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	\title{[1.11] The Snuff-Box. Calais.}
\author{

					 Laurence
					 Sterne

				}
\date{}
\maketitle

	

			\TeiFwII{[56]}

			\chapter*{\TeiHeadVI{THE SNUFF-BOX. CALAIS\footnote{ \TeiPlaceName{Calais}: A port city on the northern coast of France, spanning a short distance of about 20 miles from the English town of Dover. This was the quickest and most convenient route between the two countries. }.}}\markboth{\TeiHeadVI{THE SNUFF-BOX.
			CALAIS\footnote{
						\TeiPlaceName{Calais}: 

						A port city on the northern coast of France, spanning a short distance of about 20 miles from the English town of Dover. This was the quickest and most convenient route between the two countries.
					}.}}{\TeiHeadVI{THE SNUFF-BOX.
			CALAIS\footnote{
						\TeiPlaceName{Calais}: 

						A port city on the northern coast of France, spanning a short distance of about 20 miles from the English town of Dover. This was the quickest and most convenient route between the two countries.
					}.}}

\TeiHiII{T} HE good old monk was within 
			six paces of us, as the idea of 
			him cross’d my mind; and was ad- 
			vancing 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 \footnote{ horn:  This is the material the snuff box has been made out of. Horn snuff boxes were quite common and inexpensive. This may be contrasted to Yorick's lavish tortoiseshell snuff box. }   snuff-box \footnote{ snuff-box:  "A box for holding snuff (tobacco), usually small enough to be carried in the pocket." (OED) }  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—

			\TeiFwV{'Tis}

\TeiFwII{[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 \footnote{ take a pinch out of it:  The most popular way to take snuff was to pinch a little directly from the box so that it could be inhaled through the nostrils. } , sometimes 
			recollect it was the peace-offering of 
			a man who once used you unkindly, 
			but not from his heart. 

			The poor monk blush’d as red as 
			scarlet.  
\TeiHiIII{
Mon Dieu!
}
\footnote{ Mon Dieu!: Translates to 'My God!' in French. }  said he, press- 
			ing 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 analyze—Excuse me,Madame, 
			replied I—I treated him most un- 
			kindly; and from no provocations— 
			’Tis impossible, said the lady.—My  
			 \TeiFwV{God!} 

\TeiFwII{[58]} 

			God! cried the monk, with a warmth 
			of  asseveration \footnote{ asseveration:  "...a solemn or emphatic declaration or assertion." (OED) }  which seem’d 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. 

			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 rubbed his horn 
			box upon the sleeve of his tunic;  
			 \TeiFwV{and} 

\TeiFwII{[59]} 

			and as soon as it had acquired a little 
			air of brightness by the friction—he 
			made me a low bow, and said, ’twas too 
			late to say whether it was the weak- 
			ness 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 say- 
			ing 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. 

			I guard this box, as I would the 
			instrumental parts of my religion, to 
			help my mind on to something bet- 
			ter: in truth, I seldom go abroad  
			 \TeiFwV{without} 

\TeiFwII{[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 \footnote{ justlings:  "...to bring (things) into collision. literal and figurative." (OED) In this context, Yorick is referring to the many problems one may find themselves faced with in the world. }  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 re- 
			quited, and meeting at the same time 
			with a disappointment in the ten- 
			derest of passions,  he abandon’d the
			sword and the sex together \footnote{ he abandon’d the sword and the sex together:  Yorick is referring to his failed military career and an apparent heartbreak. He eventually abondaned all this to become a monk. } , and took 
			sanctuary not so much in his con- 
			vent as in himself. 

			I feel a damp upon my spirits, as 
			I am going to add, that in my last 
			return through Calais, upon inquir- 
			ing after  Father Lorenzo \footnote{ 
						\TeiPersNameII{Father Lorenzo}: 
						Yorick later finds out that the monk is called Father Lorenzo. He represents religion's admirable qualities and the humanising influence of such figures in Yorick's travels.
						 } , I heard  
			 \TeiFwV{he} 

\TeiFwII{[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 to pity me. 

				\begin{itemize}
snuff-box:  "A box for holding snuff (tobacco), usually small enough to be carried in the pocket." (OED)horn:  This is the material the snuff box has been made out of. Horn snuff boxes were quite common and inexpensive. This may be contrasted to Yorick's lavish tortoiseshell snuff box.take a pinch out of it:  The most popular way to take snuff was to pinch a little directly from the box so that it could be inhaled through the nostrils.Mon Dieu!: Translates to 'My God!' in French.asseveration:  "...a solemn or emphatic declaration or assertion." (OED)justlings:  "...to bring (things) into collision. literal and figurative." (OED) In this context, Yorick is referring to the many problems one may find themselves faced with in the world.he abandon’d the sword and the sex together:  Yorick is referring to his failed military career and an apparent heartbreak. He eventually abondaned all this to become a monk.\end{itemize}

						\TeiPlaceName{Calais}: 

						A port city on the northern coast of France, spanning a short distance of about 20 miles from the English town of Dover. This was the quickest and most convenient route between the two countries.

						\TeiPersNameII{Father Lorenzo}: 
						Yorick later finds out that the monk is called Father Lorenzo. He represents religion's admirable qualities and the humanising influence of such figures in Yorick's travels.

		Commentary
		 \TeiPI{This chapter is pivotal in establishing Yorick’s first moment of self-improvement in his sentimental journey. What has thus far been a labouring trail for readers, with his blatant rudeness, lack of generosity and apparent xenophobia, here we are met with a grounding exchange framed by a comedic standoff. Yorick’s unpredictable disposition may compel a doubtful reception of such events, however, upon closer inspection of the ‘snuff-box’ and Yorick’s proleptic intervention, we find both sincerity and sentimentality in his actions. } 
		 \TeiPI{The passage opens with Yorick hand in hand with Madame L- whom he has taken both an emotional and physical interest in. Left alone by Monsieur Dessein, they are approached by the monk who reappears hesitantly. He offers Yorick his humble ‘horn snuff-box’ which Yorick counters with his own fashionable tortoise one. Yorick claims this gesture as a 'peace offering' to rectify his unacceptable behaviour earlier when the monk had asked for alms. Here, we may find ourselves dubious about Yorick’s intention and questions his guilt as a performative display of selflessness to impress his female companion. The narrative unfolds with a modest quarrel from each party and a heightened pause of contention. This humorous pause is reflective of Sterne’s stylistic approach throughout the novel juxtaposing the stronger emotions we encounter by the end of this passage. It also acts as a narrative bridge to the resolution that takes place between them. Presented as a confounding moment of mutual exchange initiated by the monk, it marks the conception of an unforgettable friendship transcending mortality. } 
		 \TeiPI{Indeed, Yorick travels through life with the sentiments represented by this gifted ‘horn snuff-box’. The snuff-box becomes a motif in the novel, reappearing during the Opera Comique when Yorick’s view is blocked by a tall German. A dwarf standing in front of him tries to explain this predicament to the figure, but he is rudely ignored. This acts as a moment of reflection for Yorick, he takes a pinch of the snuff and is reminded of how graciously the monk would react in such a situation. The snuff-box comes to represent humility, generosity and peace, a constant symbol of self-improvement. Thus, Yorick’s dramatic outburst by Father Lorenzo’s grave becomes more comprehensible and takes on a transformative meaning. We start to understand the integrity of his actions and the extent to which the monk has inspired him, irrespective and independent of anyone else, a fact we struggle with initially.} 
		 \TeiPI{It is important to note, that whilst the eighteenth century snuff-box has been associated with humanity and sentiment here, it was typically considered a masculine commodity used to represent flirtation amongst other things. However, in  \TeiHiIII{A Sentimental Journey}  Sterne makes the conscious choice to subvert this attitude by converting it into an object that must be ‘guarded’ due to its infinite value. In fact, the closing line of this chapter cements such a change, we can argue that the snuff-box is partially responsible for the ‘flood of tears’ that makes Yorick as ‘weak as a  \TeiHiIII{woman} ’. This is far removed from the withdrawn and masculine associations the snuff-box typically has, indicating Sterne’s satirical intention here.} 
		 \TeiPI{Ultimately, this chapter maintains Sterne’s structural ambiguity but for a greater good in Yorick’s life, contrasting to the previous events in the novel. The introduction of a symbolic object allows an anchoring moment in the narrative and contributes to Yorick’s sentimental journey as he adopts the humanising influence of Father Lorenzo, perhaps also revealing religion’s admirable qualities, something he certainly contends with in Volume 2 of his travels.} 

	
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