THE OTHER SENTIMENTALISTS AND REALISTS. Richardson and Fielding set in motion two currents, of sentimentalism and realism, respectively, which flowed vigorously in the novel during the next generation, and indeed (since they are of the essence of life), have continued, with various modifications, down to our own time. Of the succeeding realists the most important is Tobias Smollett, a Scottish ex-physician of violent and brutal nature, who began to produce his picaresque stories of adventure during the lifetime of Fielding. He made ferociously unqualified attacks on the statesmen of his day, and in spite of much power, the coarseness of his works renders them now almost unreadable. But he performed one definite service; in 'Roderick Random,' drawing on his early experiences as a ship's surgeon, he inaugurated the out-and-out sea story, that is the story which takes place not, like 'Robinson Crusoe,' in small part, but mainly, on board ship. Prominent, on the other hand, among the sentimentalists is Laurence Sterne, who, inappropriately enough, was a clergyman, the author of 'Tristram Shandy.' This book is quite unlike anything else ever written. Sterne published it in nine successive volumes during almost as many years, and he made a point of almost complete formlessness and every sort of whimsicality. The hero is not born until the third volume, the story mostly relates to other people and things, pages are left blank to be filled out by the reader--no grotesque device or sudden trick can be too fantastic for Sterne. But he has the gift of delicate pathos and humor, and certain episodes in the book are justly famous, such as the one where Uncle Toby carefully puts a fly out of the window, refusing to 'hurt a hair of its head,' on the ground that 'the world surely is wide enough to hold both thee and me.' The best of all the sentimental stories is Goldsmith's 'Vicar of Wakefield' (1766), of which we have already spoken (above, page 244). With its kindly humor, its single-hearted wholesomeness, and its delightful figure of Dr. Primrose it remains, in spite of its artlessness, one of the permanent landmarks of English fiction.