Gulliver's Travels Critical Analysis PDF

Claremont Colleges Scholarship @ Claremont CGU Theses & Dissertations CGU Student Scholarship Spring 1949 Swift and Lemuel Gulliver: A Critical Study of Gulliver's Significance to the Satire in Gulliver's Travels (1949) Virginia Lee Sipe Fo...

Claremont Colleges Scholarship @ Claremont CGU Theses & Dissertations CGU Student Scholarship Spring 1949 Swift and Lemuel Gulliver: A Critical Study of Gulliver's Significance to the Satire in Gulliver's Travels (1949) Virginia Lee Sipe Follow this and additional works at: https://scholarship.claremont.edu/cgu_etd Recommended Citation Sipe, Virginia Lee. (1949). Swift and Lemuel Gulliver: A Critical Study of Gulliver's Significance to the Satire in Gulliver's Travels (1949). CGU Theses & Dissertations, 150. https://scholarship.claremont.edu/cgu_etd/ 150. doi: 10.5642/cguetd/150 This Open Access Dissertation is brought to you for free and open access by the CGU Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in CGU Theses & Dissertations by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected].  SWIFT AND LEMUEL GULLIVER: A CRITICAL STUDY OF GULLIVER’S SIGNIFICANCE TO THE SATIRE IN GULLIVER’S TRAVELS By Virginia Lee Sipe A Thesis presented, to the General Faculty of The Claremont Graduate School in partial fulfillment of the requirements for the degree of Master of Arts Faculty Advisor Faculty Examiner Date  158 4511 TABLE OF CONTENTS CHAPTER , PAGE I. INTRODUCTION................................................................................................................ 1 II. ANALYSIS OF GULLIVER’S ROLE IN LILLIPUT............................... 1J III. ANALYSIS OF GULLIVER’S ROLE IN BROBDINGNAG...................... 2? IV. ANALYSIS OF GULLIVER’S ROLE IN LAPUTA......................................... 47 V. ANALYSIS OF GULLIVER’S ROLE IN HOUYHNHNMLAND................ 56 VI. CONCLUSION........................................................................................................................... 69 BIBLIOGRAPHY.......................................................................................... 75  CHAPTER I INTRODUCTION Lemuel Gulliver is more than a conventional narrator of Gulliver's Travels. He is an individual whose experi­ ences remain in the readers’ minds long after the last page has been read and the book closed. Mox’eover, he is not Jonathan Swift. Rather he is a dramatically conceived figure whom Swift manipulated to achieve effectiveness in his satire. Despite short-sighted critics who have stero- typed Gulliver’s role, we find that his reactions typify an individual. We sympathize with Gulliver, but at times we laugh at him and see a reflection of human folly. Thus, it was through the portrayal of his dramatic narrator that Swift achieved complex, yet perspicuous, satire. At the beginning of the Travels. Gulliver gives the following account of himself and his family. He had studied at Emanuel College, Cambridge, for three years, followed by a four year apprenticeship under a London surgeon. In order to prepare himself for travel, Gulliver used his spare time to study navigation and. mathematics. Then he spent two years and seven months studying physics at Leyden. After several voyages, Gulliver married and settled down to practice medi­ cine in London. But his practice was unsuccessful, and he decided to return to the sea. Gul11var is not a brilliant man, nor does he ever seem to be engrossed in complex, psychological problems. Yet,  2 lying beneath this simplicity is an eagerness to discover the thoughts and manners of all peoples, an attitude which reveals a curious, searching mind. As he admits at the beginning of the Voyage to Laputa, even past misfortunes do not remove his urge for seeing the world; this urge is not that of a mere sight-seer, for Gulliver is interested in societies, in their ideals and actions. Gulliver, in short, is an amateur critic of society; throughout the first three voyages, he describes and interprets his obser­ vations and experiences in Lilliput, Brobdingnag, and Laputa. Although Gulliver has some prejudices, especially in the form of patriotism for England, he maintains an open, in­ quiring mind until his association with the Houyhnhnms. Among the rational horses, he loses this questioning quality of mind, for he binds his mind with Houyhnhnm perfection to such an extent that he completely rejects a life based upon any other principles. This preview of Gulliver suggests that his role in the satire is entirely logical in development. It implies a gradual, but coherent, evolution of his mind and cnaracter. Such an interpretation would demand from the reader a con­ sistent attitude toward Gulliver. But we find that our basic feelings toward him change as we read the book. We do not always follow his actions and opinions with admiration or even with sympathy or understanding. For example, we must laugh at his unawareness of the size relationship between Lilliputians and himself when he very conscientiously defends the pigmy woman’s reputation against the scandal surrounding  3 her relations with him. We must also smile at Gulliver’s patriotic defense of his debauched countrymen and his com­ plete rejection of the superior ideals of the Broodingnagians. If the inconsistencies in his character are not too glaring and if his thoughts and actions do not deviate too much from the average or universal, he may be regarded as a representa­ tive of mankind. And there is the possibility that he is conveying the beliefs of the author and could then be identi­ fied with Jonathan Swift. Such an identification would mean that Swift projected the epitome of his own thoughts into the speech and reactions of Gulliver. When attempting to define the role of Swift’s character, one faces this question: just what is Gulliver meant to represent and what is his relation to the satire of the Travels? Let us consider the opinions of the more prominent critics concerning Gulliver’s role in the satire. Earlier interpretations of Gulliver’s Travels reveal that the critics tended to identify Gulliver with Swift. This assumption has affected especially the interpretation of "A Voyage to the Houyhnhnms,” the section of the Travels which has received most critical attention, and some of the fiercest indictments ever directed against a piece of liter­ ature. Identifying the author with his misanthropic charac­ ter, these earlier critics have damned Swirt as an embittered misanthrope. One of the early nineteenth century critics, William Hazlitt, has shown insight into the general method of satire when he suggested that Swift, by looking at life objectively,  4 was able to strip from it all pretense and reveal human nature as it really is. But he identified Gulliver with his creator and concluded that Swift found human nature to be utterly worthless and in the last voyage rejected mankind as hopeless. Thus, in Hazlitt’s words, He has taken a new view of human nature, such as a being of a higher sphere might take of it; he has torn the scales from off his moral vision; he has tried an experiment upon human lifef and sifted its pretensions from the alloy of circumstances; he has measured it with a rule, has weighed it in a balance, and found it, for the most part, wanting and worthless---- in sub­ stance and in show. Nothing solid, nothing valuable is left in his system but virtue and wisdom. What a libel is this upon mankind.’ What a convincing proof of misanthropy!1 Writing later in the century, William Makepeace Thackeray, on the basis of the supposed misanthropy of the last voyage, attacked Swift in a violent manner unparalleled in Swiftian criticism. When Thackeray wrote the lashing condemnation which follows, he did not consider the relative positions of Swift and Gulliver. As for the humor and conduct of this famous fable, I suppose there is no person who reads but must admire; as for the moral, I think it horrible, shameful, unmanly, blasphemous; and giant and great as this Dean is, I say we should hoot him. Some of this audience mayn’t have read the last part of Gulliver, and to such I would recall the advice of the venerable Mr. Punch to persons about to marry, and say "Don’t.That last part of "Gulliver" is only a consequence of what has gone before; and the worthlessness of all mankind, the pettiness, cruelty, pride, imbecility, the general vanity, the foolish pretension, the mock greatness, the pompous dullness, the mean aims, the base successes---all these were 1 William Hazlitt, Lectures on the English Poets (London: Oxford University Press, 1924), p. 171  5 present to him; it was with the din of tnese curses of the world, blaspnemies against Heaven, shrieking in his ears, that he began to write this dreadful allegory—of which the meaning is that man is utterly wicked, desperate, and imbecile, and his passions are so monstrous, and his boasted powers so mean, that he is and deserves to be the slave of brutes, and ignorance is better than his vaunted reason...A frightful self-consciousness it must have been, which looked on mankind so darkly through those keen eyes or Swift. Though not so extreme as was Thackeray in his attack upon Swift, Leslie Stephen unconsciously regarded Swift as corresponding to Gulliver and concluded, ’’Swift’s view of human nature is too black to admit of any hopes of their millennium.”-? Stephen is referring here to tne misanthropy in the last voyage and has laid the blame entirely upon Swirt. The identification of Swift with his fictional charac­ ter does not fade entirely in the views of twentieth century critics, for Basil Willey has linked Swift’s personal life with the misanthropic actions of Gulliver in Houyhnhnm Land. He suggested that Swift carried his criticism of men to the point of labelling tnem Yahoos and rejecting them in favor of horses, the symbols of reason. Willey has not directly acknowledged his identification of Swift and Gulliver, but his statement below implies such an assumption. But Swift fell more and more out of love with man, and the result---- his final tragedy---- was the total dissociation or Houyhnhnm from Yahoo. So remote 2 William M. Thackeray, His English Humorists jjf Eighteenth Century (New York: Ginn and Company, 1911), pp. 31-2 3 Leslie Stephen, Swift (New York: Harper and Brothers, n.d.), p. 180  6 became his ideal that he could not symbolize his disembodied rationals as men at all, but only as horses. Man delighted him not, nor woman neither, so he escaped into his satiric fairyland....45 Thus, critics of the past and of the present have assumed that Gulliver, as Swift’s puppet, is a convenient and effective medium for conveying the author’s ideas to the world. The critic who accepts this point or view naturally concludes Gulliver’s aversion to mankind in the last voyage to be Swift’s belief, and condemns Swift as a misanthrope. Thus, the basic assumption which defines Gulliver’s role limits and directs the interpretation of the Travels. Another assumption, which has been commonly held by twentieth century critics of Swift, is that Gulliver is intended to represent mankind. In certain portions of the Travels, he does seem to be such an ’’Everyman.” But beneath such stereotyping of Gulliver’s role is false reasoning akin to assigning the properties of parts to the whole. Herbert Davis has called Gulliver an "Everyman,”-3 and William Eddy lent support to this view when he offered this conclusion: The first representative of the race is Gulliver himself, a typical human being, in no way extra­ ordinary, who learns many tnings, in the course of his travels, to the shame and humiliation of his race....Gulliver is the allegorical representative of man, as truly as Christian is in Pilgrim’s Progress.6 4 Basil Willey, The Eighteenth Century Background (London: Chatto and Windus,194-0), p. 10R, 5 Herbert Davis, The Satire £f Jonathan Swift (New York: Macmillan Company, 194-7 )» P» B3 6 William Eddy, Gulliver’s Travels: A Critical Study (Princeton: Princeton University Press, 1923), pp. 99-100  7 evidently failing to notice Swift’s clever handling of Gulliver in relation to the Houyhnhnms in order to in­ tensify the satire, Eddy has unjustly concluded, ’’Someone has blundered, and I fear me it is Swift.”7 Mr. Eddy based this conclusion upon what he regarded as the defect of the fourth voyage: the stupidity of the Houyhnhnms who fail to recognize the superior adaptive qualities oi man’s physical structure in comparison to their own. But it is Gulliver's mind which is so bound by the excellent qualities of these "paragons of reason" that he overlooks such obvious defects in their natures. Thus, even the ideal, when untempered, will lead the mind into folly. Jonathan Swift did not munder, nor is there any evidence of such error when Gulliver’s de­ velopment is analyzed in relation to the author's satiric purpose and method. John F. Ross has refuted Eday’s interpretation, and in his re-evaluation of the fourth voyage, Mr. Ross has offered a most cogent argument in support of the theory that Swift is not to be identified with the misanthropic Gulliver.^ Ross begins by distinguishing two types of satire: the light, comic satire of Horace and the lashing, corrosive satire typical of Juvenal, both of which are skilfully used by Swift. The comic satire is more prominent in "A Voyage to Lilliput," but it gradually gives way to the corrosive type which dominates the 7 Ihia, p. 189 8 John F. Ross, "The Final Comedy of Lemuel Gulliver," University of California Publications in English, V. 8, #2(194-1), p. 175-96  8 last voyage. This gradual increase in corrosive satire parallels Gulliver's mental preparation to accept misanthropy. In the first voyage the reader feels effects of comic satire when confronted with the conflicts between High-H^els and Low-Heels and between Big-Endians and Little-Endians. In only one episode is the impact of corrosive satire evident: the episode of Gulliver’s impeachment, especially the court debate, which vividly reveals the inhumanity and cruelty of the ministers, of the Emperor who deems himself lenient, and of Gulliver’s friend, Reldresal, who has suggested the blind­ ing and gradual starvation of Gulliver. A comic episode follows which clearly reveals not only tnat Swift is not to be identified with Gulliver but offers an example of the in­ consistency in character development: Gulliver vindicates the reputation of a Lilliputian lady. The absurdity of the situ­ ation is emphasized by the preceding details, wnich so very pointedly have established the size relationship between him and the Lilliputians. Clearly, Swift's character is unaware of the actual situation and becomes a comic foil at the hand of Swift. However, Mr. Ross is not bothered by Gulliver’s stupidity; he finds it right in character:...Swift is achieving his effects by means of a created character; and we see that it is not deliberate understatement for Gulliver, it is simply a result of his character. It is all he finds worth saying. He has definite limitations of mind, which in spite of his development he never outgrows, even in the last voyage.? 9 Ibid, p. 181  Mr. Ross emphasizes that Swift increased both comic and corrosive satire in the second voyage. The comedy, he explains, is achieved at the expense of Gulliver, who retains pride despite his reduced status in Brobdingnag. Likewise, it is this patriotic pride that underlies the corrosive satire: Gulliver is indignant that the King re­ ceives his descriptions of Europe unfavorably and concludes the King to be provincial because he is horrified when offered the gunpowder formula by which he might maintain absolute dominion over his people. Mr. Ross describes the change in satiric method and purpose which distinguishes the voyage to Houyhnhnm Land from the rest of the book: Swift predominantly used corrosive satire in attacking the fundamental causes behind the defects and follies in man’s actions. Swift added the comic element which concerns the absurd Houyhnhnm conviction that the anato­ my of a horse is superior to that of man. In the effort to show that Gulliver’s worship for the horses was not shared by him, the author made Gulliver an object of comedy. In support of the view that Swift intended parts or the last voyage to be comical is a letter to his publisher, Motte, in which he specifically suggested various parts of the last voyage as being suitable for illustration. However, it is Gulliver’s worship of the Houyhnhnms which foreshadows what Ross terms ’’the final comedy of Lemuel Gulliver.” Gulliver’s sentimental departure from Houyhnhnm Land has been considered by many to be the end of the Travels. but a lack of attention to tne  10 remaining chapters leads to the misrepresentation of the entire voyage as being the revelation of Swift’s misanthropic view of humanity. In the last chapters Swift provided Gulliver with a friend, the completely virtuous Portuguese sea captain, whose physical resemblances to the abhorrent beasts in Hou- yhrihnm Land prompt Gulliver to disregard his virtues and to label him a Yahoo. Swift was in full control of his corrosive satire at this point. And it is by making the misanthropic Gulliver the object of final comic satire that Swift tran­ scended this hatred of mankind. Mr. Ross’ reinterpretation based upon the use of character development to evolve and intensify satire becomes a landmark in the criticism of Gulliver’s Travels. But as indicated eartier, a more de­ tailed analysis of the relations between Gulliver’s character and Swift’s satire will support the theory that Swift orten sacrificed consistency of characterization to achieve satiric effect. Since critics began to consider Gulliver as an individual, they have been prone to build a logically consistent role for him. John B. Moore perfectly exemplifies this tendency. He refutes the older assumptions which identify character with author and which consider Gulliver to be a representative oi mankindt and then constructs an ideal character evolution which he calls the "sophistication of Gulliver." Moore points to the revelations of Gulliver’s kindness and patriotism in the early voyages as preparation for the readers’ acceptance of the misanthropic ideas; thus, Moore feels that through  11 skilful characterization, Swift attempted, to gain acceptance of his own misanthropy. In essence the following are Moore’s convictions: In certain ways, he surpasses the average man and., in certain other ways, he is peculiar or just cliff erent from the average without being superior or inferior. He is, to be sure, an example of a man getting knowledge or wisdom. But Swift is able for his purposes to create a human being much more perfectly appropriate and. more real than a mere average Or representa­ tive figure. So quietly natural is the process of creation in Swift’s hands that it has scarcely been appreciated as a marvel of artistry. Gulliver is an entirely credible and probable person at the same time that he is precisely the person to enforce Swift’s demonstration..To infect others with his own ardent misanthropy, Swift could not have chosen a more eirective human instrument thau Lemuel Gulliver, it would. se«m.,lJ Mr. Moore’s last sentence in the aoove quotation indicates that he has fallen into the error of identifying Swift with Gulliver which he refuted earlier in the article. He has failed to recognize that Swift rose above the misanthropy of Gulliver. Although Mr. Moore’s analysis of Gulliver as an individual is admirable, his failure to regard inconsistent cies in characterization has led to his distorted view of Gulliver’s role. Viewing in perspective past criticism of Gulliver’s Travels, we snail find that tnere has been a general shift in point of view: theory has abruptly swung from the stereo­ typed interpretation of Gulliver’s role to individualized characterization. There is need for partial reconciliation 10 John B. Moore, "The Role of Gulliver," Moferfl Philology. XXV(1?28), p. 470 of these extreme points oi view. Contemporary critics snould use the theory of individual characterization as a basis for developing the role of Gulliver, but here the modern critics have been so intent upon proving the stereotyped theories to be obsolete that this subordinate aim has overshadowed the goal of determining Gulliver’s role. Inconsistencies must not be overlooked in the effort to build a perfect picture of character development. Satirical purpose guided the charac­ ter development of Gulliver toward the achievement of the satiric effects wnich Swift desired. One must remember that satirical effect was paramount in Swift’s purpose and that Gulliver actually became part of that effect. But if Swift saw an opportunity to strike at the vices and follies of man­ kind, he would not reject the opportunity even though Gulliver’s character development were impaired. Such is then our purpose in this analysis of Swift’s Travels: to see how Gulliver con- trioutes to the satiric effect.  CHAPTER II ANALYSIS OF GULLIVER1 ROLE IN LILLIPUT Before Gulliver starts on the first voyage of his travels, he outlines the important events in his life. This brief history serves as a character sketch, out­ lining the traits, abilities, and habits which explain Gulliver’s later reactions. In fact, we shall see that these traits form the nucleus around which Swift centered much or his satire. Gulliver tells us that his fatner’s small estate was inadequate to provide for the futures of the five sons in the Gulliver family. And Gulliver, being the third of the five sons, was not in a position to re­ ceive much financial aid from his family. Thus, he could not complete his Cambridge education, and was apprenticed to an eminent London surgeon. His family background and education lead us to regard Gulliver as a typical Englishman belonging to middle class society. Although Gulliver is a representative of a particular class of English society, he is also an individual with characteristics of his own. We notice, for example, that he has an inquiring mind. His leisure time aboard ship is profitably spent in reading the best authors, ancient and modern. And more important, he is anxious to learn how other peoples live; tnus, on foreign shores our voyager closely observes the manners of the people. He is interested in people’s thoughts and actions in relation to their societies*  14 Gulliver is a practical sociologist in this respect. But Gulliver has another trait which marks him an individual. He is honest and kind, even humanitarian in spirit. For, we learn that his medical practice in London began to fail, not because he was incompetent, but because "my Conscience would noi suffer me to imitate the bad Practice of too many among my Brethren."11 Such an attitude denotes a desire to do right by his fellow men, to treat them with respect. Cur first general impression of Gulliver is, then, of an English­ man belonging to middle class society, a man whose education is undoubtedly superior to that of an average Englishman, and who possesses an inquiring mind, kindness, and humani­ tarian ideals. Likewise, we shall find that Gulliver’s re­ actions in each voyage are peculiar to his own make-up. In Lilliput Gulliver finds himself among a strange race of pigmies whose customs interest his inquiring mind. He demonstrates the intellect which we felt sure that he had, and he tries, with good common sense, to adjust to Lilliputian society. From Gulliver’s endeavor to reconcile the Lilli­ putian tongue with his knowledge of linguistics, we learn that he has some knowledge of such languages as High and Low Dutch, Latin, French, Spanish, Italian, and Lingua Franca. He is anxious to learn the Lilliputian language and makes considerable headway in three weeks time. From his detailed account of these people, Gulliver has demonstrated the 11 Jonathan Swift, Gulliver’s Travels., ea. Herbert DavisiOxford: Shakespeare Head Press, 1941), p. 4  15 achievements of a skilful observer. The reader receives from this detailed description a clear perception of the size relationship between thB pigmies and Gulliver. Thus, Swift did not present the resume of Gulliver’s past life merely as an incidental addition to his book, but he was offering a brief sketch of Gulliver’s character. Some of the traits in this portrayal contribute to the effectiveness of the satire, and their influence is most clearly seen in two parts: that portion directed against government and that against laws and customs. But we nniat analyze these develop­ ments in order to discover just how Gulliver has influenced the satire. That kindliness of which we felt a trace in Gulliver’s reactions to the corruption in the medical profession becomes even more apparent after the voyager’s arrival in Lilliput. Several times Gulliver has the opportunity to seize forty or fifty pigmies and dash them to the ground. But, having submitted to these little people and received tneir hospi­ tality, he feels obligated to respect them. Fear may be the motivation behind his submission to the pigmies. After awaking in Lilliput and finding himself the captive of a race of pigmisr, he tried to escape. But as he did so, he felt pain from the volley of arrows released from their bows. And he does not forget the smarting sensation which he mentions several times. Thus, we cannot attribute his humane treat­ ment of these little people entirely to a gentle nature but partially to fear for his personal security. However, by the  16 very nature of Gulliver’s enormous size in comparison with pigmy stature, his reactions must necessarily reveal gentle­ ness or its opposite. Moreover, Swift confronted his charac­ ter with another situation in which his temperament is neces­ sarily revealed. A number of the rabble discharged arrows at Gulliver’s face as he was sitting in the entrance to his dwelling; an officer turns six of the culprits over to Gulliver foi- punishment. He succeeds in tnoroughly fright­ ening them, but then gently sets them on the ground. Still another reaction which confirms Gulliver’s gentle nature is his concern for the welfare of the pigmies as he wanders through the metropolis of Mildendo: he is careful to avoid damaging houses or injuring any citizens who have not adhered to the proclamation wnich warned the people to remain under shelter during his visit. When considered together, these episodes do establish a pattern of gentleness in Gulliver’s character. We shall see that this quality becomes important later in the satire, for Swift purposely emphasized it here in preparation for future developments. Gulliver’s friend Reldresal informs him of the party conflict in Lilliput and the condition or war existing between Lilliput and its neighboring country, Blefuscu. As a foreigner, Gulliver flatly declines interference in domestic conflicts, but asks Reldresal to inform the Emperor that he will "defend his Person and State against all In­ vaders" even if his own life be endangered. However, the Emperor has greater aspirations than peace; after Gulliver has captured the Blefuscan Navy, the Imperial Majesty reveals his ardent designs to conquer Blefuscu and to reduce it to a province under his dominion. Gulliver’s answer is indi­ cative of his own moral standards: But I endeavoured to divert him from this Design, by many Arguments drawn from the Topicks of Policy as well as Justice: And I plainly protested, that I would never be an Instrument of bringing a free and brave People into Slavery: And when the Matter was debated in Council, the wisest Part of the Ministry were of my Opinion.1 Again appears that element of justice in Gulliver, the desire to do right by all beings, Gulliver’s attitude has repercussions which lead to the episode involving the court decision, the episode which embodies the most lashing bit of satire in the first voyage. Although Gulliver snows due respect for the righteous ministers in this passage, he continues by saying that those ministers who were secretly his enemies joined with the Emperor to conspire against him. Gulliver follows this avowal with words which express his feelings toward the Emperor’s attitude out which, at the same time, foreshadow future events. Notice that these words serve two purposes: first, they preview the court debate and, second, they epitomize Gulliver’s attitude toward rulers after he has become aware of the Emperor’s part in the ma­ licious intrigue. Of so little Weight are the greatest Services to Princes, when put into the Balance with a Refusal to gratify their Passions. ' It is interesting to notice that Gulliver has universalized  18 this conclusion; that is, he has formed a conclusion based upon his experience with the Emperor and pernaps experiences in the past, and then has applied it to all rulers. Gulliver’*' tendency to universalize is not evident in the earlier part of the voyage but becomes one of the methods by which Swift later intensified his satire, Compare this tendency with the very different and much more complex method of achieving satiric effect in the following passage: I had indeed heard and read enough of the Dispositions of great Princes and Ministers; but never expected to nave found such terrible Effects of them in so remote a Country, governed, as I thought, by.very difterent Maxims from those in Europe.14 This passage reveals satire at its best. Swift achieved the universal, but his indirect approach to it opened ad­ ditional avenues of attack as tributaries to the main stream. Thus, Gulliver’s astonishment at finding such inhumane practice? even in so provincial a country implies that rulers must be everwhere corrupt. But with this general attack upon corrupt rule is the additional one upon European rulers, for Gulliver, in essence, is implying thar the laws or Europe are unjust and lead to poor government. But he is astonished when he finds corruption in the application of Lilliputian laws which he felt to be totally different from those of Europe, and therefore uncorrupted. Thus, European government is implied to be more evil than that of Lilliput, for poor governmental 14 Ibid., p. 51  1? management and corrupt administration of just laws constitute the Lilliputian difficulty; but unprincipled maxims and their unjust execution underlie European government. Such are the complex satirical implications lying beneath Gulliver’s statement. Swift very cleverly put just the right words into Gulliver’s philosophic observation, and only through Gulliver could he have achieved this complex, yet perspicuous, satirical effect. Gulliver likewise plays an all-important part in the development of caustic satire, for he is the object o± un­ just treatment. One of the Lilliputian courtiers reveals to Gulliver details of the council debate and the final decision not only to put out Gulliver’s eyes but to gradually starve him to death. These resolutions had been suggested not by the ungrateful Emperor or Gulliver’s enemies, the jealous and malicious ministers Flimnap and Bolgolam, but by Gulliver’s friend Reldresal. How very bitter the satire is at this point, Gulliver captured the fleet of Blefuscu for the Emperor; but because he refused to be the means o± subjecting the people of Blefuscu to Lilliputian tyranny, the Emperor disre­ garded Gulliver’s past service to him. He even thought him­ self lenient in sanctioning the council decision. How much in contrast to the merciless Emperor and his ministers is the gentle Gulliver who realizes that he could easily stone the metropolis, and thereby destroy Lilliput and save him- self. But he remembers the favors that the Emperor had granted him and the title of Nardac confirmed upon him after he captured the enemy navy. Gulliver, in spite or the vile treatment he has received, retains gentleness and honor. Although he recognizes the Lilliputian practices to be unjust, he will not sacrifice his own moral standards to avenge Lilliputian injustice. Remember that Gulliver once before clung to such moral integrity despite the failure of his London medical practice. Thus, Gulliver seems to be a man of high principles, Gulliver is the medium through which Swift added a bit of irony to the already corrosive satire in the following resolution: At last I fixed upon a Resolution, for which it is probable I may incur some Censure, and not unjustly; for I confess I owe the pre­ serving my Eyes, and consequently my Liberty, to my own great Rashness and Want of Experience: Because if I had then known the Nature of Princes and Ministers, wnich I have since observed in many other Courts, and their Methods of treating Criminals less obnoxious than myself; I should with great Alacrity and Readiness have submitted to so easy a Punishment 1 After we have felt the impact of the extreme cruelty and lack of mercy behind the council decision, Swift shocks man’s pride even further when Gulliver naively implies here that this punishment is less severe than that inflicted upon innocent persons by governing bodies in other parts of tne world. Gulliver has never before become so completely naive. Swift provided Gulliver with this characteristic in order to add irony to his already corrosive satire. Thus,  21 in the development of satire against government, Swift ma­ nipulated Gulliver to achieve the effects he desired. And frequently we find tnat he provided a contrast between Gulliver’s character traits and those standards which he was attacking. Now let us analyze another important part of the satire in Lilliput: the attack on laws and customs co. Europe as well as of Lilliput. Swift achieved the effectiveness oi the satire in this section through two distinct approaches. He pictured some of the Lilliputian laws and customs as models of utopian perfection, and relied upon the intellect of his readers to compare them with tne principles of their own country. Thus, the attack is not explicitly expressed but becomes apparent to tie thoughtful reader. The second ap­ proach provides satire which tends to be more explicitly stated. Through this method, Swift reveals the degeneration of the pigmy institutions into a state of corruption parallel, in general, to that of human practices. At times he extended the attack beyond the reflection that European institutions are decadent and cleverly implied man’s practices to be worse than the Lilliputian delineation. The very evident effects or this latter approach are perceptible in Gulliver's description of the petty diversions at the Lilliputian court. He pictures the tight rope antics of the ministers and their dexterity in leaping over and crawling under a stick manipulated by the emperor. Those giving the best performance and proving themselves to be the  22 most agile receive court appointments and. other favors. The relatively minute size of the Lilliputians which Gulliver has so precisely built up in the minds of the readers makes this performance very absurd. Swift did rely upon the readers to transfer the importance of the episode to their own society and to realize the absurdity of man's corrupt practices. However, Gulliver seems altogether impervious to the true meaning of the situation, for he is pleasantly diverted with the "dexterity and mangificence" of the performance. We have previously noted Gulliver’s high moral standards. Such morals together with his reasonaoly high degree of in­ telligence lead us to believe that he should instantly grasp the significance of this situation. We, the readers, im­ mediately realize the corruption of the ministers and under­ stand Swift’s satirical implications, but we can only wonder at Gulliver’s unawareness. There is only one explanation to this inconsistency: Swift was anticipating a satirical effect when he sacrificed Gulliver’s awareness of this obvious situation. And Swift had to pay the price: Gulliver’s charac­ ter does suffer. But this inconsistency in his characteri­ zation Swift was willing to allow in order to achieve a satiric effect. The first approach involves the representation of Lilliputian institutions as an ideal standard with which to compare corrupt conditions in other parts of the world. The effects of this approach may be seen in Gulliver's descriptions of the Lilliputian educational system. The parents finance their children’s education, for tne Lilliputian  23 believe it unjust for society to assume the burden of sup­ porting the offspring of every man’s lust. Since parents should not be trusted with the education of their children, infants are placed in institutions in order to prepare them to take the place in society that birth has decreed. Notice that the class system is stringently maintained. According to their laws, a false accuser is put to death and the accused recompensed for his humiliation. Fraud, from which the honest man has no protection, is considered a worse crime than theft. In filling government offices, the officials consider men’s morals to be more important than their abilities. This latter point of view seems to be paradoxical when we compare it with Gulliver’s earlier description of th« antics of the Lilli­ putians who are competing for offices. Here is Gulliver’s answer to thv paradox: In relating these and the following Laws, I would only be understood to mean the original Institutions, and not th most scandalous Corruptions into which these People are fallen by the degenerate Nature 01 Man.16 Thus, we are to understand that the original institutions were ideal, but the fantastic stunts illustrate the decadence which has occurred since they were formulated. Notice how cleverly Swift has linked the Lilliputians with mankind, at the same time attacking humanity, when Gulliver says that the pigmies have fallen into such corruptions "by the degenerate Nature of Man." In describing Lilliputian institutions, Swift intention- 16 Ibid, p. 44  24 ally inverted, the order that one would expect; that is, we expect the description of the original ideals to be followed by an explanation of thv present corrupt practices. But this normally expected sequence is not followed, and we find first that Gulliver describes the corrupt practices but is absolutely unaware of the significance of the situation. Then, there follows the description of the ideal nature of the institutions, and then the above quoted explanation of the paradox. This inverted order necessitates the explanation given by Gulliver, and, tnus, Swixt created an effective means to strike directly at the very nature of humanity. I have analyzed the two main satirical developments in the first voyage, and have indicated Swift’s use of Gulliver in the development of satire. Gulliver does not always react in the manner that we expect; that is, his aovions are not consistent, and such diversity weakens his characterization. The inconsistency which I have discussed involves his intel­ lectual capability: his failure to grasp the significance of the competitive performance oi tne ministers. But Gulliver becomes the object of comedy in severax episodes, ana as a result, Swiit allowed further inconsistencies in Gulliver's portrayal. The comedy in all of these episodes ultimately depends upon the clearly defined disparity in size between Gulliver and the Lilliputians and upon the former’s complete disregard of Lilliputian minutia. Thus, Gulliver vindicates the reputation of Flimnap’s wife as well as his own against scandal: he denies that she ever privately came to his lodgings and appeals to his servants for their confirmation  25 of this avowal. Gulliver’s naive sincerity is evident in this statement: I should not have dwelt so long upon this Particular, if it had not been a Point wherein the Reputation of a great Lady is so nearly concerned; to say nothing or my own;1I Gulliver is reacting to Lilliputian situations as ir he were among people who are his physical equals, and his explanation seems utterly absurd in this land or minutiae. The reader must again chuckle at Gulliver, who in a prostrate position before the six inch Imperial Majesty of Blefuscu, kisses his hand as a farewell gesture. Gulliver previously went through much the same procedure when the Emperor of Lilliput granted him liberty. Swift has again sacrificed characteri- z zation because he gave no explanation for those reactions which the readers are unable to reconcile with the English attitude toward royalty. Despite these inconsistencies, the role of Gulliver is being steadily developed; the progression is especially evident in his increased display of reasoning ability. Gulliver profits intellectually by his experiences: as the voyage progresses, he weighs his observations much more and adds his own interpretations to them. But his earlier tendency was to merely describe details and events. For example, Gulliver described the agile stunts of the Lilliputian minis­ ters, but made no attempt to interpret their actions. Of course, the omission of interpretation here forms a part of 17 Ihii, P* 4?  26 Swift's satiric purpose: he used. Gulliver to establish for the reader the relationship of size between Gulliver and the pigmies. Likewise, much of the early part of the voyage is devoted to details and contrasts which make this size ratio clear. For example, the descriptive inventory of Gulliver's possessions, which was made oy the pigmies, helps to establish relationships in an incidental but very effective manner. More specifically, the Lilliputians describe Gulliver's pistol as "a hollow pillar of iron, about the length of a man." Gulliver illustrates the precision of Lilliputian calculations which are based upon a ratio of twelve to one. The pigmies very carefully determine that one hundred and fifty of their beds arranged in proper order are needed to make a bed for Gulliver. Likewise, they calculate that Gulliver's body is equivalent to 1728 of them, and, thus, he must receive food in this proportion, twelve times by volume the quantity of food eaten by a pigmy. Such descriptions give the readers a clear conception of this size relationship. After he achieved this purpose, Swift increased Gulliver's ability to interpret and associate experiences and to draw philosophical conclusions. The effects of this change met the needs of his satire and, at the same time, were consistent with what the reader would expect of Gulliver. Typical of Gulliver's newly developed ability is this observation concerning the ambition of rulers: His Majesty desired I would take some other Opportunity of bringing all the rest of his Enemy's Ships into his Ports. And so un­ measurable is the Ambition of Princes, that he seemed to think of nothing less than  reducing the whole Empire of Blefuscu into a Province, and governing it by a Viceroy; of destroying the Big-Endian Exiles, and compelling that People to break the smaller End of their Eggs; by which he would remain sole Monarch of the whole World, We find this change in Gulliver is both contriDUtive to satirical effect and consistent with characterization. Let us attempt to reconcile our original impression of Gulliver with his character development during the voyage in order to see just what kind or Gulliver left Lilliput and what sort of individual we might expect to arrive in Brobding nag. He has given us no reason to doubt his gentleness, and we may still regard him to be extremely kind and fair-minded and to possess high moral standards. He also retains that inquiring, open mind which we witnessed in early descriptions but he has matured, and is now able to interpret events and to generalize from them. As Gulliver sees the English colors on the approaching boat which will carry him back to his native country, we witness a bit of patriotism which marks him as an Englishman. We have seen evidences of naivete in Gulliver’s actions and must recognize it to be part of his nature. When thinking back at Gulliver’s failure to recog­ nize the very obvious size relationships, I think that we are justified in rejecting dullness as the cause of his unawareness of the situation, for there is ample evidence to show that he is no dullard. Rejecting this theory, we find the solution in Swift’s satiric purpose, for the author disregarded Gulliver’s characterization when using him to  28 achieve the ends of his satire. We may expect to see evidence of gentleness, moral integrity, naivete, anu. patriotism in the Gulliver who goes to Broodingnag, and we shall expect philosophic utterances from him. However, we must not be surprised if, occasionally, Swift heightened his satire at the expense of consistency of characterization.  CHAPTER III ANALYSIS OF GULLIVER’S ROLE IN BROBDINGNAG Gulliver matured, mentally in Lilliput, for, as we have seen in his later reflections, he associated present with past experiences, and then drew generalizations from these associations. The effects of his reasoning become most apparent after he reaches Brobdingnag, Here he finds his position in reverse to that in Lilliput, for he is no longer Man-Mountain of Lilliput, but little Grildrig, a pigmy in the land of giants. He remembers actions, like his capture of the entire Blefuscan fleet, which the Lilli­ putians considered prodigious feats. But he, the very same man, now fearfully expects "but to be a Morsel in the Mouth of the first among these enormous Barbarians,"*? who might discover him. Previous observations in which men seem "more savage and cruel in proportion to their bulk” underlie his fear. Then Gulliver compares the fear and insignificance which he now feels with his former importance in Lilliput where he was the concern of the Emperor and his ministers. Through the mental contrast between his status in Lilliput and that in Brobdingnag, Gulliver concludes that "nothing is great or little otherwise than by Comparison.This emphasis on the relativity of Gulliver’s status unifies the 19 Swift, pp. cit.. p. 71 20 Loc. cit.  30 first two voyages. But Gulliver is still the nnify-ing factor since it is through his experiences that the rela­ tivity is made clear to the reader: Gulliver in outward appearance is the same man in both countries, but the im­ portance of his actions and of his position in society shift with his change from Lilliput to Brobdingnag. His importance is, then, measured in terms of his environment, Gulliver’s immediate fear of the giants proves to be groundless. As he lies exhausted in a corn field, Gulliver expects an enormous foot to come down upon him or a reaping- hook to cleave him in two. But then, a giant workman dis­ covers him, and Gulliver, in a state of nervous apprehension, thinks ’’that he would dash me against the Ground, as we usually do any little hateful Animal which we have a Mind to destroy.”21 The sixty foot Brobdingnagian does not justify these fears; in fact, he is very considerate of this curious little creature: he immediately releases his grip upon Gulliver when he realizes that the pressure is painful. Swift has shaped Gulliver’s experience to show that cruelty is not necessarily proportionate to bulk. But Swift had more to say about the reactions of these giants, and he again spoke through the experiences of Gulliver, He proceeded to epitomize humanity through the portrayal of the Brobdingnagian farmer and his treatment of Gulliver. The farmer is fundamentally kind and considerate: he sees that Gulliver is well cared for and protects him from his 21 Ibid, p. 72  31 mischievous son. But the prospect of wealth changes the farmer from a kindly, understanding person into an incon­ siderate, unprincipled individual. At the suggestion of a mercenary friend whom Gulliver describes as having eyes resembling nthe full moon shining into a chamber at two windows," the farmer trains Gulliver for public performances, Gulliver’s master was so desirous of money that after he observed the poor, over-worked little Grildrig to be in grave danger of dying, he was very happy to sell him to the Queen of Brobdingnag. Through this farmer’s treatment of Gulliver, Swift illustrated the stimulative effect of money upon the passions: desire for wealth can lead to the subduing of reason and the perversion of the naturally good impulses of man. Thus, Swift has lilted his relativity into the moral realm, into the very essence of mankind: the course of man’s actions depends upon the impulses he receives from his environment. Swift is saying that perhaps men are basi­ cally good, but the extent that they remain so is relative to the environmental stimuli received by the passions. With regard to Swift’s method of conveying this message, the role of Gulliver is important, though Gulliver is merely passive. It is the Brobdingnagian farmer who assumes tx.e major part and Gulliver who is acted upon. Gulliver makes no philosophical generalizations, for Swift intended this little episode to speak for itself and therefore subordinated Gulliver to it. Thus, Gulliver, through his earlier re­ flections, established the relativity on the physical level, and then assumed a minor, passive role in order that Swift  32 might carry the theme into the moral realm. The theme of the episode embodying the farmer’s treat­ ment of Gulliver serves as a prologue to the main body of the satire in this voyage. The heart of the satire is de­ veloped through Gulliver’s conversations with the King or Brobdingnag, and embodies a dissection of human actions and a prouing of human motives. Let us analyze the signifi­ cant elements in their conversations, especially noting Gulliver’s reactions. We notice a change in Gulliver after he has become established in the Brobdingnagian court: he has resumed his former active role in the story, and ultimately in the satire. Gulliver gradually gains the preference of the King, who notices the display of intelligence in so small a creature. The King enjoys conversing with Gulliver and is especially interested in Gulliver’s account of the mannerg, laws, and government of Europe. Gulliver admits that he has given the best possible account of his people, for he is proud of the country to which he belongs. We begin to see patri­ otism again flaring up in him, but must grant that an human being among strangers would act much the same. But after the copious oration, the huge King looks down on little Grildrig and reflects:...how contemptible a Thing was human Grandeur, which could be mimicked by such diminutive Insects...and yet, said he, I dare engage, those Creatures have their Titles and Distinctions of Honourj they contrive little Nests and Burrows, that they call Houses and Cities; they make a Figure in Dress and Equipage; they love, they  33 fight, they dispute, they cheat, they betray,t~‘~ Here we feel that Swift is speaking through the King and is directly attacking man’s vain pretense at grandeur, Gulliver is decidedly indignant at this utter disrespect for his beloved country. Admitting that his face changed color several times as the King berated his people, he reveals the naivete that we have seen before in his nature. But upon reflection, Gulliver admits his reaction to be rash. He has relied upon his tneory of relativity that nothing is great or insignificant except by comparison, and believes the King’s attitude to be based upon disparity of size. Having become acclimated to Brobdingnagian size, he thinks he too would laugh at the pomp of English manners. Gulliver is now aware or size relativity which he completely ignored in Lilliput. However, he has not realized that the King in his condemnation of human grandeur judged European manners from the standpoint of an individual observing a pigmy society, much the same position Gulliver held in Lilliput. That is, the King’s conception of human minutiae tended to magnify human pomp and corruption in his mind. Poor Gulliver is proud of his country and overlooks its corruptions at this time. But notice that Swift is never speaking through Gulliver in these episodes. In fact, he manipulated Gulliver to achieve a very definite purpose, Gulliver’s indignation at the King’s justified condemnation of European society shows that pride has overshadowed Gulliver’s power of reason. 22 Ibid, p. 91 It is toward Gulliver, representing human actions, that we turn our attention^ Swift made Gulliver, not his spokesman here, but the object oi his attack against human nature» After his dangerous escapade with a monkey as large as elephants in Europe, Gulliver pompously tells how he should have combated it. The King heartily laughs, and Gulliver again is much aware of the inequality ox size and his own feeling of inferiority as a result. He makes no pretense to hide English vanity when reflecting: And yet I have seen the Moral of my own Behavior very frequent in England since my Return; where a little contemptible Varlet, without the least Title to Birth, Person, Wit, or common Sense, shall presume to look with Importance, and put himself upon a Foot with the greatest Persons of the Kingdom. Thus, Gulliver has admitted his own display of vanity before the King. However, I think that we shall see that this is but another inconsistency in his development in order that Swift might include this concrete example of English vanity. I make this statement because Gulliver's following commit­ ments do not show evidence of any basic change in tnought which such reflection should entail. In fact, at their next conference, Gulliver verbally avenges himself against the King’s ridicule when he tells him I...that the Contempt he discovered towards Europe. and the rest ox the Worla, did not seem answerable to those excellent Qualities of Mind, that he was Master of. That, Reason did not extend itself with the Bulk of the Body: On the contrary, we observed in our Country, that the tallest Persons were usually  35 least provided, with it.44 Gulliver has reverted to the defensive attitude in these statements. Now the previous quotation in which he reveals the corrupted moral behavior of Europeans is an abrupt interruption in his patriotic attitude: the defensive attitude is apparent before this revelation oi English corruption and is resumed immediately afterwards as evidenced in this last quotation. There is no apparent reason for the change, and it is nou permanent. By its very nature, then, Gulliver’s shift from the defensive attitude is an inconsistency, not in basic character traits, but in thought development. As in those inconsistencies involving character traits, Swift sacrificed Gulliver’s development, this time his logical thought sequence in order to get in an extra slap at mankind. As before, satirical effect is paramount, and Gulliver, as a means to this end, is flexible, sometimes to the point of inconsistency. Continuing our analysis, we see that the King rather admires Gulliver for his spunk and is desirous that he.give him a detailed account of England. Poor Gulliver is so filled with pride and patriotism for England tnat he cannot imagine her having any faults. His complete belief in her perfection is evident when he laments not havin& the ability of Demostnenes or Cicero in order, he says, "to celebrate the Praise oi my own dear native Country in a Style equal to 24 Ibid, p. 111  36 its Merits and Felicity.When Gulliver has given a very complete account of English government, law, and education, the King asks questions which by their very nature suggest some of the main corruptions of Europe. For example, he was interested to know whether religious and political parties influence the degree of justice, and was astounded to learn that a free and peaceful country would maintain a mercenary standing army. The King of Brobdingnag, through questions and commentaries, achieves a dual purpose in the satire at this point: he is illustrating in an incidental way, the principles of an ideal, yet practical, government; that is, the principles are as ideal as can be allowed in a functioning government. And, of course, he is making obvious to th~ readers the corruptions Oi the English government. After all questions and commentary are over, the King, stroking Gulliver, concludes: My little Friend Grildrig; you have made a most admirable Panegyrick upon your Country. You have clearly proved that Ignorance, Idleness, and Vice are the proper Ingredients for qualifying a Legislator. That Laws are best explained, interpreted, and applied by those whose Interest and Abilities lie in perverting, confounding, and eluding them. I observe among you some Lines of an Institution, which in its Original mi git have been tolerable; but these half erased, and the. rest wholly blurred and blotted by Corruptions With these words, Swift epitomized his views on English society and implied that man, along with his own degeneracy, has carried the perhaps once tolerable institutions into 25 Loc. cit. 26 Ibid, p. 116  37 decadence* One would tnink that Swift had achieved his ultimate purpose through the King’s conclusions. But once again Gulliver is made a tool to carry the satire a step further. Gulliver was quite naive in his sincere desire to glorify European society. Recall that before he began his oration, he says, "...how often I then wished for the Tongue of Demosthenes or Cicero, that might have enabled me to cele­ brate the Praise of my own dear native Country in a Style equal to its Merits and Felicity.His account of Europe clearly reveals the corrupt conditions to th„ King, however. Realizing that he has not favorably impressed the King with his country, Gulliver attempts to vindicate his railure when he says that he "artfully eluded many of his Questions; and gave to every Point a more favourable turn by many Degrees than the strictness of Truth would allow."26 This admission implies Gulliver’s awareness of English corruptions. More­ over, he openly admits them in this statement: "I would hide the Frailties and Deformities of my Political Mother, and place her Virtues and Beauties in the most advantageous Light."2? This development might be fitted into the pattern of satire in two different ways. First, if we are considering it in relation to Gulliver’s pride and patriotism, we can see by 27 Ibid, p. 111 28 Ibid, p. 117 29 1^. cit. these admissions how strongly the passions can subdue obvious truths and pervert reason. Gulliver, by the fact that he is the sole man in Brobdingnag, is representative of his country and of mankind in general. Thus, he must receive all of the ridicule which Swift, through the King or Brobdingnag, in­ flicted upon mankind. His passions, not his reason, come to his defense. Pride leading to patriotism reigns over his thought, and he cannot view society, his fellow men, or him­ self objectively. By showing how the environment of Brobding- nag stimulated the rise to dominance of pride in Gulliver, Swift developed the theme I mentioned earlier as embodied in the prologue. Swift portrayed Gulliver, here symbolic of man, as unstable, a slave to passions and ultimately to the environment which stimulates the passions. Second, the above mentioned development becomes a part of the overall pattern of Swift’s satirical effect. If this portion had been omitted, the King’s conclusions in them­ selves would have afforded brilliant satire, but Gulliver’s statements strengthen the credibility of the King’s conclusions^ Gulliver admits that he tried to hide the corruption of his country, and the reader becomes aware that the King did not really know how bad Europe was when he made his bitter remarks on it. Thus, his vindication enabled Swift to strengthen the satire and illustrate to what ends pride and patriotism have driven Gulliver. Aftar these revelations, Gulliver resumes his active role of patriotism and claims the King s conclusions to be results of provincialism which he says will "produce many Er.e. j.wll&e.S> and a certain narrowness ££ Thinking: from which we and the politer Countries of Europe are wholly exempted."^ Poor deluded Gulliver He displayed prejudices tiu-ough his ardent defense of his own corrupted country, and now he claims the King to have many prejudices from which he and his countrymen are exempt. We cannot help but laugh at Gulliver, who vainly attempts to rationalize here. Once again Swift has made Gulliver the ooject of satire by re­ vealing the false beliefs to which men will resort in order to justify their own convictions, Gulliver once again condemns the King for his provincialisn and narrow principles. The King refused Gulliver’s offer of the gunpowder formula and was horrified that Gulliver would even suggest that he maintain absolute dominion over his people by using explosives in the European manner. Swift was augmenting Gulliver’s rationalistic attempt to justify English folly. Sut at the same time, he purposely shaped the wox’ds between Gulliver and the King to imply that man has perverted his social tendencies. Let us see how Swift has effected this implication. Now the King has displayed his own humane nature, for he is not only horrified at Gulliver’s habituation to the inhumanity of war but says that he would rather lose half of his kingdom than possess the seoret of explosives. But Gulliver claims provincialism responsible for the King’s attitude. In contrast to Brobdingnagians, the Europeans are 50 Loc. cit.  40 a naturally cosmopolitan race. But to what does this cosmo­ politanism lead? Recall Gulliver’s description of the dreadful ef ects of the use of explosives in Europe, and remember his manner, so casual that he seemed totally unmoved by the cruelty of these reminiscences. If we combine man’s cosmopolitan nature with this portrayal of inhumanity in Gulliver's descriptions and in his attitude, we see Swift’s implication: man has perverted his natural social tendencies to the extent that socialization breeds not humanitarianism but inhumanity; man is not capable of social, cosmopolitan living, for only the provincial, narrow-minded individuals remain humane, Swift is saying. Gulliver’s condemnatory remarks about the King serve a third purpose in the satire. They provide a transition from the part in which human folly is exposed to that part which reveals the ideal, though practical, qualities of Brobdingnagian society. Still governed by pride, Gulliver diabolically refutes the obviously fine qualities of their customs, those which are lacking in European manners. For example, he remarks on their laws: They are expressed in the most plain and simple Terms, wherein these People are not Mercurial enough to discover above one Interpretation. And, to write a Comment upon any Law, is a capital Crime. As to the Decision of civil Causes, or Proceedings against Criminals, their Precedents are so few, that they have little Reason to boast of any extraordinary Skill in either.-’‘ 31 Ibid, p. 120 The many interpretations of man’s laws afford, much of txie legal corruption as do the past decisions which have become authoritative. Swift then attacked such folly in a most ingenious way: by having Gulliver ridicule these virtuous qualities of Brobdingnagian society, he exposed and attacked the follies in human government. Let us turn back for a moment to Gulliver’s diacourse on gunpowder. We must not disregard his indifferent manner of describing the destructible potentialities of gunpowder. Notice how totally unmoved he is by the inhumanity of the ^scenes which he depicts in this exposition: That, the largest Balls thus discharged, would not only Destroy whole Ranks or an Army at once; but batter the strongest Walls to the Ground; sink down Ships with a thousand Men in each, to the Bottom of the Sea; and when linked together by a Chain, would cut tnrough Masts and Rigging; divide Hundreds of Bodies in tne Middle, and lay all Waste before them. That we often put this Powder into large hollow Balls of Iron, and discharged them by an Engine into some City we were besieging; which would rip up the Pavements, tear the Houses to Pieces, burst and tnrow Splinters on every Side, dashing out the Brains of all who came near.*’*- Gulliver is proud that his people are capable of inventing a powder that effects such cruelties. Is this the same man who would not inflict revenge upon the inhumane Lilliputians and who earlier would not engage in the vices typical of medical men in order to save his London practice? We can understand Gulliver’s patriotic effort to hide the vices of his countrymen and even his Indignation toward the King. But this description, delivered in pride and with total disregard for human suffering, embodies an attitude which we cannot reconcile with Gulliver’s character. V/e must conclude that this character inconsistency has enabled Swift to display the extreme inhumanity to which man can become habituated. But Jonathan Swift had not yet exhausted the means of manipulating versatile Gulliver to achieve the effects he desired. Gulliver condemns giant and European alike in his commentary on a Brobdingnagian book of morals: This Writer went through all the usual Topicks of European Moralists; shewing how diminutive, contemptible, and helpless an Animal was Man in his own Nature;...He added, tnat Nature was degenerated in these latter declining Ages of the World, and could now produce only small abortive Births in Comparison of those in ancient Times. We notice that Gulliver has broken the barrier between Brobdingnagians and Europeans, and unites them through similarity in their moral beliefs. And he condemns all moralists in this observation: For my own Part, I could not avoid reflecting, how universally this Talent was spread of drawing Lectures in Morality, or indeed rather Matter of Discontent and repining, from the Quarrels we raise with Nature. And, I believe, upon a strict Enquiry, those Quarrelsmight be shewn as ill-grounded among u^ as they are among that Gulliver’s condemnation of all moralists for tneir tendency to quarrel with nature enabled Swift to assure his readers that the favorable impression he has given of the Brobdingnagi  43 society is nou meant to imply the perfection of that society. This point of view is substantiated, when Gulliver remarks that the Brobdingnagians ’’have been troubled with the same Disease, to which the whole Race of Mankind is Subject; the Nobility often contending for Power, the People for Liberty, and the King for absolute Dominion.Swift is saying, then, that no society is perfect by virtue of tte fallibility oi the men comprising it. Swift ends this voyage in a comic vein. Gulliver had become so thoroughly acclimated to the scale or size in Brobdingnag that he actually makes a fool or himself when among his fellow humans again. For example, he asks the sailors who had rescued him to bring into the cabin the twelve foot square box which had been his home in Brobdingnag. Ordinary men look like pigmies to Gulliver, and he calls to travelers to get out of his way in order that he will not trample them. Gulliver, in mind, is again in Lilliput. After arriving home, he stoops below his wife’s knees in order to kiss her, and being used to looking up at the giants, he can­ not even see his daughter who kneels to receive his blessing. Gulliver, himself, calls these actions ”an instance of the great power of habit and prejudice,” Swift intended Gulliver’s return to human society to be more than a comic scene. He intended it to culminate his theme: the subordination of reason to the prejudices initially stimulated by environment. We can conclude without any doubt that Gulliver is a 35 Ibid, p. 122 more versatile character in this voyage than in the previous one. Simultaneous with this greater flexibility is an increase of inconsistencies in his portrayal. Gulliver’s failure to recognize English corruptions in light of both the King’s commentaries and. the superior example of Brobdingnagian manners does not seem consistent with our judgment of his intellectual ability. Likewise, his inhumane description of the use or gunpowder does not bear out our conception or his moral integrity. His philosophic conclusions on rela­ tivity at the beginning of the voyage support our judgment of his intellect, but Swift subordinated his character sta­ bility during the main body of the voyage in order to attack his satiric objectives in just the manner he desired. Swift’s satire is more corrosive in this voyage than previously. He was probing into the motives behind human action, but did not hold them up for ridicule. Thus, the theme which underlies the satire in this voyage displays the domination of passion over reason; Swift was wcrking with human essence and was preparing for the scorn and misanthropic elements in the voyage to Houyhnhnm Land. We have seen that the more corrosive satire in the second voyage embodies many mannsrs of attack or approaches at satire. And, of utmost importance, these attacks, with few exceptions, depend for development upon the thought and actions of Gulliver, Gulliver often reveals human folly in his descriptions 01 Europe. In many cases, Gulliver, himself, is the butt of the satire; for example, he epitomizes human vanity when demonstrating how he should have fought the huge monkey. And «.fter a laugh  45 from the King, he carries on the attack by reflecting upon human vanity: "...how vain an Attempt it is for a Man to endeavor doing himself Honour among those who are out of all Degree of Equality or Comparison with him."^b Thus, sometimes Gulliver reveals human folly and sometimes he exemplifies it. In spite of his extreme flexibility and inconsistent development at times, Gulliver has not lost his individuality. His patriotism, closely connected with pride, has been his most dominant characteristic in the voyage. And it was about this trait that Swift built much or tne satire. Naivete has again appeared in his nature, this time in company of patri­ otism. By virtue of his small stature relative to Brobding- nagian proportions, Gulliver is not in a position to display gentleness toward the giants. However, he is considerate of the mischievous farmer’s son as well as of the Queen’s dwarf in spite of the intolerable pranks he played upon Gulliver, Gulliver’s quality or open-mindedness has been partially obscured by patriotism: it prevents him from objectively judging his ov.m country and fosters contempt for Brobding- nagian mannsrs because they are superior to those of Europe. But his first reactions to his fellow men after leaving Brobdingnag show that he has become adjusted to that totally different environment. Gulliver’s inquiring mind has not been inhibited, for he was anxious to learn the Brobding- nagians’ languegfi and was interested in their manners and 56 Ibid, p. 108 customs. Thus, Gulliver is still a student of the world  CHAPTER IV ANALYSIS OF GULLIVER’S ROLE IN LAPUTA The role of Gulliver in ”A Voyage to Laputa" differs from his portrayal in the rest of tte book. I Gulliver has completely lost his extreme patriotism for European society. In losing this pride, he has become a more objective critic of European as well as Laputian manners; actually he has become a critic of human society. Arthur Case^'l very rightly said that Gulliver assumes the role of narrator and interpreter, not an actor, in Laputa. Solely as an observer, Gulliver is not out of character. On the contrary, he more closely por­ trays those characteristics that we first attributed to him: intelligence, consistent judgment, inquiring mind. Nowhere in this voyage do we feel that he is foolish or ignorant. In fact, we accept his observations with confidence that they are accurate and just. Never in any other part of the book are author, character, and reader more nearly on a plane with one another; that is, all criticize society by analyzing Laputian manners and comparing them with tneir own. As well as favorably displaying his intellect, Gulliver gives full license to his inquiring mind. Before starting on his third adventure, he remarks that his thirst for seeing the world is still violent despite past misfortune. Throughout the voyage, Gulliver is desirous to observe and learn about 37 Arthur Case, Four Nssavs.03 Gulliver’s Tra.ye\s (Princeton: Princeton University Press, P« 117  48 everything new: the Laputian language and. manners, the main­ land of Balnibarbi and the Academy of Projectors at Lagado, the magicians at Glubbdubdrib, and the Struldbrugs of Luggnag. Thus, if we can justly draw conclusions from this resume of Gulliver’s conduct, we would say that the role or Gulliver seems to be consistent in this voyage* But let us analyze Gulliver’s role. Through his comments, Gulliver becomes the mouthpiece for Swift---- more noticeably so than in any other part of the book. His critical observations of Laputian society embody Swift's views, for we never feel Gulliver to be the object of Swift's attack, as in other voyages. In his reflections, Gulliver calls to mind European customs and objectively criticizes them along with Laputian manners. But let us observe some of Gulliver's important commentaries and see how Swift developed his attack on human life, Gulliver attributes the narrow thinking and poor reasoninft of the inhabitants of the Flying Island to their obsession with abstract mathematics and music. He mentions that mathe­ maticians seem prone to engage in political affairs, a tenden­ cy which he has observed in Europeans, But, he cannot see why mathematicians should be adept in politics unless, as he says, "those People suppose, that because the smallest Circle hath as many Degrees as the largest, therefore the Regulation and Management of the World require no more Abilities than the handling and turning of a Globe.The words and concepts 38 Swift, £j>. £11., P. 148  49 in this analogy suggest that mathematics is a mechanical and. inflexible science* But we know politics to demand, versatile management. Thus, Swift worded the analogy to show how unqualified is the scientist to govern a nation. Then Gulliver says that such an inclination to interpret and even manage affairs in terms or one science is not nni qu? to mathematicians but seems "to spring from a very common Infirmity of human Nature, inclining us to be more curious and conceited in Matters where we have least Concern, and for which we are least adapted either by Study or Nature."-3^ Beneath this satire is Swift’s fear that such natural tenden­ cies in man would be perpetuated, for he has noted that English specialists, more specifically scientists, have shown interest in European politics. Gulliver’s descriptions oi Laputian manners reflect, then, the conditions which Swift felt might develop in European society if science were allowed free reign. Gulliver’s rather comical experience with the Laputian tailor illustrates the undesirable effects that have arisen after science was imposed upon tailoring. Gulliver describes the procedure in this manner: He first took my Altitude by a Quadrant, and then with a Rule and Compasses, described the Dimensions and Out-Lines oi my whole Body; all which he entred upon Paper, and in six Days brought my Cloths very ill wade, and quite out of Shape, by happening to mistake a Figure in the Calculation. But my Comfort was, tuat I observed such Acc frequent, and little regarded.* 3? 40 Ibid, p. 146  50 But previous to this description, Gulliver remarked that this tailor used different methods from those in Europe. This statement and his description of Laputian tailoring converge to attack human nature if we consider Swift’s commentaiy on human tendencies. His commentary was, you remember, that humans are naturally prone to judge and govern affairs in terms of the one science with which they are most familiar. The theme is then evident;J European tailoring might degenerate into such an impractical trade if science be allowed to develop such natural tendencies of man. But this incident does not terminate Swift’s attack upon science in connection with human endeavors. When Gulliver visits the mainland of Balnibarbi, he observes the devastation of the country. He learns from Lord Munodi that such decadence occurred when a group of the citizens returned from the Flying Island ’’with a very X little Smattering in Mathematicks, but full of Volatile Spirits acquired in that Airy Region.”41 And all arts and sciences were then put upon a new footing, a very unstable, speculative foundation, however. Munoui’s estate, still managed in the traditional manner, appears most prosperous and provia.es contrast with the devastation which has resulted from tne new system. It is Munodi who furnishes the infor­ mation about the effects of Laputian speculation upon his norm try. Gulliver’s role is merely to relay this account 41 Ibid, p. 160  51 to the readers. Likewise, Swift achieved, the satire of the Lagado Academy of Projectors through Gulliver’s descriptions as an observer, not an actor. Since Gulliver does not color the descriptions with his own opinions, Swirt depended, then, upon vivid de­ scription to effect the satire here. Gulliver’s observations do continue the attack on abstract knowledge: science, when allowed to become the basis and end of all endeavors, can lead to useless and fantastic accomplishments, Gulliver de­ scribes one of the projector’s absurd objectives, that is, to develop and propagate sheep without wool. But the cobweb artist, whose aim seems legitimate, employs a fantastic method: he proposes to eliminate the process of dyeing silk by feeding colored flies to spiders which would in turn spin webs of the desired hues. And, the flies must be fed the proper diet in order that the spiders which eat them will spin strong webs. Another professor has spent all of his life perfecting a frame which he hopes will ’’improve speculative knowledge by mechanical operations." Judging by the attack upon ab­ stract knowledge, we must feel that Swift considered the continuation and improvement of speculative learning to be detrimental to the welfare of society, and certainly the improvement of knowledge solely by mechanical means is absurd. Thus, the frame is an example of poor aims and faulty method. Swift is saying in the section on the projectors that specu­ lation can lead to absurd objectives, to fantastic methods, and sometimes to both pointless aims and inef ectual methods of achieving those aims. After Gulliver arrives at the school of political pro­ jectors, Swift alters his role a trifle. Gulliver is allowed, to add his own opinions. For example, he explains that the professors were advocating schemes such as persuading rulers to choose advisers on the basis of wisdom, ability, and virtue; rewarding virtue as well as punishing vice; and teaching ministers to consider the welfare of the people. Then he condemns these ideas as "wild impossible Chimaeras, that never entered before into the Heart of Man to conceive,”4^ He feels that man is not only incapable or administering these proposals but does not possess the righteous instincts to recognize their merits. He ends this discussion with this attack upon philosophers who propose such schemes: "...there is nothing so extravagant and irrational which sone Philosophers have not maintained for Truth. Swift has then effected a two-fold attack: satire against philosophers for suggesting such impossible schemes and against the very moral essence of man wnich renders him incapable of recog­ nizing virtue and propagating it. We see that Gulliver approves of such less visionary philosophers who advocate that doctors administer cathartics to senators at the be­ ginning of their sessions. The attack against law makers is amplified when Gulliver adds his own opinions with regard to 42 Ibid, p. 171 43 Loc. cit.  53 the advantages of the scheme; he says that it wll.1 increoFe unanimity, shorten debates, curb petulancy of the youngsr members, and correct pos^toveness of the older senators* This proposal which Gulliver regards as less visionary rasy seem fantastic, and Swift ’ntended that it be so. He implied that men resort to such measures in order to develop man’s naturally unethical tendencies. Gulliver’s opinions enabled Swift to attack several objectives at the same time, mak ng the satire more complex and more effective. In Glubbdubdrib, the Island of Mag’cians, Gulliver discovers many errors in history by observng and questioning famous men of the past whom the mag’clans conjure up for his benefit. Gulliver has brought before him the senate of Rome and an assembly belonging to a later age. He contrasts them t in this manner: ’’The first seemed to be an Assembly of Heroes and Demy-Gods; the other a Knot of Pedlars, P'ok-pockets, Highwaymen, and Bullies.”*4 This reflection suggests that later generations produce inferior leaders compared to those of ancient times. Later, after he has observed many more men of both ancient and modern ages, he concludes: As every Person called up made exactly the same Appearance he had done tn the World, it gave me melancholy Reflections to observe how muoh the Race of human Kind was degenerate among us, within these Hundred Years past,4-3 Thus, Swift intended that Gulliver’s comparison of the Roman 44 Ibid, p. 180 45 Ibid, p. 185  54 and modern assemblies prepare for this later conclusion. Gulliver even desires to observe English yeomen of the "old stamp" who were known for simplicity of manners, justice, and love for their country. The yeomen he has seen in England, says Gulliver, are not worthy of such praise. We can see that Swift carefully guided the satire toward this view of the degeneration of man; he did nou allow the tneme to grow tiresome by weary repetition but used Gulliver’s reflections — K to gradually evolve the theme. 3ut, for our purposes, the next satirical development, surrounding the Struldbrugs, is important for character portrayal. Gulliver's attitude toward the immortal Struldbrugs in Luggnag reveals his sentiments toward life. Despite his critical attitude toward humanity that we have just witnessed, he still enjoys life and desires to remain among men; for, when he first learns about the immortals living in Luggnag, he cries in rapture, "Happy nation, where every Child hath at least a Chance for being immortal!"415 But after he learns that the minds of the Struldbrugs decay after they pass eighty years of age, he perfectly understands why they desire death. Gulliver would like to send several Struldbrugs back to England in order to free his countrymen from their fear of death, but a Luggnagian law prohibits such practices. He is sympathetic^ then? toward his countrymen and would like to remove a fear embedded in the entire nation. In snort, 46 Ibid, p. 192  55 Gulliver is philanthropic here. Now that we have observed Gulliver's role in tne im­ portant satiric developments, let us generalize his reactions. As I mentioned earlier, Gulliver is not. an actor in this voyage, and hence his o»n character is not particularly important. His role is confined to narration and reflection, which necessarily limits flexibility in the satire. We found in Gulliver’s voyage to Brobdingnag that his versatility enabled Swift to complicate, intensify, but at the same time to clarify, the satire, thereby rendering it more effective. Without such flexibility of Gulliver, Swift was not able to develop satire here that is comparable to that in the second voyage However, even though Gulliver's role in this voyage is limited to that of an observer, the satire revolves about Gulliver: he watches the projectors at Lagado and relates his observations; he experiences the results of scientific speculation in tailoring; he adds his own opinions to tne proposals of the political projectors; he gives his own interpretation oi the display of history which he observes at Glubbdubdrib. So, in this voyage, Gulliver contriDutes to the satire through his observations, experiences, and comments  CHAPTER V I ANALYSIS OF GULLIVER’S ROLE IN HOUYHNHNM LAND After his adventures in Laputa, Gulliver remains with his family for five months---- the longest period, that he has ever stayed, at home between voyages. This vacation with his family leads us to believe him to be still a lover of map- kind. Shortly after his acquaintance with the Houyhnhnms and the contemptible Yahoos, he makes this nommapt? And indeed, I now apprehended, that I must absolutely starve, if I did not get to some of my own Species: For as to those filthy Yahoos, although there were few greater Lovers of Mankind, at that time, than myself; yet I confess I never saw any sensitive Being so detestable on all Accounts; and the more I came near them, the more hateful, they grew, while I stayed in that Country.4^ Here Gulliver confesses that he does love mankind. And he has never given us reason to believe that he felt otherwise. It is true that despite his patriotic attempt to hide her flaws, Gulliver revealed the corruption of Europe to the King of Brobdingnag. But Swift wove patriotism so well into Gulliver’s actions that we never question the latter’s phi­ lanthropy; never do we think that he is delioerately being cynical of European society. But Gulliver is destined to change his entire conception of humanity, for there becomes rooted in his mind a dislike of men and an aversion to socie­ ty. Swift manipulated two factors in order to change Gulliver’s I 47 Ibid, p. 214  57 philanthropic view of life: the similarities between man and Yahoo, and the contrast between the virtuous effects of Houyhnhnm reason and the vices of men who also possess the faculty of reason. Let us first trace the Yahoo-human con­ tra; t in order to see how it influences Gulliver’s outlook on life and what effect his change has upon the satire. When Gulliver first sees the Yahoos after his arrival in Houyhnhnm Land, he describes them in detail; the deline­ ation clearly suggests a likeness to human beings. And per­ haps this likeness underlies the natural antipathy which he feels toward them. It is not until he sees them a second time that he makes explicit the physical resemblances between human being and Yahoo: The Beast and I were brought close together; and our Countenances diligently compared, both by Master and Servant, who thereupon repeated several Times the Word Yahoo. My Horror and Astonishment ’ are not to be described, when I observed, in this abominable Animal, a perfect human Figure....4° Such a resemblance increases Gulliver’s natural antipathy toward the Yahoos. But the reader, unlike Gulliver, is not shocked at this discovery, for Swift prepared for it through Gulliver’s previous description of the beasts. Thus, Swift did not allow Gulliver to recognize this resemblance until after it was apparent to the readers in order that his as­ tonishment would make the resemblance vivid to the readers. Swift manipulated Gulliver carefully to attain this effect. Now that the physical resemblance is clearly defined, 48 Ibid, p. 213-14 Swift sought to establish parallel effects of reason and morals between man and Yahoo. His approach is indirect; that is, he established the few differences between Gulliver and the Yahoos, and thus implied that they were alike :n all other ways. Gulliver’s clothes puzzle the Houyhnhnms, and they finally discover that without them he is much like their Yahoos. However, the horses marvel that a creature so re­ sembling their uncivil and Irrational Yahoos could be intelli­ gent, and they notice that he seems to possess the ability to reason. The main difference between Yahoo and man, then, involves rationality. Before we continue with Swift’s treat­ ment of human reason in the satire, we must determine the significance of the Houyhnhnm role in the development to this point. Gulliver always praises the horses most highly. Notice the very favorable impression that he gives of their reactions to him in this description: They were under great Perplexity about my Shoes and Stockings, which they felt very often, neighing to each other, and using various Gestures, not unlike those of a Philosopher, when he would attempt to solve some new and difficult Phaenomenon... the Behavior of these Animals was so orderly and rational, so acute and judicious, that I at last concluded, they must needs be Magicians.... ' Gulliver is early aware that the Houyhnhnms are rational creatures. Likewise, they are astonished to discover his inclinations toward reason. The Master Houyhnhnm is most anxious for Gulliver to become proficient enough in the Houyhnhnm language to describe his country, his fellow men and. their manners. But in his ensuing account of humanity, Gulliver reveals the most deplorable effects of man’s power of reason. He enumerates the following causes of war among men: the am­ bition of princes, corruption of ministers, differences in opinion. He pictures men in the worst possible light by emphasizing the aggressive side oi war. But notice the inhu­ manity of this definition: "a Soldier.” Gulliver says, ”is a Yahoo hired to kill in cold Blood as many of his own Species , who have never offended him, as possiole he can.’’-^ Certain­ ly patriotism has entirely disappeared from Gulliver’s re­ actions, and we can hardly think this attitude typical of the middle class Englishman. Swift has necessarily made Gulliver emphasize the horrid actions of men without even acknowledging the existence of humane individuals, much less their admirable traits. The Master Houyhnhnm says that he is glad that nature has rendered human beings physically in­ capable of harming each other in war. This statement enables Gulliver to describe the implements which man has devised to destroy his fellow men. After Gulliver’s expose of the dreadflil effects of armaments, his Master desires to hear no more, and can only say: That, although he hated the Yahoos of this Country, yet he no more blamed them for their odious Qualities, than he did a Gnnavhla Bird of Prey) for its Cruelty, or a sharp Stone for cutting his hoof.  But, when a Creature pretending to Reason, could be capable of such Enormities, he dreaded lest the Corruption of that Faculty might be worse than Brutality itself. And Gulliver interprets his Master’s reflections in this manner: He seemed therefore confident, that instead of Reason, we were only possessed of some Quality fitted to increase our natural Vices; as the Reflection from a troubled Stream returns the Image of an ill-shapen Body, not only larger, but more.distorted. Here the Houyhnhnm Master and Gulliver have epitomized the message which Swift wished to convey to his readers, that is, that man has perverted his reason to increase his natural vices. But notice that the author was preparing for this conclusion through Gulliver’s descriptions of human conduct; as we have seen, Gulliver’s presentation is void of all humanitarianism, and does lead naturally toward this con­ clusion. But Gulliver has not shown any signs of worship for the Houyhnhnms up to this time, nor has Swift given an acceptable reason for this attitude toward man; certainly Gulliver is not a lover of mankind here. We can only con­ clude that Swift’s purpose was to present human conduct in the worst possible light in order to justify the Houyhnhnm conclusion, and he permitted character inconsistency in order to achieve his purpose. On the other hand, perhaps Swift meant to show by Gulliver’s attitude that his character was 51 Ibid, p. 232 52 Loc. cit. so habituated to the human cruelties that he regarded such inhumane acts to be marks of courage; in fact, Gulliver refers to the following scene as a display of valor: And, to set forth the Valour of my own dear Countrymen, I assured him, that I had seen them blow up a Hundred Enemies at once in a Siege, and as many in a Ship; and beheld the dead Bodies drop down in Pieces from the Clouds, to the Diversion of all the Spectators.^ If Swift intended Gulliver’s descriptions to intimate that he regarded inhumane deeds to be valorous, then Swift sacri­ ficed characterization to achieve satiric efrect. For recall Gulliver’s response to the Emperor of Lilliput who desired him to conquer Blefuscu: "...I plainly protested, that I would never be an Instrument of bringing a free and brave People into Slavery.”-^4 Such an avowal is proof that Gulliver was not o