In A Sentimental Journey, Laurence Sterne places particular emphasis on the exchange of money. An intentional emphasis on this topic is clear in the monetary terms present throughout the text, especially as metaphors in unexpected places. The buying and selling process offers opportunities for social interaction between men and women. Characters of both genders take advantage of this desexualized environment to speak freely to each other. For Yorick, these interactions exist outside of commerce. It seems that the exchange, money aside, is the crucial aspect for him in these moments. Yorick is looking for simple human interaction. He desperately wants to believe that feeling, or at least something emotional and romantic, guides human action. But his own narrative betrays his true worldview. Everything is commerce, including human beings themselves. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay. Sterne peppers Yorick's narrative with well-disguised references to the world of commerce that hides behind every type of exchange. Monetary terms refer to everything except money. For example, Yorick will say "it cost the honest boy a pain" (98) or "it cost me a lot of trouble to do anything with it" (126). Moments like these serve to subtly remind the reader of the inherent loss and gain of every situation, not simply the economic one. A slightly different use of this tactic occurs in metaphors involving monetary vocabulary. He says "I always feel my heart locked up - I can scarcely find myself in it, to give sixpence to Misery", (57) to refer to his feelings when he is between one love and another. Later, Yorick proclaims to an earl that “A refined nation…makes every man his debtor” (114). When the earl does not understand, the language is limited to monetary terms, as Yorick makes use of "some glass-smooth King William shillings in [his] pockets" (114) and illustrates his point by having the coins represent the French . He uses similar language when talking about a woman who "didn't care for a sous" (134), once again incorporating this terminology. Its language is gradually becoming strange financial jargon. And as much as he talks openly about his obsession with feelings, he seems less aware of his obsession with money. Here, the author's hand is seen as the narrative becomes a commentary on the speaker's character. A crucial complexity in the novel is the nuances in how the author and narrator deal with the topic of money. Sterne uses the familiarity of monetary terms to communicate with the reader but also to allow unaccompanied communication between the characters. An example is "The Remise", (48-50) in which Yorick manages to talk to a shy widow while purchasing a new "chaise". The first few paragraphs detail the purchasing process, providing detailed images of several purchases that Yorick will not make. He talks about "a pair of chaise lounges... [that] were too nice," so he "move[s] to a third... and immediately [begins] to argue about the price" (48). This tactic could be considered a cunning attempt by Yorick to convince the reader that this process is getting his attention as much as the woman he is allowed to talk to because of this coin exchange. The use of necessary daily trading is a successful mask for Yorick's inappropriate flirting. Unsupervised interactions between men and women are obviously more acceptable when some sort of actual monetary exchange is involved. This is clearly illustrated when a maitre d'hotel explains his reluctance toforgive Yorick for having had a young woman locked up with [him] for two hours that evening" (120). Although "[It] is necessary...that a stranger in Paris should be afforded opportunities to purchase lace and silk," is only made inappropriate if "Monsieur...didn't buy anything" (121). Social taboos like this explain the role of money in bringing men and women together. Yorick often exploits this potential and finds himself struck by “the most beautiful grisset…[he] has ever seen,” (74) he cannot leave without buying something When his assistant arrives to help him with the directions he was supposedly looking for, he suddenly decides that “A by the way,...[he] want[s] a couple of pairs [himself]" (77). The term "a propos" means obviously, or naturally, and thus suggests that paying anything is the appropriate behavior in this moment The sensuality of Sterne's language in the following moments only demonstrates the utter lack of importance of the exchange of money that takes place. Two people go through the motions of normal commerce as "The beautiful Grisset measures them one by one on [his] hand... She [begs him] to try on only one pair, which [seems] to be the least - She [holds it] open - [his] hand slides in right away - That's no good, [he says], shaking [his] head a little - No, [he says] she, she does the same thing" (77). In the end, Yorick buys the gloves even though they don't fit him, only showing that he relies on exchanging goods to flirt with women in public. The careful de-emphasis of money in these situations reveals its real role in Yorick's journey. His instinct to buy something he doesn't need suggests that perhaps he is confused about his intentions. Sometimes he consciously uses money as a vehicle for something else. He admits this understanding when he says, “When a virtuous convention is established between man and woman, it sanctifies their most private promenades” (90). But in describing his encounters he doesn't talk so much about monetary rewards as about "sentimental" rewards. When he sees a beggar ask for money only from women, and get it without fail, he is at once very curious to know "what kind of story it was, and what kind of eloquence it might be, that would soften the hearts of women" (119). He cannot forget this sight, and later explains that "[he] would have given anything to [get] to the bottom of it; and that, not out of curiosity – it's such a low principle of inquiry, in general, [he] wouldn't buy it gratification with a dime - but a secret... which so soon and so certainly softens the heart of every woman you [approach], [is] at least a secret equal to the philosopher's stone" (123). Interestingly, once again, he narrates in displaced monetary terms. His excessive interest in this man's "secret" betrays his desperate search for any opportunity to successfully conduct any kind of exchange. His prize is different from that of the beggar: he wants to learn how to get everything he wants from a woman. He is obsessed with an act that has all the characteristics of a sale, without the actual passage of money. People and emotions are the currency of choice in most Yorick trades. An emphasis on money is simply a stress on reward. The reward varies in each situation, but is rarely the actual item purchased. Gratitude is a commodity deemed valuable in its unique barter. He is immediately struck when the beautiful Grisset in the glove shop stands up to answer his initial question: "Tres volontiers; very willingly," she said, placing her work on a chair beside her and rising from the low chair on which she was sitting, with such a cheerful movement and one.