Personal Effects and Sentimental Fictions

Personal Effects and Sentimental Fictions Deidre Lynch Sentimental novels are cluttered with things. The emotional attachments that people form with possessions in these mid-eighteenth-century fictions can seem as freighted with consequence as the emotional attachments that people form with each other. Indeed, modem readers of Henry Brooke's The Fool ofQuality or Laurence Sterne's A Sentimental Journey might be pardoned for finding it hard to distinguish one sort of relationship from the other—even if normal notions of the folly of fetishism predispose us to believe that the difference between, say, ownership and friendship is a difference worth preserving. The keepsakes that clutter sentimental fiction (the lockets that protagonists wear next to their hearts; the sleeve buttons or snuffboxes that pairs of characters exchange to memorialize their first meeting or last, teary-eyed parting) work instead to collapse that difference. While they instructed their readers in emotional responsiveness, sentimentalists were more than ready to make objects of this variety—objects particularly valued because they are the surrogates for particular persons—their props. This practice marks the novelists' fashion-consciousness. On the testimony of the OED, which dates the word keepsake to 1790, it was only in the eighteenth century that keepsakes came to be identified as a distinct kind of material good. The fact that by 1790 members ofthe propertied classes had learned to want to give and to receive keepsakes from one another bespeaks the reciprocal influence EIGHTEENTH-CENTURY FICTION, Volume 12, Number 2-3, January-April 2000 346 EIGHTEENTH-CENTURY FICTION between eighteenth-century people's love affair with feelings, and their fascination with the new opportunities for acquisitiveness that they discovered in shops. And that new readiness to countenance superfluous expenditure that historians of this century's "consumer revolution" have recognized— people's new willingness to disregard the traditional association between luxury and vice and instead value the luxury good as a vehicle for the finer feelings—also lies behind the marketability throughout the era of a literature designed to procure for its readers the "luxury of tears."1 Writers such as Henry Brooke, Laurence Steme, Henry Mackenzie, and Sarah Scott vindicated the psychology of refinement suitable to the new consumer culture not only by finding increasingly nuanced ways of discriminating human emotions, but also by exemplifying the diversity of the portable properties that humans might feel emotional with or about. Hence the clutter. Sensibility is both the capacity to feel as others do and, as one eighteenth-century definition maintains, that "peculiar ... habitude of mind, which disposes a man to be easily moved, and powerfully affected by surrounding objects."2 The (only semi-) satiric imitator of Sterne who takes a "Sentimental Journey from Islington to Waterloo Bridge" knows he should let nothing (no thing) "escape" him: "The traveller ... should extract reflections out of a cabbage stump." Satirists were quick to note that sentimentalism invited people to be (in the standard phrase) "tremblingly alive" to dead matter.3 Such satires of sentimental animism had a point. A carriage for hire that sits alone and "unpitied" in an inn yard in Calais is able to arouse in Sterne's Parson Yorick the sense ofobligation he had been unable to muster in his earlier encounter with the Franciscan friar. "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."4 It seems apt that Yorick's piteous words acknowledge his obligation to a désobligeant—that they personify a carriage that seats one person only. It is as if the communicative and emotive powers that sentimentalism 1 On sensibility and consumer culture see G.J. Barker-Benfield, The Culture ofSensibility: Sex and Society in Eighteenth-Century Britain (Chicago: University of Chicago Press, 1992). 2 "Question: Ought Sensibility to be Cherished or Repressed?" Monthly Magazine 2 (October 1796), quoted in Markman Ellis, The Politics of Sensibility: Race, Gender and Commerce in the Sentimental Novel (Cambridge: Cambridge University Press, 1996), p. 5. 3 Thomas Hood, "A Sentimental Journey from Islington to Waterloo Bridge," first published in the London Magazine, 1821; reprinted in Sterne...

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