Excerpt

Excerpt from A Sentimental Journey Through France and Italy, by Laurence Sterne

The man who first transplanted the grape of Burgundy to the Cape of Good
Hope (observe he was a Dutchman) 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 he expected to drink some
sort of vinous liquor; but whether good or 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 choice, 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,
Mynheer might possibly oversee both in his new vineyard; and by
discovering his nakedness, become a laughing stock to his people.

Even so it fares with the Poor Traveller, sailing and posting through the
politer kingdoms of the globe, in pursuit of knowledge and improvements.

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 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 Sancho Panza said to Don Quixote, they might
have seen dry-shod at home. It is an age so full of light, that there is
scarce a country or corner in 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—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 altogether) 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?—

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Explanation

Detailed Explanation of the Excerpt from A Sentimental Journey Through France and Italy by Laurence Sterne

Context of the Work

Laurence Sterne’s A Sentimental Journey Through France and Italy (1768) is a satirical, semi-autobiographical novel that blends travel writing, philosophy, and humor. Written near the end of Sterne’s life, it follows the narrator, Yorick (a thinly veiled version of Sterne himself), as he journeys through Europe, reflecting on human nature, society, and the absurdities of travel. Unlike traditional travelogues, which focus on factual descriptions, Sterne’s work is deeply subjective, playful, and digressive, emphasizing emotional and philosophical responses over objective reporting.

The excerpt under discussion appears early in the novel and serves as a meditation on the futility of excessive travel in pursuit of knowledge—a theme that Sterne revisits throughout the work. It also reflects the 18th-century Enlightenment’s ambivalence about progress, curiosity, and the limits of human understanding.

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Breakdown of the Excerpt

1. The Parable of the Dutchman and the Grape (First Paragraph)

Sterne begins with an extended metaphor comparing a Dutchman who transplants Burgundy grapes to the Cape of Good Hope with the "Poor Traveller" seeking knowledge abroad.

• The Dutchman’s Miscalculation:

  • The Dutchman (a stereotype of phlegmatic, practical Dutch merchants) does not expect the same wine as in Burgundy—he is too "phlegmatic" (calm, unemotional) for such romantic expectations.
  • Instead, he hopes for some wine, acknowledging that the outcome is beyond his control. His success depends on "what is generally called choice"—a ironic phrase suggesting that "choice" is often an illusion, and fate (or external factors) determines results.
  • His "intemperate confidence" (overestimating his ability to handle wine and discretion) may lead to failure, making him a "laughing stock"—a cautionary tale about hubris.

• Literary Devices:

  • Extended Metaphor: The grape transplanting symbolizes the pursuit of knowledge—both are uncertain ventures where the seeker has little control over the outcome.
  • Irony: The Dutchman’s practicality is undermined by his potential failure, just as the traveler’s quest for knowledge may be futile.
  • Allusion to Biblical Nakedness: "Discovering his nakedness" echoes the Fall of Man (Genesis 3), suggesting that overreaching leads to humiliation.

2. The Poor Traveller’s Plight (Second Paragraph)

Sterne shifts to the "Poor Traveller"—a stand-in for any seeker of knowledge through travel.

• The Lottery of Knowledge:

  • Travel may yield "knowledge and improvements," but whether they are "useful" or "real" is unpredictable—like a lottery.
  • Even if successful, the traveler must use this knowledge "with caution and sobriety"—otherwise, it may be wasted or misapplied.

• Sterne’s Cynical Advice:

  • He suggests it may be wiser to "live contented without foreign knowledge" if one’s homeland already provides enough.
  • This reflects 18th-century debates on cosmopolitanism vs. nationalism—some (like Rousseau) argued that excessive travel corrupted morals, while others (like Voltaire) saw it as essential for enlightenment.

• Literary Devices:

  • Paradox: Travel is both necessary for growth and potentially futile.
  • Allusion to Don Quixote:
    • Sterne references Sancho Panza’s pragmatic wisdom ("they might have seen dry-shod at home") to mock the Quixotic (idealistic, impractical) traveler who chases illusions.
    • This reinforces the idea that many "discoveries" are unnecessary—knowledge is often accessible without arduous journeys.

3. The Age of Light and the Superiority of England (Final Paragraph)

Sterne now shifts to a patriotic defense of England, arguing that travel is unnecessary because:

• "An age so full of light":

  • The Enlightenment has made knowledge widely available—"music in an Italian street" (free for all, requiring no payment).
  • This critiques the Grand Tour (a rite of passage for young aristocrats), suggesting that much of what they seek is already circulating in books, letters, and cultural exchange.

• England’s Superiority:

  • Sterne vauntingly (boastfully) claims that no nation offers more learning, art, science, wit, and character than England.
  • The rhetorical question—"Where then, my dear countrymen, are you going?"—implies that English travelers are foolish to leave when their homeland is already superior.
  • This reflects national pride but also satire—Sterne may be poking fun at both the Grand Tourists and the jingoistic belief in England’s perfection.

• Literary Devices:

  • Hyperbole: England’s virtues are exaggerated for comic and persuasive effect.
  • Direct Address ("my dear countrymen"): Creates intimacy but also irony—Sterne’s narrator is himself a traveler, making his advice self-deprecating.
  • Religious Invocation ("God is my record"): Adds solemnity but may also be mock-serious, given Sterne’s playful tone.

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Key Themes in the Excerpt

1. The Illusion of Control:

   • Both the Dutchman and the traveler believe they can shape outcomes, but success is largely random ("a lottery").
   • This reflects Enlightenment skepticism about human agency—despite reason and effort, fate plays a role.

2. The Futility of Excessive Curiosity:

   • Sterne critiques the Inquisitive Traveller who chases knowledge for its own sake, often at great personal cost ("grief of heart").
   • This aligns with Stoic and Christian ideas that contentment comes from accepting limitations.

3. Nationalism vs. Cosmopolitanism:

   • Sterne praises England but also mocks the Grand Tour, suggesting that blind patriotism and blind travel are equally absurd.
   • The passage reflects 18th-century tensions between local tradition and global exchange.

4. The Paradox of Knowledge:

   • Knowledge is abundant and free ("music in an Italian street"), yet people still seek it through hardship.
   • This anticipates modern debates on information overload—just because knowledge is accessible doesn’t mean it’s wisely used.

5. Satire of Human Folly:

   • The Dutchman’s failure, the traveler’s wasted efforts, and the Grand Tourist’s naivety are all comic targets.
   • Sterne’s tone is playful yet moralizing, blending humor with a cautionary message.

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Significance of the Passage

• Metafictional Commentary:

  • Sterne, writing a travel novel, ironically discourages travel, undermining the genre’s conventions.
  • This self-awareness is typical of postmodern-like 18th-century literature (e.g., Tristram Shandy), where the author acknowledges the artificiality of storytelling.

• Enlightenment Critique:

  • While the Enlightenment valued reason, progress, and empirical knowledge, Sterne questions whether these pursuits lead to true wisdom or just vanity.
  • His skepticism aligns with Rousseau’s critique of civilization and Swift’s satire in Gulliver’s Travels.

• Personal Reflection:

  • Sterne, who traveled for health and wrote this while dying of tuberculosis, may be reckoning with his own futile pursuits.
  • The passage reads as both a defense of staying home and a lament for the traveler’s inevitable disappointments.

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Conclusion: Sterne’s Ambivalent Message

The excerpt is a humorous yet melancholic meditation on the pursuit of knowledge. Sterne uses metaphor, irony, and allusion to argue that:

1. Travel is a gamble—success is uncertain, and failure is often humorous.
2. True wisdom may lie in contentment rather than restless seeking.
3. England (or one’s homeland) may already provide enough—yet the human urge to explore persists, often foolishly.

Ultimately, Sterne does not fully condemn travel—after all, he wrote a travel book!—but he exposes its absurdities, inviting readers to laugh at both the traveler’s folly and their own. The passage encapsulates his sentimental yet satirical style, blending philosophy, humor, and personal reflection in a way that remains engaging and thought-provoking centuries later.