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Monday, December 30, 2024

Child sacrifice

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Child_sacrifice
''Offering to Molech'' in Bible Pictures and What They Teach Us, by Charles Foster, 1897. The drawing is a typical depiction of child sacrifice.

Child sacrifice is the ritualistic killing of children in order to please or appease a deity, supernatural beings, or sacred social order, tribal, group or national loyalties in order to achieve a desired result. As such, it is a form of human sacrifice. Child sacrifice is thought to be an extreme extension of the idea that the more important the object of sacrifice, the more devout the person rendering it.

The practice of child sacrifice in Europe and the Near East appears to have ended as a part of the religious transformations of late antiquity.

Pre-Columbian cultures

Archaeologists have found the remains of more than 140 children who were sacrificed in Peru's northern coastal region.

Aztec culture

1499, the Aztecs performing child sacrifice to appease the angry gods who had flooded Tenochtitlan

The Aztecs are well known for their ritualistic human sacrifice as offerings to gods with the goal of restoring cosmological balance. While the demographic of people chosen to sacrifice remains unclear, there is evidence that victims were mostly warriors captured in battle and slaves in the slave trade. Human sacrifice was not limited to adults, however; 16th century Spanish codices chronicled child sacrifice to Aztec rain gods. In 2008, Archaeologists found and excavated 43 victims of Aztec sacrifice, 37 of which were subadults. The sacrificial victims were found by Temple R, a temple in Tlatelolco, the ancient Aztec city which is now modern day Mexico City. Temple R was dedicated to the Aztec rain gods, including Tlāloc, Ehecatl, Quetzalcoatl, and Huītzilōpōchtli. A majority (66%) of the excavated subadults were under 3 years old, and 32 subadults as well as 6 adults were identified as male, although the sex determination results could be replicated only for 26 of the 38 individuals.

It is hypothesized that this specific child sacrifice took place during the great drought and famine of 1454–1457, furthering the theory that Aztecs utilized human sacrifice to placate the gods. Osteological and dental pathological evidence shows that many of the child sacrificial victims had varying health issues, and it is suggested that the Tlaloques selected these children who had medical ailments. Because sacrificial victims typically embodied the gods they were being sacrificed to, male child sacrifices were more present at this site due to the masculine nature of the Aztec rain gods.

Inca culture

The Inca culture sacrificed children in a ritual called qhapaq hucha. Their frozen corpses have been discovered in the South American mountaintops. The first of these corpses, a female child who had died from a blow to the skull, was discovered in 1995 by Johan Reinhard. Other methods of sacrifice included strangulation and simply leaving the children, who had been given an intoxicating drink, to lose consciousness in the extreme cold and low-oxygen conditions of the mountaintop, and to die of hypothermia.

Maya culture

In Maya culture, people believed that supernatural beings had power over their lives and this is one reason that child sacrifice occurred. The sacrifices were essentially to satisfy the supernatural beings. This was done through k'ex, which is an exchange or substitution of something. Through k'ex infants would substitute more powerful humans. It was thought that supernatural beings would consume the souls of more powerful humans and infants were substituted in order to prevent that. Infants are believed to be good offerings because they have a close connection to the spirit world through liminality. It is also believed that parents in Maya culture would offer their children for sacrifice and depictions of this show that this was a very emotional time for the parents, but they would carry through because they thought the child would continue existing. It is also known that infant sacrifices occurred at certain times. Child sacrifice was preferred when there was a time of crisis and transitional times such as famine and drought.

There is archaeological evidence of infant sacrifice in tombs where the infant has been buried in urns or ceramic vessels. There have also been depictions of child sacrifice in art. Some art includes pottery and steles as well as references to infant sacrifice in mythology and art depictions of the mythology.

Moche culture

Peru- Moche Culture Region

The Moche of northern Peru practiced mass sacrifices of men and boys. Archeologists found the remains of 137 children and 3 adults, along with 200 camelids, during excavations in 2011, 2014 and 2016, beneath the sands of a 15th-century site called Huanchaquito-Las Llamas. This sacrifice was possibly made during the heavy rains as there was a layer of mud on top of the clean sand.

Timoto-Cuica culture

The Timoto-Cuicas offered human sacrifices. Until colonial times children sacrifice persisted secretly in Laguna de Urao (Mérida). It was described by the chronicler Juan de Castellanos, who cited that feasts and human sacrifices were done in honour of Icaque, an Andean prehispanic goddess.

Ancient Near East

R A Stewart Macalister made claims about child sacrifice in pre-Israelite Gezer.

Tanakh

The Tanakh mentions human sacrifice in the history of ancient Near Eastern practice. The king of Moab gives his firstborn son and heir as a whole burnt offering (olah, as used of the Temple sacrifice). In the book of the prophet Micah, the question is asked, 'Shall I give my firstborn for my sin, the fruit of my body for the sin of my soul?', and responded to in the phrase, 'He has shown all you people what is good. And what does Yahweh require of you? To act justly and to love mercy and to walk humbly with your God.' The Tanakh also implies that the Ammonites offered child sacrifices to Moloch.

Babylonian cylinder seal representing child sacrifice

According to scholars such as Otto Eissfeldt, Paul G. Mosca, and Susan Ackerman, Moloch was not a name for a god, but instead is a word for a particular form of child sacrifice practiced in Israel and Judah which was not abandoned until the reforms of Josiah. In the Tanakh mentions are made in books such as Kings, Leviticus, and Jeremiah of children being given "to the mōlek". According to Patrick D. Miller these child sacrifice traditions were not originally part of the Yahwism, but were instead foreign imports. Francesca Stavrakopoulou contradicts this, asserting that sacrifices were native to Israel and part of the royal line's attempts to perpetuate itself.

Exodus 22:28b–29 states "The firstborn of your sons you shall give to me" potentially a demand by Yahweh that the firstborn children of the Israelites must be sacrificed to him. However, Jacob Milgrom argues that Yahweh forbids human sacrifice and that in Exodus 22:28b-29, as in the Day of Atonement, Yahweh instituted substitutionary animal sacrifices for human sin and the redemption of the firstborn in Israelite families (cf. Exodus 13:11–16). Yahweh also states to the prophet Jeremiah, “They have built the high places of Topheth in the Valley of Ben Hinnom to burn their sons and daughters in the fire—something I did not command, nor did it enter my mind,” (Jeremiah 7:31) which some scholars interpret as indicating that it was once viewed as a central part to the law and desire of Yahweh.

Binding of Isaac

In this depiction of the Binding of Isaac by Julius Schnorr von Karolsfeld, 1860, Abraham is shown not sacrificing Isaac.

Genesis 22 relates the binding of Isaac, by Abraham to present his son, Isaac, as a sacrifice on Mount Moriah. It was a test of faith (Genesis 22:12). Abraham agrees to this command without arguing. The story ends with an angel stopping Abraham at the last minute and making Isaac's sacrifice unnecessary by providing a ram, caught in some nearby bushes, to be sacrificed instead. Other interpretations of the text have contradicted this version. For example, Martin S. Bergmann states "The Aggadah rabbis asserted that "father Isaac was bound on the altar and reduced to ashes, and his sacrificial dust was cast on Mount Moriah." A similar interpretation was made in the Epistle to the Hebrews. Margaret Barker notes that "Abraham returned to Bersheeba without Isaac" according to Genesis 22:19, a possible sign that he was indeed sacrificed. Barker also stated that wall paintings in the ancient Dura-Europos synagogue explicitly show Isaac being sacrificed, followed by his soul traveling to heaven. According to Jon D. Levenson a part of Jewish tradition interpreted Isaac as having been sacrificed. Similarly the German theologians Christan Rose [de] and Hans-Friedrich Weiß [de] maintain that due to the grammatical perfect tense used to describe Abraham's sacrifice of Isaac, he did, in fact, follow through with the action.

Rabbi A.I. Kook, first Chief Rabbi of Israel, stressed that the climax of the story, commanding Abraham not to sacrifice Isaac, is the whole point: to put an end to, and God's total aversion to the ritual of child sacrifice. According to Irving Greenberg the story of the binding of Isaac, symbolizes the prohibition to worship God by human sacrifices, at a time when human sacrifices were the norm worldwide.

Ban in Leviticus

In Leviticus 18:21, 20:3 and Deuteronomy 12:30–31, 18:10, the Torah contains a number of imprecations against and laws forbidding child sacrifice and human sacrifice in general. The Tanakh denounces human sacrifice as barbaric customs of Baal worshippers (e.g. Psalms 106:37). James Kugel argues that the Torah's specifically forbidding child sacrifice indicates that it happened in Israel as well. The biblical scholar Mark S. Smith argues that the mention of "Tophet" in Isaiah 30:27–33 indicates an acceptance of child sacrifice in the early Jerusalem practices, to which the law in Leviticus 20:2–5 forbidding child sacrifice is a response. Some scholars have stated that at least some Israelites and Judahites believed child sacrifice was a legitimate religious practice.

Numbers 31

In the aftermath of the War against the Midianites narrated in Numbers 31, the Israelites appear to be dedicating 32 captive Midianite virgin girls to be sacrificed to Yahweh as his share in the spoils of war.

It is not clear what happened to Yahweh's 0.1% share of the spoils of war, including 808 animals (verses 36–39) and 32 human virgin women/girls (verse 40), who are entrusted to the Levites, who are responsible for maintaining Yahweh's tabernacle (verses 30 and 47). Two Hebrew terms are used to indicate they are a 'tribute' or 'levy' that is 'offered' or 'contributed' to Yahweh:

  • me·ḵes or ham·me·ḵes (verses 28, 37 and 41), generally translated as 'tribute', 'tax' or 'levy'. Outside these three occurrences in Numbers 31, it appears nowhere else in the Hebrew Bible. It is also attested in Ugaritic as mekes and in Akkadian as miksu. An inflection of mekes is וּמִכְסָ֥ם ū·miḵ·sām, occurring only in verses 38, 39 and 40.
  • tə-rū-maṯ (verses 29 and 41); the term terumah (plural: terumat) is generally translated as '(heave) offering' or 'contribution' and is associated with heave offerings.

Some scholars have concluded that these 32 human virgins were to be sacrificed to Yahweh as a burnt offering along with the animals. For example, in 1854, Carl Falck-Lebahn compared the incident with the near-sacrifice of Iphigenia in Greek mythology, claiming: "According to Levit. xxvii, 29, sacrifices of human victims were clearly established among the Jews." After recounting the story of Jephthah's daughter in Judges 11, he reasoned: "the Jews (according to Numbers, chap 31) took 61,000 asses, 72,000 oxen, 675,000 sheep, and 32,000 virgins (whose fathers, mothers, brothers &c., were butchered). There were 16,000 girls for the soldiers, 16,000 for the priests; and on the soldiers' share there was levied a tribute of 32 virgins for the Lord. What became of them? The Jews had no nuns. What was the Lord's share in all the wars of the Hebrews, if it was not blood?"

Carl Plfuger in 1995 cited Exodus 17, Numbers 31, Deuteronomy 13 and 20 as examples of human sacrifice demanded by Yahweh, adding that according to 1 Samuel 15, Saul "lost his kingship of Israel because he had withheld the human sacrifice that Yahweh, the god of Israel, expected as his due after a war." Susan Niditch remarked in 1995 that, at the time of her writing, "increasingly scholars suggest that Israelites engaged in state-sponsored rituals of child sacrifice". Although "[s]uch ritual activity is condemned by Jeremiah, Ezekiel, and other biblical writers (e.g., Lev 18:21, Deut 12:31, 18:10; Jer 7:30–31, 19:5; Ezek 20:31), and the seventh-century reformer king Josiah sought to put an end to it, [the] notion of a god who desires human sacrifice may well have been an important thread in Israelite belief." She cited the Mesha Stele as evidence that the neighbouring Moabites performed human sacrifices with prisoners of war to their god Chemosh after successfully attacking an Israelite city in the 9th century BCE. Before the 7th-century BCE reformers of king Josiah of the southern Kingdom of Judah tried to end the practice of human/child sacrifice, it appears to have been commonplace in Israelite military culture.

Other scholars have concluded that the virgins and animals were kept alive and used by the Levites as their share of the spoils. Some even posited that human sacrifice (especially child sacrifice) was foreign to the Israelites, thus making the possibility of sacrificing the Midianite virgins unfeasible. Carl Friedrich Keil and Franz Delitzsch argued in 1870 that the 32 were enslaved:

Of the one half the priests received 675 head of small cattle, 72 oxen, 61 asses, and 32 maidens for Jehovah; and these Moses handed over to Eleazar, in all probability for the maintenance of the priests, in the same manner as the tithes (Numbers 18:26–28, and Leviticus 27:30–33), so that they might put the cattle into their own flocks (Numbers 35:3), and slay oxen or sheep as they required them, whilst they sold the asses, and made slaves of the gifts; and not in the character of a vow, in which case the clean animals would have had to be sacrificed, and the unclean animals, as well as the human beings, to be redeemed (Leviticus 27:2–13).

Gehenna and Tophet

The most extensive accounts of child sacrifice in the Hebrew torah Tanakh refer to those carried out in Gehenna by two kings of Judah, Ahaz and Manasseh of Judah.

Jephthah's daughter

Jephthah sees his daughter in this 1860 woodcut by Julius Schnorr von Karolsfeld

In the Book of Judges, chapter 11, the figure of Jephthah makes a vow to God, saying, "If you give the Ammonites into my hands, whatever comes out of the door of my house to meet me when I return in triumph from the Ammonites will be the Lord’s, and I will sacrifice it as a burnt offering" (as worded in the New International Version). Jephthah succeeds in winning a victory, but when he returns to his home in Mizpah he sees his daughter, dancing to the sound of timbrels, outside. After allowing her two months preparation, Judges 11:39 states that Jephthah kept his vow. According to the commentators of the rabbinic Jewish tradition, Jepthah's daughter was not sacrificed but was forbidden to marry and remained a spinster her entire life, fulfilling the vow that she would be devoted to the Lord. The 1st-century CE Jewish historian Flavius Josephus, however, interpreted this to mean that Jephthah burned his daughter on Yahweh's altar, whilst pseudo-Philo, late first century CE, wrote that Jephthah offered his daughter as a burnt offering because he could find no sage in Israel who would cancel his vow. In other words, this story of human sacrifice is not an order or requirement by God, but the punishment for those who vowed to sacrifice humans.

Phoenicia and Carthage

The inscription on this Sardinian votive doesn't mention the sacrifice

The practice of child sacrifice among Canaanite groups is attested by numerous sources spanning over a millennium. One example is in the writings of Diodorus Siculus:

"They also alleged that Kronos had turned against them inasmuch as in former times they had been accustomed to sacrifice to this god the noblest of their sons, but more recently, secretly buying and nurturing children, they had sent these to the sacrifice; and when an investigation was made, some of those who had been sacrificed were discovered to have been substituted by stealth... In their zeal to make amends for the omission, they selected two hundred of the noblest children and sacrificed them publicly; and others who were under suspicion sacrificed themselves voluntarily, in number not less than three hundred. There was in the city a bronze image of Kronos, extending its hands, palms up and sloping towards the ground, so that each of the children when placed thereon rolled down and fell into a sort of gaping pit filled with fire. It is probable that it was from this that Euripides has drawn the mythical story found in his works about the sacrifice in Tauris, in which he presents Iphigeneia being asked by Orestes: "But what tomb shall receive me when I die? A sacred fire within, and earth's broad rift." Also the story passed down among the Greeks from ancient myth that Cronus did away with his own children appears to have been kept in mind among the Carthaginians through this observance." Library 20.14

Plutarch:

"Again, would it not have been far better for the Carthaginians to have taken Critias or Diagoras to draw up their law-code at the very beginning, and so not to believe in any divine power or god, rather than to offer such sacrifices as they used to offer to Cronos? These were not in the manner that Empedocles describes in his attack on those who sacrifice living creatures: "Changed in form is the son beloved of his father so pious,Who on the altar lays him and slays him. What folly!" No, but with full knowledge and understanding they themselves offered up their own children, and those who had no children would buy little ones from poor people and cut their throats as if they were so many lambs or young birds; meanwhile the mother stood by without a tear or moan; but should she utter a single moan or let fall a single tear, she had to forfeit the money, and her child was sacrificed nevertheless; and the whole area before the statue was filled with a loud noise of flutes and drums so that the cries of wailing should not reach the ears of the people." Moralia 2, De Superstitione 3

Plato:

"With us, for instance, human sacrifice is not legal, but unholy, whereas the Carthaginians perform it as a thing they account holy and legal, and that too when some of them sacrifice even their own sons to Cronos, as I daresay you yourself have heard." (Minos 315)

Theophrastus:

"And from then on to the present day they perform human sacrifices with the participation of all, not only in Arcadia during the Lykaia and in Carthage to Kronos, but also periodically, in remembrance of the customary usage, they spill the blood of their own kin on the altars, even though the divine law among them bars from the rites, by means of perirrhanteria and the herald's proclamation, anyone responsible for the shedding of blood in peacetime."

Sophocles:

". . . was chosen as a . . . sacrifice for the city. For from ancient times the barbarians have had a custom of sacrificing human beings to Kronos."

Quintus Curtius Rufus:

"Some even proposed renewing a sacrifice which had been discontinued for many years, and which I for my part should believe to be by no means pleasing to the gods, of offering a freeborn boy to Saturn —this sacrilege rather than sacrifice, handed down from their founders, the Carthaginians are said to have performed until the destruction of their city—and unless the elders, in accordance with whose counsel everything was done, had opposed it, the awful superstition would have prevailed over mercy. But necessity, more inventive than any art, introduced not only the usual means of defence, but also some novel ones." History of Alexander IV.III.23

Tertullian:

"In Africa infants used to be sacrificed to Saturn, and quite openly, down to the proconsulate of Tiberius, who took the priests themselves and on the very trees of their temple, under whose shadow their crimes had been committed, hung them alive like votive offerings on crosses; and the soldiers of my own country are witnesses to it, who served that proconsul in that very task. Yes, and to this day that holy crime persists in secret." Apology 9.2-3

Child depicted, Tunisian figure

Philo of Byblos:

"Among ancient peoples in critically dangerous situations it was customary for the rulers of a city or nation, rather than lose everyone, to provide the dearest of their children as a propitiatory sacrifice to the avenging deities. The children thus given up were slaughtered according to a secret ritual. Now Kronos, whom the Phoenicians call El, who was in their land and who was later divinized after his death as the star of Kronos, had an only son by a local bride named Anobret, and therefore they called him Ieoud. Even now among the Phoenicians the only son is given this name. When war’s gravest dangers gripped the land, Kronos dressed his son in royal attire, prepared an altar and sacrificed him."

Lucian:

"There is another form of sacrifice here. After putting a garland on the sacrificial animals they hurl them down alive from the gateway and the animals die from the fall. Some even throw their children off the place, but not in the same manner as the animals. Instead, having laid them in a pallet, they drop them down by hand. At the same time they mock them and say that they are oxen, not children."

Cleitarchus:

"And Kleitarchos says the Phoenicians, and above all the Carthaginians, venerating Kronos, whenever they were eager for a great thing to succeed, made a vow by one of their children. If they would receive the desired things, they would sacrifice it to the god. A bronze Kronos, having been erected by them, stretched out upturned hands over a bronze oven to burn the child. The flame of the burning child reached its body until, the limbs having shriveled up and the smiling mouth appearing to be almost laughing, it would slip into the oven. Therefore the grin is called “sardonic laughter,” since they die laughing."

Porphyry:

"The Phoenicians too, in great disasters whether of wars or droughts, or plagues, used to sacrifice one of their dearest, dedicating him to Kronos. And the ‘Phoenician History,’ which Sanchuniathon wrote in Phoenician and which Philo of Byblos translated into Greek in eight books, is full of such sacrifices."

At Carthage, a large cemetery exists that combines the bodies of both very young children and small animals, and those who assert child sacrifice have argued that if the animals were sacrificed, then so too were the children. Recent archaeology, however, has produced a detailed breakdown of the ages of the buried children and, based on this and especially on the presence of prenatal individuals – that is, still births – it is also argued that this site is consistent with burials of children who had died of natural causes in a society that had a high infant mortality rate, as Carthage is assumed to have had. That is, the data support the view that Tophets were cemeteries for those who died shortly before or after birth. Conversely, Patricia Smith and colleagues from the Hebrew University and Harvard University show from the teeth and skeletal analysis at the Carthage Tophet that infant ages at death (about two months) do not correlate with the expected ages of natural mortality (perinatal), apparently supporting the child sacrifice thesis.

Greek, Roman and Israelite writers refer to Phoenician child sacrifice. Skeptics suggest that the bodies of children found in Carthaginian and Phoenician cemeteries were merely the cremated remains of children that died naturally. Sergio Ribichini has argued that the Tophet was "a child necropolis designed to receive the remains of infants who had died prematurely of sickness or other natural causes, and who for this reason were "offered" to specific deities and buried in a place different from the one reserved for the ordinary dead".

According to Stager and Wolff, in 1984, there was a consensus among scholars that Carthaginian children were sacrificed by their parents, who would make a vow to kill the next child if the gods would grant them a favor: for instance that their shipment of goods was to arrive safely in a foreign port.

Europe

Archaeologist Peter Warren was involved in the British School at Athens excavation of Palekastro for one season and the excavation at Lefkandi for two seasons. Then he led the excavation at Fournou Korifi, Myrtos from 1967 to 1968. During the 1980s, in two archaeology magazines, Warren wrote about "child sacrifice" despite there being no mention of this subject in the official excavation report, which was completed and published along with his book in 1972.

Startling as it may seem, the available evidence so far points to an argument that the children were slaughtered and their flesh cooked and possibly eaten in a sacrifice ritual made in the service of a nature deity to assure an annual renewal of fertility.

Rodney Castleden uncovered a sanctuary near Knossos where the remains of a 17-year-old were found.

His ankles had evidently been tied and his legs folded up to make him fit on the table... He had been ritually murdered with the long bronze dagger engraved with a boar's head that lay beside him.

The Ver Sacrum is a religious practice of ancient Italic peoples, especially the Sabelli (or Sabini) and their offshoot Samnites. The practice is related to that of devotio in Roman religion. It was customary to resort to it at times of particular danger or strife for the community. Some scholars believe that in earlier times devoted or vowed children were actually sacrificed, but later expulsion was substituted. Dionysius of Halicarnassus states the practice of child sacrifice was one of the causes that brought about the fall of the Pelasgians in Italy.

The human children who had been devoted were required to leave the community in early adulthood, at 20 or 21 years of age. They were entrusted to a god for protection, and led to the border with a veiled face. Often they were led by an animal under the auspices of the god. As a group, the youth were called sacrani and were supposed to enjoy the protection of Mars until they had reached their destination, expelled the inhabitants or forced them into submission, and founded their own settlement. The Waldensians, a medieval sect deemed heretical, were accused of participating in child sacrifice.

Africa

South Africa

The continued murder within Black communities of children of all ages, for body parts with which to make muti, for purposes of witchcraft, still occurs in South Africa. Muti murders occur throughout South Africa, especially in rural areas. Traditional healers or witch doctors often grind up body parts and combine them with roots, herbs, seawater, animal parts, and other ingredients to prepare potions and spells for their clients.

Uganda

In the early 21st century Uganda has experienced a revival of child sacrifice. In spite of government attempts to downplay the issue, an investigation by the BBC into human sacrifice in Uganda found that ritual killings of children are more common than Ugandan authorities admit. There are many indicators that politicians and politically connected wealthy businessmen are involved in sacrificing children in practice of traditional religion, which has become a commercial enterprise.

Sunday, December 29, 2024

Overtone

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Overtone
Vibrational modes of an ideal string, dividing the string length into integer divisions, producing harmonic partials f, 2f, 3f, 4f, etc. (where f means fundamental frequency).

An overtone is any resonant frequency above the fundamental frequency of a sound. (An overtone may or may not be a harmonic) In other words, overtones are all pitches higher than the lowest pitch within an individual sound; the fundamental is the lowest pitch. While the fundamental is usually heard most prominently, overtones are actually present in any pitch except a true sine wave. The relative volume or amplitude of various overtone partials is one of the key identifying features of timbre, or the individual characteristic of a sound.

Using the model of Fourier analysis, the fundamental and the overtones together are called partials. Harmonics, or more precisely, harmonic partials, are partials whose frequencies are numerical integer multiples of the fundamental (including the fundamental, which is 1 times itself). These overlapping terms are variously used when discussing the acoustic behavior of musical instruments. (See etymology below.) The model of Fourier analysis provides for the inclusion of inharmonic partials, which are partials whose frequencies are not whole-number ratios of the fundamental (such as 1.1 or 2.14179).

Duration: 17 seconds.
Main tone (110 Hz) and first 15 overtones (16 harmonic partials) (listen)
Allowed and forbidden standing waves, and thus harmonics

When a resonant system such as a blown pipe or plucked string is excited, a number of overtones may be produced along with the fundamental tone. In simple cases, such as for most musical instruments, the frequencies of these tones are the same as (or close to) the harmonics. Examples of exceptions include the circular drum – a timpani whose first overtone is about 1.6 times its fundamental resonance frequency, gongs and cymbals, and brass instruments. The human vocal tract is able to produce highly variable amplitudes of the overtones, called formants, which define different vowels.

Explanation

Most oscillators, from a plucked guitar string to a flute that is blown, will naturally vibrate at a series of distinct frequencies known as normal modes. The lowest normal mode frequency is known as the fundamental frequency, while the higher frequencies are called overtones. Often, when an oscillator is excited — for example, by plucking a guitar string — it will oscillate at several of its modal frequencies at the same time. So when a note is played, this gives the sensation of hearing other frequencies (overtones) above the lowest frequency (the fundamental).

Timbre is the quality that gives the listener the ability to distinguish between the sound of different instruments. The timbre of an instrument is determined by which overtones it emphasizes. That is to say, the relative volumes of these overtones to each other determines the specific "flavor", "color" or "tone" of sound of that family of instruments. The intensity of each of these overtones is rarely constant for the duration of a note. Over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note. This is why the timbre of a note may be perceived differently when played staccato or legato.

A driven non-linear oscillator, such as the vocal folds, a blown wind instrument, or a bowed violin string (but not a struck guitar string or bell) will oscillate in a periodic, non-sinusoidal manner. This generates the impression of sound at integer multiple frequencies of the fundamental known as harmonics, or more precisely, harmonic partials. For most string instruments and other long and thin instruments such as a bassoon, the first few overtones are quite close to integer multiples of the fundamental frequency, producing an approximation to a harmonic series. Thus, in music, overtones are often called harmonics. Depending upon how the string is plucked or bowed, different overtones can be emphasized.

However, some overtones in some instruments may not be of a close integer multiplication of the fundamental frequency, thus causing a small dissonance. "High quality" instruments are usually built in such a manner that their individual notes do not create disharmonious overtones. In fact, the flared end of a brass instrument is not to make the instrument sound louder, but to correct for tube length “end effects” that would otherwise make the overtones significantly different from integer harmonics. This is illustrated by the following:

Consider a guitar string. Its idealized 1st overtone would be exactly twice its fundamental if its length were shortened by ½, perhaps by lightly pressing a guitar string at the 12th fret; however, if a vibrating string is examined, it will be seen that the string does not vibrate flush to the bridge and nut, but it instead has a small “dead length” of string at each end. This dead length actually varies from string to string, being more pronounced with thicker and/or stiffer strings. This means that halving the physical string length does not halve the actual string vibration length, and, hence, the overtones will not be exact multiples of a fundamental frequency. The effect is so pronounced that properly set up guitars will angle the bridge such that the thinner strings will progressively have a length up to few millimeters shorter than the thicker strings. Not doing so would result in inharmonious chords made up of two or more strings. Similar considerations apply to tube instruments.

Musical usage term

Physical representation of third (O3) and fifth (O5) overtones of a cylindrical pipe closed at one end. F is the fundamental frequency; the third overtone is the third harmonic, 3F, and the fifth overtone is the fifth harmonic, 5F for such a pipe, which is a good model for a pan flute.

An overtone is a partial (a "partial wave" or "constituent frequency") that can be either a harmonic partial (a harmonic) other than the fundamental, or an inharmonic partial. A harmonic frequency is an integer multiple of the fundamental frequency. An inharmonic frequency is a non-integer multiple of a fundamental frequency.

An example of harmonic overtones: (absolute harmony)

Frequency Order Name 1 Name 2 Name 3
1 · f =   440 Hz n = 1 fundamental tone 1st harmonic 1st partial
2 · f =   880 Hz n = 2 2nd overtone 2nd harmonic 2nd partial
3 · f = 1320 Hz n = 3 3rd overtone 3rd harmonic 3rd partial
4 · f = 1760 Hz n = 4 4th overtone 4th harmonic 4th partial

Some musical instruments produce overtones that are slightly sharper or flatter than true harmonics. The sharpness or flatness of their overtones is one of the elements that contributes to their sound. Due to phase inconsistencies between the fundamental and the partial harmonic, this also has the effect of making their waveforms not perfectly periodic.

Musical instruments that can create notes of any desired duration and definite pitch have harmonic partials. A tuning fork, provided it is sounded with a mallet (or equivalent) that is reasonably soft, has a tone that consists very nearly of the fundamental, alone; it has a sinusoidal waveform. Nevertheless, music consisting of pure sinusoids was found to be unsatisfactory in the early 20th century.

Etymology

In Hermann von Helmholtz's classic "On The Sensations Of Tone" he used the German "Obertöne" which was a contraction of "Oberpartialtöne", or in English: "upper partial tones". According to Alexander Ellis (in pages 24–25 of his English translation of Helmholtz), the similarity of German "ober" to English "over" caused a Prof. Tyndall to mistranslate Helmholtz' term, thus creating "overtone". Ellis disparages the term "overtone" for its awkward implications. Because "overtone" makes the upper partials seem like such a distinct phenomena, it leads to the mathematical problem where the first overtone is the second partial. Also, unlike discussion of "partials", the word "overtone" has connotations that have led people to wonder about the presence of "undertones" (a term sometimes confused with "difference tones" but also used in speculation about a hypothetical "undertone series").

"Overtones" in choral music

In barbershop music, a style of four-part singing, the word overtone is often used in a related but particular manner. It refers to a psychoacoustic effect in which a listener hears an audible pitch that is higher than, and different from, the fundamentals of the four pitches being sung by the quartet. The barbershop singer's "overtone" is created by the interactions of the upper partial tones in each singer's note (and by sum and difference frequencies created by nonlinear interactions within the ear). Similar effects can be found in other a cappella polyphonic music such as the music of the Republic of Georgia and the Sardinian cantu a tenore. Overtones are naturally highlighted when singing in a particularly resonant space, such as a church; one theory of the development of polyphony in Europe holds that singers of Gregorian chant, originally monophonic, began to hear the overtones of their monophonic song and to imitate these pitches - with the fifth, octave, and major third being the loudest vocal overtones, it is one explanation of the development of the triad and the idea of consonance in music.

The first step in composing choral music with overtone singing is to discover what the singers can be expected to do successfully without extensive practice. The second step is to find a musical context in which those techniques could be effective, not mere special effects. It was initially hypothesized that beginners would be able to:

  • glissando through the partials of a given fundamental, ascending or descending, fast, or slow
  • use vowels/text for relative pitch gestures on indeterminate partials specifying the given shape without specifying particular partials
  • improvise on partials of the given fundamental, ad lib., freely, or in giving style or manner
  • find and sustain a particular partial (requires interval recognition)
  • by extension, move to an adjacent partial, above or below, and alternate between the two

Singers should not be asked to change the fundamental pitch while overtone singing and changing partials should always be to an adjacent partial. When a particular partial is to be specified, time should be allowed (a beat or so) for the singers to get the harmonics to "speak" and find the correct one.

String instruments

Playing a harmonic on a string. Here, "+7" indicates that the string is held down at the position for raising the pitch by 7 half notes, that is, at the seventh fret for a fretted instrument.

String instruments can also produce multiphonic tones when strings are divided in two pieces or the sound is somehow distorted. The sitar has sympathetic strings which help to bring out the overtones while one is playing. The overtones are also highly important in the tanpura, the drone instrument in traditional North and South Indian music, in which loose strings tuned at octaves and fifths are plucked and designed to buzz to create sympathetic resonance and highlight the cascading sound of the overtones.

Western string instruments, such as the violin, may be played close to the bridge (a technique called "sul ponticello" or "am Steg") which causes the note to split into overtones while attaining a distinctive glassy, metallic sound. Various techniques of bow pressure may also be used to bring out the overtones, as well as using string nodes to produce natural harmonics. On violin family instruments, overtones can be played with the bow or by plucking. Scores and parts for Western violin family instruments indicate where the performer is to play harmonics. The most well-known technique on a guitar is playing flageolet tones or using distortion effects. The ancient Chinese instrument the guqin contains a scale based on the knotted positions of overtones. The Vietnamese đàn bầu functions on flageolet tones. Other multiphonic extended techniques used are prepared piano, prepared guitar and 3rd bridge.

Wind instruments

Wind instruments manipulate the overtone series significantly in the normal production of sound, but various playing techniques may be used to produce multiphonics which bring out the overtones of the instrument. On many woodwind instruments, alternate fingerings are used. "Overblowing", or adding intensely exaggerated air pressure, can also cause notes to split into their overtones. In brass instruments, multiphonics may be produced by singing into the instrument while playing a note at the same time, causing the two pitches to interact - if the sung pitch is at specific harmonic intervals with the played pitch, the two sounds will blend and produce additional notes by the phenomenon of sum and difference tones.

Non-western wind instruments also exploit overtones in playing, and some may highlight the overtone sound exceptionally. Instruments like the didgeridoo are highly dependent on the interaction and manipulation of overtones achieved by the performer changing their mouth shape while playing, or singing and playing simultaneously. Likewise, when playing a harmonica or pitch pipe, one may alter the shape of their mouth to amplify specific overtones. Though not a wind instrument, a similar technique is used for playing the jaw harp: the performer amplifies the instrument's overtones by changing the shape, and therefore the resonance, of their vocal tract.

Brass Instruments

Brass instruments originally had no valves, and could only play the notes in the natural overtone, or harmonic series.

Brass instruments still rely heavily on the overtone series to produce notes: the tuba typically has 3-4 valves, the tenor trombone has 7 slide positions, the trumpet has 3 valves, and the French horn typically has 4 valves. Each instrument can play (within their respective ranges) the notes of the overtone series in different keys with each fingering combination (open, 1, 2, 12, 123, etc). The role of each valve or rotor (excluding trombone) is as follows: 1st valve lowers major 2nd, 2nd valve lowers minor 2nd, 3rd valve-lowers minor 3rd, 4th valve-lowers perfect 4th (found on piccolo trumpet, certain euphoniums, and many tubas). The French horn has a trigger key that opens other tubing and is pitched a perfect fourth higher; this allows for greater ease between different registers of the instrument. Valves allow brass instruments to play chromatic notes, as well as notes within the overtone series (open valve = C overtone series, 2nd valve = B overtone series on the C Trumpet) by changing air speed and lip vibrations.

The tuba, trombone, and trumpet play notes within the first few octaves of the overtone series, where the partials are farther apart. The French horn sounds notes in a higher octave of the overtone series, so the partials are closer together and make it more difficult to play the correct pitches and partials.

Overtone singing

Overtone singing is a traditional form of singing in many parts of the Himalayas and Altay; Tibetans, Mongols and Tuvans are known for their overtone singing. In these contexts it is often referred to as throat singing or khoomei, though it should not be confused with Inuit throat singing, which is produced by different means. There is also the possibility to create the overtone out of fundamental tones without any stress on the throat.

Also, the overtone is very important in singing to take care of vocal tract shaping, to improve color, resonance, and text declamation. During practice overtone singing, it helps the singer to remove unnecessary pressure on the muscle, especially around the throat. So if one can "find" a single overtone, then one will know where the sensation needs to be in order to bring out vocal resonance in general, helping to find the resonance in one's own voice on any vowel and in any register.

Overtones in music composition

The primacy of the triad in Western harmony comes from the first four partials of the overtone series. The eighth through fourteenth partials resemble the equal tempered acoustic scale.

When this scale is rendered as a chord, it is called the lydian dominant thirteenth chord. This chord appears throughout Western music, but is notably used as the basis of jazz harmony, features prominently in the music of Franz Liszt, Claude Debussy, Maurice Ravel, and appears as the Mystic chord in the music of Alexander Scriabin.

Because the overtone series rises infinitely from the fundamental with no periodicity, in Western music the equal temperament scale was designed to create synchronicity between different octaves. This was achieved by de-tuning certain intervals, such as the perfect fifth. A true perfect fifth is 702 cents above the fundamental, but equal temperament flattens it by two cents. The difference is only barely perceptible, and allows both for the illusion of the scale being in-tune with itself across multiple octaves, and for tonalities based on all 12 chromatic notes to sound in-tune.

Western classical composers have also made use of the overtone series through orchestration. In his treatise "Principles of Orchestration," Russian composer Nikolai Rimsky-Korsakov says the overtone series "may serve as a guide to the orchestral arrangement of chords". Rimsky-Korsakov then demonstrates how to voice a C major triad according to the overtone series, using partials 1, 2, 3, 4, 5, 6, 8, 10, 12, and 16.

In the 20th century, exposure to non-Western music and further scientific acoustical discoveries led some Western composers to explore alternate tuning systems. Harry Partch for example designed a tuning system that divides the octave into 43 tones, with each tone based on the overtone series. The music of Ben Johnston uses many different tuning systems, including his String Quartet No. 5 which divides the octave into more than 100 tones.

Spectral music is a genre developed by Gérard Grisey and Tristan Murail in the 1970s and 80s, under the auspices of IRCAM. Broadly, spectral music deals with resonance and acoustics as compositional elements. For example, in Grisey's seminal work Partiels, the composer used a sonogram to analyze the true sonic characteristics of the lowest note on a tenor trombone (E2). The analysis revealed which overtones were most prominent from that sound, and Partiels was then composed around the analysis. Another seminal spectral work is Tristan Murail's Gondwana for orchestra. This work begins with a spectral analysis of a bell, and gradually transforms it into the spectral analysis of a brass instrument. Other spectralists and post-spectralists include Jonathan Harvey, Kaija Saariaho, and Georg Friedrich Haas.

John Luther Adams is known for his extensive use of the overtone series, as well as his tendency to allow musicians to make their own groupings and play at their own pace to alter the sonic experience. For example, his piece Sila: The Breath of the World can be played by 16 to 80 musicians and are separated into their own groups. The piece is set on sixteen "harmonic clouds" that are grounded on the first sixteen overtones of low B-flat. Another example is John Luther Adam's piece Everything That Rises, which grew out of his piece Sila: The Breath of the World. Everything That Rises is a piece for string quartet that has sixteen harmonic clouds that are built off of the fundamental tone (C0)

A Modest Proposal

From Wikipedia, the free encyclopedia
 
A Modest Proposal
AuthorJonathan Swift
GenreSatirical essay
Publication date
1729
TextA Modest Proposal at Wikisource

A Modest Proposal for Preventing the Children of Poor People from Being a Burthen to Their Parents or Country, and for Making Them Beneficial to the Publick, commonly referred to as A Modest Proposal, is a Juvenalian satirical essay written and published by Anglo-Irish writer and clergyman Jonathan Swift in 1729. The essay suggests that poor people in Ireland could ease their economic troubles by selling their children as food to the elite. Swift's use of satirical hyperbole was intended to mock hostile attitudes towards the poor and anti-Catholicism among the Protestant Ascendancy as well as the Dublin Castle administration's policies in general. In English writing, the phrase "a modest proposal" is now conventionally an allusion to this style of straight-faced satire.

Synopsis

A painting of Jonathan Swift

Swift's essay is widely held to be one of the greatest examples of sustained irony in the history of English literature. Much of its shock value derives from the fact that the first portion of the essay describes the plight of starving beggars in Ireland, so that the reader is unprepared for the surprise of Swift's solution when he states: "A young healthy child well nursed, is, at a year old, a most delicious nourishing and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee, or a ragout."

Swift goes to great lengths to support his argument, including a list of possible preparation styles for the children, and calculations showing the financial benefits of his suggestion. He uses methods of argument throughout his essay which lampoon the then-influential William Petty and the social engineering popular among followers of Francis Bacon. These lampoons include appealing to the authority of "a very knowing American of my acquaintance in London" and "the famous Psalmanazar, a native of the island Formosa" (who had already confessed to not being from Formosa in 1706).

In the tradition of Roman satire, Swift introduces the reforms he is actually suggesting by paralipsis:

Therefore let no man talk to me of other expedients: Of taxing our absentees at five shillings a pound: Of using neither clothes, nor household furniture, except what is of our own growth and manufacture: Of utterly rejecting the materials and instruments that promote foreign luxury: Of curing the expensiveness of pride, vanity, idleness, and gaming in our women: Of introducing a vein of parsimony, prudence and temperance: Of learning to love our country, wherein we differ even from Laplanders, and the inhabitants of Topinamboo: Of quitting our animosities and factions, nor acting any longer like the Jews, who were murdering one another at the very moment their city was taken: Of being a little cautious not to sell our country and consciences for nothing: Of teaching landlords to have at least one degree of mercy towards their tenants. Lastly, of putting a spirit of honesty, industry, and skill into our shop-keepers, who, if a resolution could now be taken to buy only our native goods, would immediately unite to cheat and exact upon us in the price, the measure, and the goodness, nor could ever yet be brought to make one fair proposal of just dealing, though often and earnestly invited to it. Therefore I repeat, let no man talk to me of these and the like expedients, 'till he hath at least some glympse of hope, that there will ever be some hearty and sincere attempt to put them into practice.

Population solutions

George Wittkowsky argued that Swift's main target in A Modest Proposal was not the conditions in Ireland, but rather the can-do spirit of the times that led people to devise a number of illogical schemes that would purportedly solve social and economic ills. Swift was especially attacking projects that tried to fix population and labour issues with a simple cure-all solution. A memorable example of these sorts of schemes "involved the idea of running the poor through a joint-stock company". In response, Swift's Modest Proposal was "a burlesque of projects concerning the poor" that were in vogue during the early 18th century.

Ian McBride argues that the point of A Modest Proposal was to "find a suitably decisive means of dehumanizing the settlers who had failed so comprehensively to meet their social responsibilities." A Modest Proposal also targets the calculating way people perceived the poor in designing their projects. The pamphlet targets reformers who "regard people as commodities". In the piece, Swift adopts the "technique of a political arithmetician" to show the utter ridiculousness of trying to prove any proposal with dispassionate statistics.

Critics differ about Swift's intentions in using this faux-mathematical philosophy. Edmund Wilson argues that statistically "the logic of the 'Modest proposal' can be compared with defence of crime (arrogated to Marx) in which he argues that crime takes care of the superfluous population". Wittkowsky counters that Swift's satiric use of statistical analysis is an effort to enhance his satire that "springs from a spirit of bitter mockery, not from the delight in calculations for their own sake".

Rhetoric

Author Charles K. Smith argues that Swift's rhetorical style persuades the reader to detest the speaker and pity the Irish. Swift's specific strategy is twofold, using a "trap" to create sympathy for the Irish and a dislike of the narrator who, in the span of one sentence, "details vividly and with rhetorical emphasis the grinding poverty" but feels emotion solely for members of his own class. Swift's use of gripping details of poverty and his narrator's cool approach towards them create "two opposing points of view" that "alienate the reader, perhaps unconsciously, from a narrator who can view with 'melancholy' detachment a subject that Swift has directed us, rhetorically, to see in a much less detached way."

Swift has his proposer further degrade the Irish by using language ordinarily reserved for animals. Lewis argues that the speaker uses "the vocabulary of animal husbandry" to describe the Irish. Once the children have been commodified, Swift's rhetoric can easily turn "people into animals, then meat, and from meat, logically, into tonnage worth a price per pound".

Swift uses the proposer's serious tone to highlight the absurdity of his proposal. In making his argument, the speaker uses the conventional, textbook-approved order of argument from Swift's time (which was derived from the Latin rhetorician Quintilian). The contrast between the "careful control against the almost inconceivable perversion of his scheme" and "the ridiculousness of the proposal" create a situation in which the reader has "to consider just what perverted values and assumptions would allow such a diligent, thoughtful, and conventional man to propose so perverse a plan".

Influences

Scholars have speculated about which earlier works Swift may have had in mind when he wrote A Modest Proposal.

Tertullian's Apology

James William Johnson argues that A Modest Proposal was largely influenced and inspired by Tertullian's Apology: a satirical attack against early Roman persecution of Christianity. Johnson believes that Swift saw major similarities between the two situations. Johnson notes Swift's obvious affinity for Tertullian and the bold stylistic and structural similarities between the works A Modest Proposal and Apology. In structure, Johnson points out the same central theme, that of cannibalism and the eating of babies as well as the same final argument, that "human depravity is such that men will attempt to justify their own cruelty by accusing their victims of being lower than human". Stylistically, Swift and Tertullian share the same command of sarcasm and language. In agreement with Johnson, Donald C. Baker points out the similarity between both authors' tones and use of irony. Baker notes the uncanny way that both authors imply an ironic "justification by ownership" over the subject of sacrificing children—Tertullian while attacking pagan parents, and Swift while attacking the mistreatment of the poor in Ireland.

Defoe's The Generous Projector

It has also been argued that A Modest Proposal was, at least in part, a response to the 1728 essay The Generous Projector or, A Friendly Proposal to Prevent Murder and Other Enormous Abuses, By Erecting an Hospital for Foundlings and Bastard Children by Swift's rival Daniel Defoe.

Mandeville's Modest Defence of Publick Stews

Bernard Mandeville's Modest Defence of Publick Stews asked to introduce public and state-controlled bordellos. The 1726 paper acknowledges women's interests and—while not being a completely satirical text—has also been discussed as an inspiration for Jonathan Swift's title. Mandeville had by 1705 already become famous for The Fable of the Bees and deliberations on private vices and public benefits.

John Locke's First Treatise of Government

John Locke commented: "Be it then as Sir Robert says, that Anciently, it was usual for Men to sell and Castrate their Children. Let it be, that they exposed them; Add to it, if you please, for this is still greater Power, that they begat them for their Tables to fat and eat them: If this proves a right to do so, we may, by the same Argument, justifie Adultery, Incest and Sodomy, for there are examples of these too, both Ancient and Modern; Sins, which I suppose, have the Principle Aggravation from this, that they cross the main intention of Nature, which willeth the increase of Mankind, and the continuation of the Species in the highest perfection, and the distinction of Families, with the Security of the Marriage Bed, as necessary thereunto". (First Treatise, sec. 59).

Economic themes

Robert Phiddian's article "Have you eaten yet? The Reader in A Modest Proposal" focuses on two aspects of A Modest Proposal: the voice of Swift and the voice of the Proposer. Phiddian stresses that a reader of the pamphlet must learn to distinguish between the satirical voice of Jonathan Swift and the apparent economic projections of the Proposer. He reminds readers that "there is a gap between the narrator's meaning and the text's, and that a moral-political argument is being carried out by means of parody".

While Swift's proposal is obviously not a serious economic proposal, George Wittkowsky, author of "Swift's Modest Proposal: The Biography of an Early Georgian Pamphlet", argues that to understand the piece fully it is important to understand the economics of Swift's time. Wittowsky argued that an insufficient number of critics have taken the time to focus directly on mercantilism and theories of labour in Georgian era Britain. "If one regards the Modest Proposal simply as a criticism of condition, about all one can say is that conditions were bad and that Swift's irony brilliantly underscored this fact".

"People are the riches of a nation"

At the start of a new industrial age in the 18th century, it was believed that "people are the riches of the nation", and there was a general faith in an economy that paid its workers low wages because high wages meant workers would work less. Furthermore, "in the mercantilist view no child was too young to go into industry". In those times, the "somewhat more humane attitudes of an earlier day had all but disappeared and the laborer had come to be regarded as a commodity".

Louis A. Landa composed a conducive analysis when he noted that it would have been healthier for the Irish economy to more appropriately utilize their human assets by giving the people an opportunity to "become a source of wealth to the nation" or else they "must turn to begging and thievery". This opportunity may have included giving the farmers more coin to work for, diversifying their professions, or even consider enslaving their people to lower coin usage and build up financial stock in Ireland. Landa wrote that, "Swift is maintaining that the maxim—people are the riches of a nation—applies to Ireland only if Ireland is permitted slavery or cannibalism."

Landa presents Swift's A Modest Proposal as a critique of the popular and unjustified maxim of mercantilism in the 18th century that "people are the riches of a nation". Swift presents the dire state of Ireland and shows that mere population itself, in Ireland's case, did not always mean greater wealth and economy. The uncontrolled maxim fails to take into account that a person who does not produce in an economic or political way makes a country poorer, not richer. Swift also recognises the implications of this fact in making mercantilist philosophy a paradox: the wealth of a country is based on the poverty of the majority of its citizens. Landa argued that Swift was putting the onus "on England of vitiating the working of natural economic law in Ireland" by denying Irishmen "the same natural rights common to the rest of mankind."

Public reaction

Allen Bathurst, 1st Earl Bathurst

Swift's essay created a backlash within Georgian society after its publication. The work was aimed at the elite, and they responded in turn. Several prominent members of society wrote to Swift regarding the work. Lord Bathurst's letter (12 February 1729–30) intimated that he certainly understood the message, and interpreted it as a work of comedy:

I did immediately propose it to Lady Bathurst, as your advice, particularly for her last boy, which was born the plumpest, finest thing, that could be seen; but she fell in a passion, and bid me send you word, that she would not follow your direction, but that she would breed him up to be a parson, and he should live upon the fat of the land; or a lawyer, and then, instead of being eat himself, he should devour others. You know women in passion never mind what they say; but, as she is a very reasonable woman, I have almost brought her over now to your opinion; and having convinced her, that as matters stood, we could not possibly maintain all the nine, she does begin to think it reasonable the youngest should raise fortunes for the eldest: and upon that foot a man may perform family duty with more courage and zeal; for, if he should happen to get twins, the selling of one might provide for the other. Or if, by any accident, while his wife lies in with one child, he should get a second upon the body of another woman, he might dispose of the fattest of the two, and that would help to breed up the other. The more I think upon this scheme, the more reasonable it appears to me; and it ought by no means to be confined to Ireland; for, in all probability, we shall, in a very little time, be altogether as poor here as you are there. I believe, indeed, we shall carry it farther, and not confine our luxury only to the eating of children; for I happened to peep the other day into a large assembly [Parliament] not far from Westminster-hall, and I found them roasting a great fat fellow, [ Walpole again ] For my own part, I had not the least inclination to a slice of him; but, if I guessed right, four or five of the company had a devilish mind to be at him. Well, adieu, you begin now to wish I had ended, when I might have done it so conveniently.

Modern usage

A Modest Video Game Proposal is the title of an open letter sent by activist/former attorney Jack Thompson on 10 October 2005.

The 2012 horror film Butcher Boys, written by the original The Texas Chain Saw Massacre scribe Kim Henkel, is said to be an updating of Jonathan Swift's A Modest Proposal. Henkel imagined the descendants of folks who actually took Swift up on his proposal. The film opens with a quote from J. Swift.

The 2023 song "Eat Your Young" written by Irish musician Hozier might be a reference to "A Modest Proposal". It combines themes regarding the anti-war and anti-income-inequality movement, and uses Swift's essay as a framework to compare those modern problems to those same problems during Swift's time.

The July 2023 Channel 4 mockumentary Gregg Wallace: The British Miracle Meat, written by British comedy writer Matt Edmonds, updates A Modest Proposal and presents it in a similar format to Wallace's Inside the Factory, with human meat given as a potential solution to the UK's cost of living crisis. The words "a modest proposal" are used in Wallace's summing up at the end of the programme, and Swift is credited.

Theodicy and the Bible

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Theodicy_and_the_Bible ...