logo

53 pages 1 hour read

The Life and Opinions of Tristram Shandy, Gentleman

Fiction | Novel | Adult | Published in 1759

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Volumes 7-8Chapter Summaries & Analyses

Volume 7 Summary

Tristram reiterates his plan: He will write “two volumes every year” as long as his mind and body allow him to do so (385). Though his spirit remains strong, his health is suffering. He may not finish his project. He has so much to write and so much to say, he explains, and no one can write his story but himself. This desire motivates him to keep moving. He plans a trip to Europe and begins his new narrative when he is in Dover, about to set off for a tour of the continent.

The sea is rough and makes Tristram feel “sick as a horse” (386), but he arrives in the French port of Calais. Many travel writers have described Calais, he says, so he need not go into detail. When he does attempt to describe parts of the town and its history, he comes dangerously close to becoming sidetracked again. When he realizes he is nearly reproducing the 50-page long account of the siege of the town in 1346 written by Rapin, he stops himself.

Tristram travels from Calais to Boulogne and complains that French transport is always unreliable. He reaches Montreuil, where he meets an innkeeper’s daughter named Janatone. He praises her beauty. However, he still feels as though he is being chased by the specter of Death, so he continues his journey. He stops in Abbeville, where he does not like his accommodation. Determined to reach Paris, Tristram complains that he cannot sleep in a stagecoach. The “incessant” changing of the horses means that he must wake up every six miles to pay more.

Tristram reaches Paris. After surveying the streets of the city, he complains about trying to find a hotel. He apologizes to the reader, as he cannot stay in Paris very long. Instead, he resumes his journey. Tristram dislikes the slow speed of his journey. Mentioning the best ways to make a French horse move, Tristram begins an anecdote. In his story about an abbess who is unwilling to swear, he uses many benign French words that sound almost like “horrid” English words (408). Tristram travels through a series of French towns and describes them in short order. He passes through Fontainebleau, Sens, Joigny, and Auxerre. In his youth, he explains, he took a similar journey to Europe. He and his family (except Elizabeth) visited many of these same destinations. When Tristram remembers the trip, he thinks of his father’s eccentric behavior. He shares a few anecdotes, and, after doing so, he is surprised about how his narrative has begun to overlap with itself. His memories of Europe intermingle with his contemporary journey across the continent.

As they enter Lyon, Tristram must sell his coach. The journey has worn it out so much that it is nearly unusable. Tristram encounters a string of annoyances in Lyon. He feeds a macaroon to an ass that he names Honesty, but someone drives the ass away, and it rips Tristram’s trousers. Next, he learns that he must pay a large fee to travel to Avignon. Even when he claims that he will travel by boat, he is told that he must still pay the fee. He eventually gives up on arguing and tries to joke his way out of the situation. Though he pays the fee, he comes away feeling satisfied. As he is leaving, however, he realizes that he has left his important notes in the carriage. He rushes back, only to find that the wittiest notes have been curled up almost beyond repair. Tristram takes them away, promising to salvage what he can. Eventually, he reaches the south of France, where he finally feels as though he has escaped Death. On the back of a mule, he crosses the Languedoc plains. Such environments are terrible for travelers and travel writers, he says, as there is nothing to describe. Tristram devises a Plain Story, promising that he will write more such stories in the future. Right now, he remembers that he promised to tell the story of Toby’s romance with Widow Wadman. As he rides, he remembers a village maid named Nanette with whom he once shared a dance. He wishes that every day of his life could be as pleasant as the evening he spent dancing with the “sun-burnt daughter of Labour” (431).

Volume 8 Summary

Tristram repeats his belief that traveling backward and forward across his life is the best way to tell his story. He promises to tell the story of Toby’s romance, but he cannot promise that there will not be digressions and distractions. Earlier, Tristram says, he mentioned that Toby was the last person to learn about his love affair. If Susannah had not mentioned it, then he might never have discovered that he was in love. A series of speculations distracts Tristram’s narration so much that he must abandon the entire chapter and start again.

Toby and Trim first moved to the Shandy country estate so that they could work on their model of the battlefield. Upon arrival, they discover that the house is “unfurnished” (440), so they spend three days in the house of Widow Wadman. After these three days, she has fallen “in love” with Toby. Since Toby is so preoccupied with his model fortifications and his “councils of war” (445), he does not notice her. He spends 11 years working on his hobbyhorse without realizing that Widow Wadman loves him. Tristram frames the widow’s romantic approach to Toby as though it were a military campaign. She picks a strategic position near Toby’s model battlefield and launches her attack. She pretends to take an interest in the meticulously recreated battlefield, and, as she asks him to explain certain maneuvers and operations, he touches her hand. Gradually, as she engineers more of these intimate moments, she can draw Toby closer to her. Eventually, however, Toby and Trim are forced to dismantle their model battlefield. Trim tries to tell Toby a story about the King of Bohemia, hoping to raise his spirits, but he cannot tell the story without digressions about how he found love. Trim was wounded in the knee and was nursed back to health by a nun, he explains. After many knee massages, he realizes that he loves the nun. Just as the story reaches a climax, Toby interrupts. He finishes the story in a more mundane manner on Trim’s behalf, naively ignoring all sexual implications.

During this time, Widow Wadman has been eavesdropping. She recognizes the intense passion of the moment and launches her attack. She hides herself in the sentry position and calls out to Toby, claiming that there is something in her eye. Toby examines her eye and finds nothing. As he stares into her eyes, however, something begins to stir inside him. This is an important moment in the affair. Later, Toby tells Trim that he is in love with Widow Wadman. They plan a strategy of conquest, making themselves weapons and uniforms. At the same time, Trim decides that he should woo Bridget, the servant in Mrs. Wadman’s house. During this time, Widow Wadman confesses to Bridget that she is concerned that the “monstrous wound upon [Toby’s] groin” might have rendered him impotent (469). Just as they are planning to launch Toby’s plan, Walter sends a letter. In the letter, he provides a deluge of advice about women. The romantic operation is scheduled to begin at 11:00 am the following day. That morning, Walter and Elizabeth venture out into the grounds to watch.

Volumes 7-8 Analysis

Volume 7 departs from the story of Tristram’s childhood to follow the adult Tristram as he travels across France. The new setting offers both insights into the adult Tristram’s character and a new manifestation of the theme of Association, Digression, and the Nature of Memory. As Tristram travels through France, he passes through towns that he visited with his father and uncle years ago. Volume 7’s narrative is as digressive as any other volume of the novel, but Tristram’s digressions are prompted by the memories he associates with the places that he visits. Walter and Toby still find prominent roles in Tristram’s story, now as anecdotes from his own memories rather than stories that focus on Walter and Toby’s exploits and hobbyhorses. The way association, digression, and memory interact in this volume of the novel suggests that Tristram’s own hobbyhorses are his memories and his family. His other hobbyhorse is his preoccupation with his impending death. The sudden shift in narrative focus in Volume 7 is prompted by Tristram’s sense of mortality. Earlier in the narrative, he feared that he may never be able to finish his story. As his health deteriorates, he begins to see the haunting figure of Death chasing him across the continent, and he races against time to capture all the memories and experiences he can.

Tristram’s interactions with women in Volume 7 foreshadow and contrast with Toby’s history with Widow Wadman in Volume 8. While Toby is naïve in his interactions with women, Tristram is a dedicated flirt. His frequent sexual innuendos make more sense in the context of his adult personality; his uncle’s reticence about sex is nowhere to be seen, as Tristram makes sexual comments to many women in a way that would make Toby blush. Despite their very different relationships with women and sexuality, however, the narrative parallels Tristram and Toby with the injuries to their groins and the implication that they may be impotent as a result of them. The transition from Tristram’s doomed quest to preserve his family’s legacy through his writing and Toby’s doomed romance with Widow Wadman may seem arbitrary, but one way that the two stories are connected is that they both represent the failure of Shandy men to secure the Shandy family’s posterity.

More than ever, Volume 8 demonstrates the relationships among association, digression, and the nature of memory. He interrupts Toby’s story with context, asides, and footnotes, to the point where he becomes aware of his continuous interruptions and begs for the audience’s forgiveness. Each memory prompts another, which prompts another, which prompts another. The idea of a linear narrative itself becomes absurd, as Tristram can barely wrangle his own thoughts. Soon, his characters begin to exhibit the same tendencies. Trim interrupts his own stories, which are then interrupted and corrected by Toby. Everything is a digression, so much so that the chronology of the novel has become irrecoverably fractured. In doing so, the non-linear narrative becomes a comment on Tristram’s character. His attempts to tell the story of his life have fallen apart, while the novel has emerged as a sketch of his entire character. The novel is Tristram in a literal sense, functioning as a map of his mind and the interconnectedness of his recursive thoughts. Rather than splitting the narrative, the digressions create nuance in a sketch of Tristram’s character.

blurred text
blurred text
blurred text
blurred text
Unlock IconUnlock all 53 pages of this Study Guide

Plus, gain access to 8,800+ more expert-written Study Guides.

Including features:

+ Mobile App
+ Printable PDF
+ Literary AI Tools