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Gulliver's Travels First edition of Gulliver's Travels |
Author | Jonathan Swift |
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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 |
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Country | England |
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Language | English |
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Genre | Satire, fantasy |
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Publisher | Benjamin Motte |
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Publication date | 28 October 1726 (293 years ago) |
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Media type | Print |
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| 823.5 |
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Text | Gulliver's Travels at Wikisource |
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Gulliver's Travels, or Travels into Several
Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a
Surgeon, and then a Captain of Several Ships is a 1726 prose satire by the Irish writer and clergyman Jonathan Swift, satirising both human nature and the "travellers' tales" literary subgenre. It is Swift's best known full-length work, and a classic of English literature. Swift claimed that he wrote Gulliver's Travels "to vex the world rather than divert it".
The book was an immediate success. The English dramatist John Gay remarked "It is universally read, from the cabinet council to the nursery." In 2015, Robert McCrum released his selection list of 100 best novels of all time in which Gulliver's Travels is listed as "a satirical masterpiece".
Plot
Locations
visited by Gulliver, according to Arthur Ellicott Case. Case contends
that the maps in the published text were drawn by someone who did not
follow Swift's geographical descriptions; to correct this, he makes
changes such as placing Lilliput to the east of Australia instead of the
west.
Part I: A Voyage to Lilliput
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.
- 4 May 1699 – 13 April 1702
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 (15 cm) 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 Royal Court. He is also given permission by the King of Lilliput to go around the city on condition that he must not hurt 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 royal court.
Gulliver is charged with treason for, among other crimes,
urinating in the capital though he was putting out a fire. He is
convicted and sentenced to be blinded. 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 – 3 June 1706
Gulliver 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 left on a
peninsula on the western coast of the North American continent.
The grass of Brobdingnag
is as tall as a tree. He is then found by a farmer who is about 72 ft
(22 m) tall, judging from Gulliver estimating the man's step being 10
yards (9 m). The giant farmer 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 display makes Gulliver sick,
and the farmer sells him to the Queen of the realm. Glumdalclitch (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 of Brobdingnag. 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
traveling box is seized by a giant eagle which drops Gulliver and his
box into the sea where he is picked up by sailors who return him to
England.
Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japan
Gulliver discovers Laputa, the floating/flying island (illustration by
J. J. Grandville)
- 5 August 1706 – 16 April 1710
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. Rather than using armies, Laputa
has a custom of throwing rocks down at rebellious cities on the ground.
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
in Balnibarbi, great resources and manpower are employed on researching
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 of Balnibarbi, 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
which is southwest of Balnibarbi. On Glubbdubdrib, 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. The ghosts include Julius Caesar, Brutus, Homer, Aristotle, René Descartes, and Pierre Gassendi.
On the island of 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 Land of the Houyhnhnms
Gulliver in discussion with Houyhnhnms (1856 illustration by
J.J. Grandville).
- 7 September 1710 – 5 December 1715
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 who, he believes, have turned
against him. His crew then commits mutiny. After keeping him contained
for some time, they 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 deformed 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 that resemble human beings are called Yahoos.
Gulliver becomes a member of a horse's household and comes to
both admire and emulate the Houyhnhnms and their way of life, 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 civilization
and commands him to swim back to the land that he came from. Gulliver's
"Master," the Houyhnhnm who took him into his household, buys him time
to create a canoe to make his departure easier. After another disastrous
voyage, he is rescued against his will by a Portuguese ship. He is
disgusted to see that Captain Pedro de Mendez, whom he considers a
Yahoo, is a wise, courteous, and generous person.
He returns to his home in England, but is unable to reconcile
himself to living among "Yahoos" and becomes a recluse, remaining in his
house, avoiding his family and his wife, and spending several hours a
day speaking with the horses in his stables.
It is now generally accepted that the fourth voyage of Gulliver's Travels does embody a wholly pessimistic view of the place of man and the meaning of his existence in the universe.
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, County Tyrone, whilst Swift stayed there.) 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.
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.
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.
Major themes
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 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 asserts that Swift's lampooning of the
experiments of Laputa is the first questioning by a modern liberal
democrat of the effects and cost on a society which embraces and
celebrates policies pursuing scientific progress. Swift wrote:
The first man I saw was of a meagre
aspect, with sooty hands and face, his hair and beard long, ragged, and
singed in several places. His clothes, shirt, and skin, were all of the
same colour. He has been eight years upon a project for extracting
sunbeams out of cucumbers, which were to be put in phials hermetically
sealed, and let out to warm the air in raw inclement summers. He told
me, he did not doubt, that, in eight years more, he should be able to
supply the governor’s gardens with sunshine, at a reasonable rate: but
he complained that his stock was low, and entreated me “to give him
something as an encouragement to ingenuity, especially since this had
been a very dear season for cucumbers.” I made him a small present, for
my lord had furnished me with money on purpose, because he knew their
practice of begging from all who go to see them.
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:
- A satirical view of the state of European government, and of petty differences between religions
- An inquiry into whether men are inherently corrupt or whether they become corrupted
- A restatement of the older "ancients versus moderns" controversy previously addressed by Swift in The Battle of the Books
In storytelling and construction the parts follow a pattern:
- The causes of Gulliver's misadventures become more malignant as
time goes on—he is first shipwrecked, then abandoned, then attacked by
strangers, then attacked by his own crew.
- Gulliver's attitude hardens as the book progresses—he is genuinely
surprised by the viciousness and politicking of the Lilliputians but
finds the behaviour of the Yahoos in the fourth part reflective of the
behaviour of people.
- Each part is the reverse of the preceding part—Gulliver is
big/small/wise/ignorant, the countries are
complex/simple/scientific/natural, and the forms of government are
worse/better/worse/better than Britain's.
- Gulliver's viewpoint between parts is mirrored by that of his antagonists
in the contrasting part—Gulliver sees the tiny Lilliputians as being
vicious and unscrupulous, and then the king of Brobdingnag sees Europe
in exactly the same light; Gulliver sees the Laputians as unreasonable,
and his Houyhnhnm master sees humanity as equally so.
- No form of government is ideal—the simplistic Brobdingnagians enjoy
public executions and have streets infested with beggars, the honest and
upright Houyhnhnms who have no word for lying are happy to suppress the
true nature of Gulliver as a Yahoo and are equally unconcerned about
his reaction to being expelled.
- Specific individuals may be good even where the race is bad—Gulliver
finds a friend in each of his travels and, despite Gulliver's rejection
and horror toward all Yahoos, is treated very well by the Portuguese
captain, Don Pedro, who returns him to England at the novel's end.
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
generally accepts what he is told at face value; he rarely perceives
deeper meanings; and he is an honest man who 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"
with only a basic education, he possesses a remarkable natural gift for
language. He quickly becomes fluent in the native tongues of the
strange lands in which he finds himself, a literary device that adds
verisimilitude and humour to Swift's work.
Despite the depth and subtlety of the book, as well as frequent off-colour and black humour, it is often mistakenly classified as a children's story because of the popularity of the Lilliput section (frequently bowdlerised)
as a book for children. Indeed, many adaptations of the story are
squarely aimed at a young audience, and one can still buy books entitled
Gulliver's Travels which contain only parts of the Lilliput voyage, and occasionally the Brobdingnag section.
Misogyny
Swift uses satire to openly mock misogyny throughout the book, with one of the most cited examples of this coming from Gulliver's description of a Brobdingnagian woman:
- "I must confess no Object ever disgusted me so much as the Sight
of her monstrous Breast, which I cannot tell what to compare with, so
as to give the curious Reader an Idea of its Bulk, Shape, and Colour....
This made me reflect upon the fair Skins of our English Ladies,
who appear so beautiful to us, only because they are of our own Size,
and their Defects not to be seen but through a magnifying glass...."
This open critique towards aspects of the female body is something
that Swift often brings up in other works of his, particularly in poems
such as The Lady's Dressing Room and A Beautiful Young Nymph Going To Bed.
A criticism of Swift's use of misogyny by Felicity A. Nussbaum
proposes the idea that “Gulliver himself is a gendered object of
satire, and his antifeminist sentiments may be among those mocked.”
Gulliver’s own masculinity is often mocked, seen in how he is made to be
a coward among the Brobdingnag people, repressed by the people of
Lilliput, and viewed as an inferior Yahoo among the Houyhnhnms.
Nussbaum goes on to say in her analysis of the misogyny of the
stories that in the adventures, particularly in the first story, the
satire isn't singularly focussed on satirizing women, but to satirize
Gulliver himself as a politically naive and inept giant whose masculine
authority comically seems to be in jeopardy.
Another criticism of Swift's use of misogyny delves into
Gulliver's repeated use of the word 'nauseous', and the way that
Gulliver is fighting his emasculation by commenting on how he thinks the
women of Brobdingnag are disgusting.
- "Swift has Gulliver frequently invoke the sensory (as opposed to
reflective) word "nauseous" to describe this and other magnified images
in Brobdingnag not only to reveal the neurotic depths of Gulliver's
misogyny, but also to show how male nausea can be used as a pathetic
countermeasure against the perceived threat of female consumption. Swift
has Gulliver associate these magnified acts of female consumption with
the act of "throwing-up"—the opposite of and antidote to the act of
gastronomic consumption."
This commentary of Deborah Needleman Armintor relies upon the way
that the giant women do with Gulliver as they please, in much the same
way as one might play with a toy, and get it to do everything one can
think of. Armintor's comparison focuses on the pocket microscopes that
were popular in Swift's time. She talks about how this instrument of
science was transitioned to something toy-like and accessible, so it
shifted into something that women favored, and thus men lose interest.
This is similar to the progression of Gulliver's time in Brobdingnag,
from man of science to women's plaything.
Comic misanthropy
Misanthropy is a theme that scholars have identified in Gulliver's Travels. Arthur Case, R.S. Crane, and Edward Stone discuss Gulliver's development of misanthropy and come to the consensus that this theme ought to be viewed as comical rather than cynical.
In terms of Gulliver's development of misanthropy, these three
scholars point to the fourth voyage. According to Case, Gulliver is at
first averse to identifying with the Yahoos, but, after he deems the Houyhnhnms
superior, he comes to believe that humans (including his fellow
Europeans) are Yahoos due to their shortcomings. Perceiving the
Houyhnhnms as perfect, Gulliver thus begins to perceive himself and the
rest of humanity as imperfect.
According to Crane, when Gulliver develops his misanthropic mindset,
he becomes ashamed of humans and views them more in line with animals. This new perception of Gulliver's, Stone claims, comes about because
the Houyhnhnms' judgement pushes Gulliver to identify with the Yahoos.
Along similar lines, Crane holds that Gulliver's misanthropy is
developed in part when he talks to the Houyhnhnms about mankind because
the discussions lead him to reflect on his previously held notion of
humanity. Specifically, Gulliver’s master, who is a Houyhnhnm, provides
questions and commentary that contribute to Gulliver’s reflectiveness
and subsequent development of misanthropy.
However, Case points out that Gulliver's dwindling opinion of humans
may be blown out of proportion due to the fact that he is no longer able
to see the good qualities that humans are capable of possessing.
Gulliver’s new view of humanity, then, creates his repulsive attitude
towards his fellow humans after leaving Houyhnhnmland.
But in Stone's view, Gulliver’s actions and attitude upon his return
can be interpreted as misanthropy that is exaggerated for comic effect
rather than for a cynical effect. Stone further suggests that Gulliver
goes mentally mad and believes that this is what leads Gulliver to
exaggerate the shortcomings of humankind.
Another aspect that Crane attributes to Gulliver’s development of
misanthropy is that when in Houyhnhnmland, it is the animal-like beings
(the Houyhnhnms) who exhibit reason and the human-like beings (the
Yahoos) who seem devoid of reason; Crane argues that it is this switch
from Gulliver’s perceived norm that leads the way for him to question
his view of humanity. As a result, Gulliver begins to identify humans
as a type of Yahoo. To this point, Crane brings up the fact that a
traditional definition of man—Homo est animal rationale (Humans are rational animals)—was prominent in academia around Swift’s time. Furthermore, Crane argues that Swift had to study this type of logic (see Porphyrian Tree)
in college, so it is highly likely that he intentionally inverted this
logic by placing the typically given example of irrational
beings—horses—in the place of humans and vice versa.
Stone points out that Gulliver's Travels takes a cue from
the genre of the travel book, which was popular during Swift's time
period. From reading travel books, Swift’s contemporaries were
accustomed to beast-like figures of foreign places; thus, Stone holds
that the creation of the Yahoos was not out of the ordinary for the time
period. From this playing off of familiar genre expectations, Stone
deduces that the parallels that Swift draws between the Yahoos and
humans is meant to be humorous rather than cynical. Even though
Gulliver sees Yahoos and humans as if they are one and the same, Stone
argues that Swift did not intend for readers to take on Gulliver’s view;
Stone states that the Yahoos’ behaviors and characteristics that set
them apart from humans further supports the notion that Gulliver's
identification with Yahoos is not meant to be taken to heart. Thus,
Stone sees Gulliver’s perceived superiority of the Houyhnhnms and
subsequent misanthropy as features that Swift used to employ the
satirical and humorous elements characteristic of the Beast Fables of
travel books that were popular with his contemporaries; as Swift did,
these Beast Fables placed animals above humans in terms of morals and
reason, but they were not meant to be taken literally.
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. Gulliver believes humans are similar to
Yahoos in the sense that they make "no other use of reason, than to
improve and multiply...vices"
Captain Pedro provides a contrast to Gulliver's reasoning, proving
humans are able to reason, be kind, and most of all: civilized. 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".
Reception
The book was very popular upon release and was commonly discussed within social circles.
Public reception widely varied, with the book receiving an initially
enthusiastic reaction with readers praising its satire, and some
reporting that the satire's cleverness sounded like a realistic account
of a man's travels. James Beattie
commended Swift’s work for its “truth” regarding the narration and
claims that “the statesman, the philosopher, and the critick, will
admire his keenness of satire, energy of description, and vivacity of
language,” noting that even children can enjoy the novel. As popularity increased, critics came to appreciate the deeper aspects of Gulliver’s Travels. It became known for its insightful take on morality, expanding its reputation beyond just humorous satire.
Despite its initial positive reception, the book faced backlash.
One of the first critics of the book, referred to as Lord Bolingbroke,
criticized Swift for his overt use of misanthropy.
Other negative responses to the novel also looked towards its portrayal
of humanity, which was considered inaccurate. Swifts’s peers rejected
the novel on claims that its themes of misanthropy were harmful and
offensive. They criticized its satire for exceeding what was deemed
acceptable and appropriate, including the Houyhnhnms and Yahoos’s
similarities to humans.
There was also controversy surrounding the political allegories.
Readers enjoyed the political references, finding them humorous.
However, members of the Whig party were offended, believing that Swift
mocked their politics.
British novelist and journalist William Makepeace Thackeray
described Swift's novel as "blasphemous", citing its critical view of
mankind as ludicrous and overly harsh. He concludes his critique by
remarking that he cannot understand the origins of Swift’s critiques on
humanity.
Cultural influences
The term Lilliputian has entered many languages as an
adjective meaning "small and delicate". There is a brand of small cigar
called Lilliput, and a series of collectable model houses known as
"Lilliput Lane". The smallest light bulb fitting (5 mm diameter) in the Edison screw series is called the "Lilliput Edison screw". In Dutch and Czech, the words Lilliputter and lilipután, 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.
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, the
"Little-endians", and those who use the big end, the "Big-endians".
In other works
Many sequels followed the initial publishing of the
Travels. The earliest of these was the anonymously authored
Memoirs of the Court of Lilliput,
published 1727, which expands the account of Gulliver's stays in
Lilliput and Blefuscu by adding several gossipy anecdotes about
scandalous episodes at the Lilliputian court. Abbé
Pierre Desfontaines, the first French translator of Swift's story, wrote a sequel,
Le Nouveau Gulliver ou Voyages de Jean Gulliver, fils du capitaine Lemuel Gulliver (The New Gulliver, or the travels of John Gulliver, son of Captain Lemuel Gulliver), published in 1730. Gulliver's son has various fantastic, satirical adventures.