In the novel, Tristram Shandyby Laurence Sterne, it is clear that both the form and content are in a continuous antagonism with each other. An analysis of the book, the Tristram Shandy is essential in describing relationship between content and form and their significance. Using relevant illustrations and examples is essential in developing a conclusion that fits the purpose of the book. Analyzing the relationship between form and content in Sterne’s novel is imperative in clarifying the role of these aspects in the development of the literary work.
According to Eymer, the form of a novel is by definition, the kind or genre of a book and content on the other hand is what the novel is all about (260). Looking at the novel Tristram Shandy, it is evident that it takes the form of a fictional novel, although to some point it bears the characteristics of a Bildungsroman. The term Bildungsroman has been used in recent years in different novels and the concept describes the development of a character of an individual in a society. This genre highlights the growth and development of a character in a novel. In this context, Sterne’s work may be viewed as realistic, but fictional narrative.The action revisited in Tristram Shandy covers the years 1680-1766 in different volumes and it essentiallya story of the author’s life (Eymer 261). However, the story lacks organized chronology as it has different pieces of his life rearranged to fit the humorous intentions of the novel. The author also developed the basic framework for his novel by gatheringvarious stories to develop create a dominate chronicle.
Tristram's story starts when conceived as an egg, the Homunculus (Eymer 263). This is in defiance with the epic tradition where stories start in the middle of events.Tristram presents an interesting exception as he takes on a beginning from his conception. A good example being the incident wherehis mother during the sexual episode with his father interrupts by asking an irrelevant question on whether or not Walter had wound the clock (Laurence 4). This leads him into the difficulty of narrating events he can hardly comprehend. For instance, during the naming of Tristam, he was delivered when Walter and Toby were on their way downstairs; contemplating the greatness of "Trismegistus" as a name, he then discusses howhis first day of life is covered in the fourth volume of the story of his life (Laurence 17).This questions the credibility of the author as an autobiographical narrator. In this respect, it is evident that the content of the novel acts to break the form of the novel making the chronology of the story complex and unorthodox.
Furthermore, the observation that the content and form confuse each other is apparent in the novel. Content interferes with form when the autobiographical form of the novel is disqualified when the author illustrates incidences before his existence. Tristam is able to relate when Walter and Uncle Toby were in the parlor discussing the armies at Flanders and Walter lapsed in a moment of physical confusion (Laurence 18). The content on the other hand confuses the form when the novel takes on a different path from its initial intended. A relevant illustration of this appears when the author acknowledges in the beginning that his narration is not conventional and demands endurance of the reader (Laurence 3).
One can also identify “jumping” or inconsistency in the form. At one point, the book is autobiographical when it recalls the life events of the child through his conception, birth, naming, and circumcision to the adult Tristam. In another twist, the novel is aBildungsroman especiallywith the development of Tristram, as he becomes the family heir, when news is received that his elder brother Bobby is dead (Laurence 27). On the other hand,Tristram Shandyisa fictional novel because all the characters are fictitious, Walter, Elizabeth and Toby Shandy, Trim, Dr. Slop, Yorick, Sussannah and even Widow Wadman.
Another significant observation includes the account that the content of the novel is not logical is well explained by the unrealistic nature of the book. Some of the narrations in the story would be less essential if the author integrated real events into the storyline. A good example is the idea of the hobbyhorse, casually introduced in the novel by Tristam (Eymer 262). The novel dramatizes the way they lead someone into a state of total self-absorption, throughcontinuous preoccupation whereby everything in the world is subordinated to the extent of obsession. This offers an objective window on reality, discrediting the arguments presented in the novel.
Finally, lack of form and content in the narrative is similarly evident. Nevertheless, this makes the narrative unique. From the previous discussions, it is apparent that form and content clash with each other throughout the story that they both fail to establish distinctive roles and specifications in the book. However, this does not affect the flow of the novel, largely because the voice and interpretations of the writer provide a source of continuity. The success of the novel is therefore largely because of this struggle of dominance between the form and content, which has proved a good ingredient for the literature by Sterne.
Works Cited
Eymer, Tom. Laurence Sterne's Tristram Shandy : A Casebook / Edited By Thomas Keymer. n.p.: Oxford ; New York : Oxford University Press, 2006. Harvard Library Bibliographic . Web. 14 May 2013.
Laurence Sterne. The Life and opinions of Tristram Shandy, Gentleman. Pennsylvania;
PennsylvaniaState University, 2006. Print.
