Gulliver's Travels

Gulliver's Travels

First edition of Gulliver's Travels
Author Jonathan Swift
Original title Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of several Ships
Country Ireland
Language English
Genre Satire, fantasy
Publisher Benjamin Motte
Publication date
 28 October 1726
Media type Print
823.5
Text Gulliver's Travels at Wikisource

Gulliver's Travels, whose full title is Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships, (1726, amended 1735), is a prose satire[1][2] by Irish writer and clergyman Jonathan Swift, that is both a satire on human nature and the "travellers' tales" literary subgenre. It is Swift's best known full-length work, and a classic of English literature. He himself claimed that he wrote Gulliver's Travels "to vex the world rather than divert it".

The book became popular as soon as it was published. John Gay wrote in a 1726 letter to Swift that "It is universally read, from the cabinet council to the nursery."[3]

Plot summary

Part I: A Voyage to Lilliput

4 May 1699[4]
Mural depicting Gulliver surrounded by citizens of Lilliput.

The travel begins with a short preamble in which Lemuel Gulliver gives a brief outline of his life and history before his voyages.

During his first voyage, Gulliver is washed ashore after a shipwreck and finds himself a prisoner of a race of tiny people, less than 6 inches tall, who are inhabitants of the island country of Lilliput. After giving assurances of his good behaviour, he is given a residence in Lilliput and becomes a favourite of the Lilliput Court. He is also given permission to go around the city on condition that he must not harm their subjects. At first, the Lilliputians are hospitable to Gulliver, but they are also wary of the threat that his size poses to them. The Lilliputians reveal themselves to be a people who put great emphasis on trivial matters; for example, which end of an egg a person cracks becomes the basis of a deep political rift within that nation. They are a people who revel in displays of authority and performances of power. Gulliver assists the Lilliputians to subdue their neighbours, the Blefuscudians, by stealing their fleet. However, he refuses to reduce the island nation of Blefuscu to a province of Lilliput, displeasing the King and the court. Gulliver is charged with treason for, among other crimes, "making water" in the capital, though he was putting out a fire and saving countless lives. He is convicted and sentenced to be blinded, but with the assistance of a kind friend, "a considerable person at court", he escapes to Blefuscu. Here he spots and retrieves an abandoned boat and sails out to be rescued by a passing ship, which safely takes him back home.

Part II: A Voyage to Brobdingnag

20 June 1702[5] – 3 June 1706[6]
Gulliver Exhibited to the Brobdingnag Farmer (painting by Richard Redgrave)

He soon sets out again. When the sailing ship Adventure is blown off course by storms and forced to sail for land in search of fresh water, Gulliver is abandoned by his companions and is left on a peninsula on the western coast of the North American continent. The grass of that land is as tall as a tree. He is then found by a farmer who was about 72 feet tall, judging from Gulliver estimating a man's step being 10 yards (9 m). He brings Gulliver home and his daughter, Glumdalclitch, cares for Gulliver. The farmer treats him as a curiosity and exhibits him for money. After a while the constant shows make Lemuel sick, and the farmer sells him to the queen of the realm. The farmer's daughter (who accompanied her father while exhibiting Gulliver) is taken into the queen's service to take care of the tiny man. Since Gulliver is too small to use their huge chairs, beds, knives and forks, the queen commissions a small house to be built for him so that he can be carried around in it; this is referred to as his "travelling box". Between small adventures such as fighting giant wasps and being carried to the roof by a monkey, he discusses the state of Europe with the King. The King is not happy with Gulliver's accounts of Europe, especially upon learning of the use of guns and cannons. On a trip to the seaside, his travelling box is seized by a giant eagle which drops Gulliver and his box into the sea, where he is picked up by some sailors, who return him to England.

Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japan

5 August 1706[7] – 16 April 1710[8]
Gulliver discovers Laputa, the flying island (illustration by J. J. Grandville)

Setting out again Gulliver's ship is attacked by pirates and he is marooned close to a desolate rocky island near India. He is rescued by the flying island of Laputa, a kingdom devoted to the arts of music, mathematics and astronomy but unable to use them for practical ends.

Laputa's custom of throwing rocks down at rebellious cities on the ground prefigures air strikes as a method of warfare. Gulliver tours Balnibarbi, the kingdom ruled from Laputa, as the guest of a low-ranking courtier and sees the ruin brought about by the blind pursuit of science without practical results, in a satire on bureaucracy and on the Royal Society and its experiments. At the Grand Academy of Lagado, great resources and manpower are employed on researching completely preposterous schemes such as extracting sunbeams from cucumbers, softening marble for use in pillows, learning how to mix paint by smell, and uncovering political conspiracies by examining the excrement of suspicious persons (see muckraking).

Gulliver is then taken to Maldonada, the main port, to await a trader who can take him on to Japan. While waiting for a passage, Gulliver takes a short side-trip to the island of Glubbdubdrib, where he visits a magician's dwelling and discusses history with the ghosts of historical figures, the most obvious restatement of the "ancients versus moderns" theme in the book. In Luggnagg he encounters the struldbrugs, people who are immortal. They do not have the gift of eternal youth, but suffer the infirmities of old age and are considered legally dead at the age of eighty. After reaching Japan, Gulliver asks the Emperor "to excuse my performing the ceremony imposed upon my countrymen of trampling upon the crucifix", which the Emperor does. Gulliver returns home, determined to stay there for the rest of his days.

Part IV: A Voyage to the Country of the Houyhnhnms

7 September 1710[9] – 5 December 1715[10]
Gulliver in discussion with Houyhnhnms (1856 illustration by J.J. Grandville.)

Despite his earlier intention of remaining at home, Gulliver returns to sea as the captain of a merchantman, as he is bored with his employment as a surgeon. On this voyage he is forced to find new additions to his crew, whom he believes to have turned the rest of the crew against him. His crew then commits mutiny, and after keeping him contained for some time resolve to leave him on the first piece of land they come across and continue as pirates. He is abandoned in a landing boat and comes upon a race of hideous, deformed and savage humanoid creatures to which he conceives a violent antipathy. Shortly afterwards he meets the Houyhnhnms, a race of talking horses. They are the rulers, while the deformed creatures called Yahoos are human beings in their base form.

Gulliver becomes a member of a horse's household, and comes to both admire and emulate the Houyhnhnms and their lifestyle, rejecting his fellow humans as merely Yahoos endowed with some semblance of reason which they only use to exacerbate and add to the vices Nature gave them. However, an Assembly of the Houyhnhnms rules that Gulliver, a Yahoo with some semblance of reason, is a danger to their civilisation, and expels him. He is then rescued, against his will, by a Portuguese ship, and is disgusted to see that Captain Pedro de Mendez, a Yahoo, is a wise, courteous and generous person. He returns to his home in England, but he is unable to reconcile himself to living among "Yahoos" and becomes a recluse, remaining in his house, largely avoiding his family and his wife, and spending several hours a day speaking with the horses in his stables; in effect becoming insane.

Composition and history

It is uncertain exactly when Swift started writing Gulliver's Travels (much of the writing was done at Loughry Manor in Cookstown, Co. Tyrone whilst Swift stayed there) but some sources suggest as early as 1713 when Swift, Gay, Pope, Arbuthnot and others formed the Scriblerus Club with the aim of satirising popular literary genres. According to these accounts, Swift was charged with writing the memoirs of the club's imaginary author, Martinus Scriblerus, and also with satirising the "travellers' tales" literary subgenre. It is known from Swift's correspondence that the composition proper began in 1720 with the mirror-themed Parts I and II written first, Part IV next in 1723 and Part III written in 1724; but amendments were made even while Swift was writing Drapier's Letters. By August 1725 the book was complete; and as Gulliver's Travels was a transparently anti-Whig satire, it is likely that Swift had the manuscript copied so that his handwriting could not be used as evidence if a prosecution should arise, as had happened in the case of some of his Irish pamphlets (the Drapier's Letters). In March 1726 Swift travelled to London to have his work published; the manuscript was secretly delivered to the publisher Benjamin Motte, who used five printing houses to speed production and avoid piracy.[11] Motte, recognising a best-seller but fearing prosecution, cut or altered the worst offending passages (such as the descriptions of the court contests in Lilliput and the rebellion of Lindalino), added some material in defence of Queen Anne to Part II, and published it. The first edition was released in two volumes on 28 October 1726, priced at 8s. 6d.[12]

Motte published Gulliver's Travels anonymously, and as was often the way with fashionable works, several follow-ups (Memoirs of the Court of Lilliput), parodies (Two Lilliputian Odes, The first on the Famous Engine With Which Captain Gulliver extinguish'd the Palace Fire...) and "keys" (Gulliver Decipher'd and Lemuel Gulliver's Travels into Several Remote Regions of the World Compendiously Methodiz'd, the second by Edmund Curll who had similarly written a "key" to Swift's Tale of a Tub in 1705) were swiftly produced. These were mostly printed anonymously (or occasionally pseudonymously) and were quickly forgotten. Swift had nothing to do with them and disavowed them in Faulkner's edition of 1735. Swift's friend Alexander Pope wrote a set of five Verses on Gulliver's Travels, which Swift liked so much that he added them to the second edition of the book, though they are rarely included.

Faulkner's 1735 edition

In 1735 an Irish publisher, George Faulkner, printed a set of Swift's works, Volume III of which was Gulliver's Travels. As revealed in Faulkner's "Advertisement to the Reader", Faulkner had access to an annotated copy of Motte's work by "a friend of the author" (generally believed to be Swift's friend Charles Ford) which reproduced most of the manuscript without Motte's amendments, the original manuscript having been destroyed. It is also believed that Swift at least reviewed proofs of Faulkner's edition before printing, but this cannot be proved. Generally, this is regarded as the Editio Princeps of Gulliver's Travels with one small exception. This edition had an added piece by Swift, A letter from Capt. Gulliver to his Cousin Sympson, which complained of Motte's alterations to the original text, saying he had so much altered it that "I do hardly know mine own work" and repudiating all of Motte's changes as well as all the keys, libels, parodies, second parts and continuations that had appeared in the intervening years. This letter now forms part of many standard texts.

Lindalino

The five-paragraph episode in Part III, telling of the rebellion of the surface city of Lindalino against the flying island of Laputa, was an obvious allegory to the affair of Drapier's Letters of which Swift was proud. Lindalino represented Dublin and the impositions of Laputa represented the British imposition of William Wood's poor-quality copper currency. Faulkner had omitted this passage, either because of political sensitivities raised by an Irish publisher printing an anti-British satire, or possibly because the text he worked from did not include the passage. In 1899 the passage was included in a new edition of the Collected Works. Modern editions derive from the Faulkner edition with the inclusion of this 1899 addendum.

Isaac Asimov notes in The Annotated Gulliver that Lindalino is generally taken to be Dublin, being composed of double lins; hence, Dublin.[13]

Major themes

The King of Brobdingnag and Gulliver (1803), Metropolitan Museum of Art

Gulliver's Travels has been the recipient of several designations: from Menippean satire to a children's story, from proto-science fiction to a forerunner of the modern novel.

Published seven years after Daniel Defoe's wildly successful Robinson Crusoe, Gulliver's Travels may be read as a systematic rebuttal of Defoe's optimistic account of human capability. In The Unthinkable Swift: The Spontaneous Philosophy of a Church of England Man, Warren Montag argues that Swift was concerned to refute the notion that the individual precedes society, as Defoe's novel seems to suggest. Swift regarded such thought as a dangerous endorsement of Thomas Hobbes' radical political philosophy and for this reason Gulliver repeatedly encounters established societies rather than desolate islands. The captain who invites Gulliver to serve as a surgeon aboard his ship on the disastrous third voyage is named Robinson.

Scholar Allan Bloom points out that Swift's critique of science (the experiments of Laputa) is the first such questioning by a modern liberal democrat of the effects and cost on a society which embraces and celebrates policies pursuing scientific progress.[14]

A possible reason for the book's classic status is that it can be seen as many things to many different people. Broadly, the book has three themes:

In terms of storytelling and construction the parts follow a pattern:

Of equal interest is the character of Gulliver himself—he progresses from a cheery optimist at the start of the first part to the pompous misanthrope of the book's conclusion and we may well have to filter our understanding of the work if we are to believe the final misanthrope wrote the whole work. In this sense Gulliver's Travels is a very modern and complex novel. There are subtle shifts throughout the book, such as when Gulliver begins to see all humans, not just those in Houyhnhnm-land, as Yahoos.

Throughout, Gulliver is presented as being gullible; he believes what he is told, never perceives deeper meanings, is an honest man, and expects others to be honest. This makes for fun and irony; what Gulliver says can be trusted to be accurate, and he does not always understand the meaning of what he perceives.

Also, although Gulliver is presented as a commonplace "everyman", lacking higher education, he possesses a remarkable natural gift for language. He quickly becomes fluent in the native tongue of any strange land in which he finds himself, a literary device that adds much understanding and humour to Swift's work.

Despite the depth and subtlety of the book, it is often classified as a children's story because of the popularity of the Lilliput section (frequently bowdlerised) as a book for children. One can still buy books entitled Gulliver's Travels which contain only parts of the Lilliput voyage.

Character analysis

Pedro de Mendez is the name of the Portuguese captain who rescues Gulliver in Book IV. When Gulliver is forced to leave the Island of the Houyhnhnms, his plan is "to discover some small Island uninhabited" where he can live in solitude. Instead, he is picked up by Don Pedro's crew. Despite Gulliver's appearance—he is dressed in skins and speaks like a horse—Don Pedro treats him compassionately and returns him to Lisbon.

Though Don Pedro appears only briefly, he has become an important figure in the debate between so-called soft school and hard school readers of Gulliver's Travels. Some critics contend that Gulliver is a target of Swift's satire and that Don Pedro represents an ideal of human kindness and generosity. To others, Gulliver sees the bleak fallenness at the center of human nature, and Don Pedro is merely a minor character who, in Gulliver's words, is "an Animal which had some little Portion of Reason."[15]

Cultural influences

Gulliver and a giant, a painting by Tadeusz Pruszkowski (National Museum in Warsaw).

From 1738 to 1746, Edward Cave published in occasional issues of The Gentleman's Magazine semi-fictionalized accounts of contemporary debates in the two Houses of Parliament under the title of Debates in the Senate of Lilliput. The names of the speakers in the debates, other individuals mentioned, politicians and monarchs present and past, and most other countries and cities of Europe ("Degulia") and America ("Columbia") were thinly disguised under a variety of Swiftian pseudonyms. The disguised names, and the pretence that the accounts were really translations of speeches by Lilliputian politicians, were a reaction to an Act of Parliament forbidding the publication of accounts of its debates. Cave employed several writers on this series: William Guthrie (June 1738 – November 1740), Samuel Johnson (November 1740 – February 1743), and John Hawkesworth (February 1743 – December 1746).

Voltaire was presumably influenced by Swift: his 1750 short story Micromégas, about an alien visitor to Earth, also refers to two moons of Mars.

Swift crater, a crater on Mars's moon Deimos, is named after Jonathan Swift.

The term Lilliputian has entered many languages as an adjective meaning "small and delicate". There is even a brand of small cigar called Lilliput. There is a series of collectable model houses known as "Lilliput Lane". The smallest light bulb fitting (5mm diameter) in the Edison screw series is called the "Lilliput Edison screw". In Dutch and Czech, the words Lilliputter and liliput(á)n respectively are used for adults shorter than 1.30 meters. Conversely, Brobdingnagian appears in the Oxford English Dictionary as a synonym for very large or gigantic.

In like vein, the term yahoo is often encountered as a synonym for ruffian or thug. In the Oxford English Dictionary it is considered a definition for "a rude, noisy, or violent person" and its origins attributed to Swift's Gulliver's Travels.[16]

In the discipline of computer architecture, the terms big-endian and little-endian are used to describe two possible ways of laying out bytes in memory. The terms derive from one of the satirical conflicts in the book, in which two religious sects of Lilliputians are divided between those who crack open their soft-boiled eggs from the little end, and those who use the big end.

Dostoevsky references Gulliver's Travels in his novel Demons (1872): 'In an English satire of the last century, Gulliver, returning from the land of the Lilliputians where the people were only three or four inches high, had grown so accustomed to consider himself a giant among them, that as he walked along the Streets of London he could not help crying out to carriages and passers-by to be careful and get out of his way for fear he should crush them, imagining that they were little and he was still a giant....'

In other works

Sequels and imitations

Allusions

Adaptations

Comic book cover by Lilian Chesney

Music

Film, television and radio

Gulliver's Travels has been adapted several times for film, television and radio. Most film versions avoid the satire completely.

See also

References

  1. ↑ Swift, Jonathan (2003). DeMaria, Robert Jr., ed. Gulliver's Travels. Penguin. p. xi.
  2. ↑ Swift, Jonathan (2009). Rawson, Claude, ed. Gulliver's Travels. W. W. Norton. p. 875. ISBN 978-0-393-93065-8.
  3. ↑ Gulliver's Travels: Complete, Authoritative Text with Biographical and Historical Contexts, Palgrave Macmillan 1995 (p. 21). The quote has been misattributed to Alexander Pope, who wrote to Swift in praise of the book just a day earlier.
  4. ↑ "Project Gutenberg".
  5. ↑ "Project Gutenberg".
  6. ↑ "Project Gutenberg".
  7. ↑ "Project Gutenberg".
  8. ↑ "Proyecto Gutenberg".
  9. ↑ "Project Gutenberg".
  10. ↑ "Project Gutenberg".
  11. ↑ Clive Probyn, Swift, Jonathan (1667–1745), Oxford Dictionary of National Biography (Oxford University Press: Oxford, 2004)
  12. ↑ Daily Journal 28 Oct 1726, "This day is published".
  13. ↑ Swift, Jonathan (1980). Isaac Asimov, ed. The Annotated Gulliver's Travels. New York: Clarkson N Potter Inc. p. 160. ISBN 0-517-539497.
  14. ↑ Allan Bloom (1990). Giants and Dwarfs: An Outline of Gulliver's Travels. New York: Simon and Schuster. pp. 47–51.
  15. ↑ James Clifford, "Gulliver's Fourth Voyage: 'hard' and 'soft' Schools of Interpretation." Quick Springs of Sense: Studies in the Eighteenth Century. Ed. Larry Champion. Athens: U of Georgia Press, 1974. 33–49
  16. ↑ "yahoo - definition of yahoo in English - Oxford Dictionaries".
  17. ↑ "Memoirs of the Court of Lilliput". J. Roberts. 1 January 1727 – via Google Books.
  18. ↑ l'abbé), Desfontaines (Pierre-François Guyot, M.; Swift, Jonathan (1 January 1730). "Le nouveau Gulliver: ou, Voyage de Jean Gulliver, fils du capitaine Gulliver". La veuve Clouzier – via Google Books.
  19. ↑ “About Some Queer Little People,” by Donald Grant Mitchell, St. Nicholas, Mar. 1874, 296–99.
  20. ↑ "The 1780s League of Extraordinary Gentlemen". www.comp.dit.ie. Retrieved 2015-05-30.
  21. ↑ Collected Short Stories of Philip K. Dick: Volume One, Beyond Lies The Wub, Philip K. Dick, 1999, Millennium, an imprint of Orion Publishing Group, London
  22. ↑ The Lilliput Legion, Simon Hawke, 1989, Ace Books, New York, NY
  23. ↑ "Brian Gulliver's Travels: Episode 1". BBC Radio 4. Retrieved 21 February 2011.
  24. ↑ "Videos: Acura launches Gulliver's Travels themed commercials for new 2013 RDX". 8 April 2012. Retrieved 15 September 2012.
  25. ↑ Julien, Alexandre. "Soufferance Bandcamp page". Bandcamp. Abridged Pause Publishing. Retrieved 28 June 2015.
  26. ↑ Pajukallio, Arto (10 August 2011). "Nuoren pyövelin tapaus". Helsingin Sanomat (in Finnish). pp. D 5.
  27. ↑ "Gulliver a törpék országában (1974)".
  28. ↑ "Gulliver's Travels". 23 November 1979 – via IMDb.
  29. ↑ "Gulliver az óriások országában (1980)".
  30. ↑ "Gulliver in Lilliput". 3 January 1982 – via IMDb.
  31. ↑ "Gulliver's Travels (TV 1996)". Retrieved 26 November 2011.
  32. ↑ "Tales of Gulliver's Travels » Sonar Entertainment". Sonar Entertainment, LLC. Retrieved 12 January 2012..
  33. ↑ "Now, an Indian Gulliver's Travels". Sunday Tribune. 8 June 2003. Retrieved 13 November 2012.
  34. ↑ "Chris O'Dowd: The IT Man From The IT Crowd". SuicideGirls.com. 9 May 2009. Retrieved 11 May 2009.

Bibliography

The standard edition of Swift's prose works as of 2005 is the Prose Writings in 16 volumes, edited by Herbert Davis et al.[1]

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Online text

  1. ↑ Swift, Jonathan (2005). Rawson, Claude; Higgins, Ian, eds. Gulliver's Travels (New ed.). Oxford. p. xlviii.
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