The Life and Opinions of Tristram Sha
Dec 2013 · Simon and Schuster
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732
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About this ebook
Ostensibly Tristram's narration of his life story, one of the central jokes of the novel is that the main character cannot explain anything simply without making explanatory diversions to add context and colour to his tale, to the extent that we do not even reach Tristram's own birth until Volume III. Most of the action is concerned with domestic upsets or comic misunderstandings, which find humour in the opposing temperaments. In between such events, Tristram as narrator finds himself discoursing at length on sexual practices, insults, the influence of one's name, noses, as well as explorations of obstetrics, siege warfare and philosophy, as he struggles to marshall his material and finish the story of his life.
About the author
If Fielding showed that the novel (like the traditional epic or drama) could make the chaos of life coherent in art, Sterne only a few years later in The Life and Opinions of Tristram Shandy, Gentleman (1760--67) laughed away the notion of order. In Sterne's world, people are sealed off in their own minds so that only in unpredictable moments of spontaneous feeling are they aware of another human being. Reviewers attacked the obscenity of Tristram's imagined autobiography as it was published (two volumes each in 1759, early 1761, late 1761, 1765, and one in 1767), particularly when the author revealed himself as a clergyman, but the presses teemed with imitations of this great literary hit of the 1760s. Through the mind of the eccentric hero, Sterne subverted accepted ideas on conception, birth, childhood, education, and the contemplation of maturity and death, so that Tristram's concerns touched his contemporaries and are still important. Since Tristram Shandy is patently a great and lasting comic work that yet seems, as E. M. Forster said, "ruled by the Great God Muddle," much recent criticism has centered on the question of its unity or lack of it; and its manipulation of time and of mental processes has been considered particularly relevant to the problems of fiction in our day. Sterne's Sentimental Journey (1768) has been immensely admired by some critics for its superb tonal balance of irony and sentiment. His Sermons of Mr. Yorick (1760) catches the spirit of its time by dramatically preaching benevolence and sympathy as superior to doctrine. Whether as Tristram or as Yorick, Sterne is probably the most memorably personal voice in eighteenth-century fiction.
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