Among the lesser evils that plague Walter is the squeaking hinge that always disturbs his naps; his involvement with great projects and theories and his absolute incompetence in dealing with little matters are two of the ironies of his character. His son, Tristram, isn't very much different: although he sees the irony in his father's incompetence, he has obviously inherited the inability to cope with small problems.
Toby's illusion about the importance of his hobby is funny, but our laughter at it doesn't obscure the inherent humanity and altruism in his character. Walter and Toby's love for each other is shown several times, not only in Walter's ready forgiveness about the heirloom boots but also in Toby's sympathy with Walter's shock about Tristram's nose.
The problems of story and digression are again dealt with, and our understanding of Tristram's method grows with his discussion of the choices he has to make about when to introduce parts of his story. His comments about the helplessness he feels serve to underline his techniques.
These techniques are undeniably effective. When we analyze the order of story and digression, we find this arrangement of cause and effect: a bridge is mentioned; Toby mistakes the bridge, we are told; Toby has courted Widow Wadman and Trim had courted Bridget; Trim continued his courtship, although Toby discontinued his; the drawbridge was destroyed in Trim's courtship; Walter teased Toby and Trim about the destruction of the drawbridge; Toby doesn't know enough about the new bridge he intends to build; Dr. Slop is "making a bridge"; Walter begins to tease again; the bridge is for a smashed nose. Each of the antecedent events needs to be told if we are to know the entire situation. The accumulation of these events makes the whole story far more profound than it could be otherwise; and because the author tells us what he is "forced" to do in order to present that story, we escape the boredom we might otherwise feel.
