                  <ref target="https://collections.vam.ac.uk/item/O131669/hurdy-gurdy-varquain/">Victoria and Albert Museum</ref>. </note>
            <note type="gloss" xml:id="voiturin" target="_voiturin" resp="editors.xml#MAH">Used in this
               context as a noun, "voiturin" is of French origin and is defined as a hired person
               who drives a carriage (OED).</note>
            <note type="gloss" xml:id="cataracts" target="_cataracts" resp="editors.xml#MAH">"Cataracts" are
               the mythological flood gates of heaven that hold the rain described in the Old
               Testament (OED).</note>
            <note type="gloss" xml:id="Alps" target="_Alps" resp="editors.xml#ZK">A person from the
               north-west region of Italy, close to France, which is known for its proximity to the
               Alps (OED).</note>
            <note type="gloss" xml:id="Lyonnais" target="_Lyonnais" resp="editors.xml#MUStudStaff">A Lyonnais is a person from Lyon, a city in the southern part of France near the Alps.</note>
            <note type="gloss" xml:id="articles" target="_articles" resp="editors.xml#MUStudStaff">Here, "articles" refer to "[e]ach of the distinct heads or points of an agreement or treaty" or "a set of these points comprising a formal agreement" (OED, 3a).</note>
            <note type="gloss" xml:id="proviso" target="_proviso" resp="editors.xml#ZK">A portion of a
               legal document that makes a claim or statement (OED,
               n).</note>
            <note type="editorial" xml:id="Piedmontese" target="_Piedmontese" resp="editors.xml#TH">A Piedmontese is someone from Piedmont, which is an area of north-west Italy near the border with France. Its history is intertwined with that of France and specifically the Savoy region in the Western Alps.</note>
            <note type="gloss" xml:id="dimanche" corresp="_dimanche" resp="editors.xml#MUStudStaff">Dimanche is Sunday in French.</note>
            <note type="editorial" xml:id="Moulines" corresp="_Moulines" resp="editors.xml#TH">Moulines (Moulins) is  an city or commune in central France; in Sterne's time it was the capital of the Bourbon province (see <ref target="https://en.wikipedia.org/wiki/Moulins,_Allier">Wikipedia</ref>).</note>
            <note type="gloss" xml:id="plaisantez" corresp="_plaisantez" resp="editors.xml#MUStudStaff">This is a French expression for "You must be joking," literally, "But you jest!".</note>
            <note type="gloss" xml:id="persiflage" corresp="_persiflage" resp="editors.xml#MUStudStaff">This is a French expression for "Here's a joke!" or "There's a joke!" in a way that expresses satisfaction.</note>
            <note type="gloss" xml:id="company" corresp="_company" resp="editors.xml#MUStudStaff">As used here, a company refers to a group of people, specifically, of soldiers--a troop (OED n, 4b).</note>
         </div>
      </back>
   </text>
</TEI>