This, I am inclined to think, in drawing this brief sketch to an end, is Sterne's main interest for ourselves. He broke up the rhetorical manner of composition, or, rather, he produced an alternative manner which was gradually accepted and is in partial favour still. I would ask you to read for yourselves the scene of the ass who blocked the way for Tristram at Lyons, and to consider how completely new that method of describing, of facing a literary problem, was in 1765. I speak here to an audience of experts, to a company of authors who are accustomed to a close consideration of the workmanship of their _métier_. I ask them where, at all events in English, anything like that scene had been found before the days of Sterne. Since those days we have never been without it. To trace the Shandean influence down English literature for the last century and a half would take me much too long for your patience. In Dickens, in Carlyle, even in Ruskin, the Shandean element is often present and not rarely predominant. None of those great men would have expressed himself exactly as he does but for Laurence Sterne. And coming down to our own time, I see the influence of Sterne everywhere. The pathos of Sir James Barrie is intimately related to that of the creator of Uncle Toby and Maria of Moulines, while I am not sure that of all the books which Stevenson read it was not the _Sentimental Journey_ which made the deepest impression upon him. [Footnote 5: Address delivered to the Authors' Club, November 24th, 1913] THE CENTENARY OF EDGAR ALLAN POE In the announcements of the approaching celebration of the centenary of Poe in this country, the fact of his having been a poet was concealed. Perhaps his admirers hoped that it might be overlooked, as without importance, or condoned as the result of bad habits. At all events, the statement that the revels on that occasion would be conducted by Sir Arthur Conan Doyle was quite enough to prove that it was the prose writer of "The Black Cat" and "The Murders in the Rue Morgue," and not the verso writer of "Ulalume" and "Annabel Lee" who would be the centre of attention. On that side of Poe's genius, therefore, although it is illustrated by such masterpieces of sullen beauty as "The Fall of the House of Usher" and such triumphs of fantastic ingenuity as "The Gold Bug," I feel it needless to dwell here, the more as I think the importance of these tales very slight by the side of that of the best poems. Edgar Poe was, in my opinion, one of the most significant poetic artists of a century rich in poetic artists, and I hold it to be for this reason, and not because he wrote thrilling "detective" stories, that he deserves persistent commemoration.