Gulliver's Travels
Science Fiction | |
Publisher | Benjamin Motte |
---|---|
Publication date | 28 October 1726 |
Media type | |
823.5 | |
Text | Gulliver's Travels at Wikisource |
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
The book was an immediate success. The English
Plot
Part I: A Voyage to 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, much like
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 with some Lilliputian animals he carries with him.
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
The grass of
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 cannon. 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
- 5 August 1706 – 16 April 1710
Setting out again, Gulliver's ship is attacked by
Gulliver tours
While waiting for a passage, Gulliver takes a short side-trip to the island of
.On the island of
After reaching
Part IV: A Voyage to the Land of the Houyhnhnms
- 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.
Some scholars have identified the relationship between the Houyhnhnms and Yahoos as a master/slave dynamic.[6]
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.
Composition and history
It is uncertain exactly when Swift started writing Gulliver's Travels. (Much of the writing was done at Loughry Manor in
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
Faulkner's 1735 edition
In 1735 an Irish publisher,
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 allegory of 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 "L-I-N-S"; hence, Dublin.[10]
Major themes
This section is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. (December 2022) |
Gulliver's Travels has been described as a Menippean satire, a children's story, proto-science fiction and 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 work 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.
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.[11] 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 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 people 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 Gulliver perceives the forms of government as worse/better/worse/better than Britain's (although Swift's opinions on this matter are unclear).
- 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 book's end.
Misogyny
Although Swift is often accused of misogyny in this work, many scholars believe Gulliver's blatant misogyny to be intentional, and that Swift uses satire to openly mock misogyny throughout the book. One of the most cited examples of this comes 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.[12]
A criticism of Swift's use of misogyny by
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 focused on satirizing women, but to satirize Gulliver himself as a politically naive and inept giant whose masculine authority comically seems to be in jeopardy.[14]
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.[15]
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 lost 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.[16][17][18]
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.[16] According to Crane, when Gulliver develops his misanthropic mindset, he becomes ashamed of humans and views them more in line with animals.[17] This new perception of Gulliver's, Stone claims, comes about because the Houyhnhnms' judgement pushes Gulliver to identify with the Yahoos.[18] 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.[17] 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.[16] 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.[18]
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.[17]
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.[18]
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
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".[1] 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".[19]
Political allusions
Part I is probably responsible for the greatest number of political allusions. One of the most commonly noted parallels is that the wars between Lilliput and Blefuscu resemble those between England and France.[20] The enmity between the low heels and the high heels is often interpreted as a parody of the Whigs and Tories, and the character referred to as Flimnap is often interpreted as an allusion to Sir Robert Walpole, a British statesman and Whig politician who Swift had a personally turbulent relationship with.
In Part III, the grand Academy of Lagado in Balnibarbi resembles and satirizes the Royal Society, which Swift was openly critical of. Furthermore, "A. E. Case, acting on a tipoff offered by the word 'projectors,' found [the Academy] to be the hiding place of many of those speculators implicated in the South Sea Bubble."[21] According to Treadwell, however, these implications extend beyond the speculators of the South Sea Bubble to include the many projectors of the late seventeenth and early eighteenth century England, including Swift himself. Not only is Swift satirizing the role of the projector in contemporary English politics, which he dabbled in during his younger years, but the role of the satirist, whose goals align with that of a projector: "The less obvious corollary of that word [projector] is that it must include the poor deluded satirist himself, since satire is, in its very essence, the wildest of all projects - a scheme to reform the world."[21]
Ann Kelly describes Part IV of The Travels and the Yahoo-Houyhnhnm relationship as an allusion to that of the Irish and the British: "The term that Swift uses to describe the oppression in both Ireland and Houyhnhnmland is 'slavery'; this is not an accidental word choice, for Swift was well aware of the complicated moral and philosophical questions raised by the emotional designation 'slavery.' The misery of the Irish in the early eighteenth century shocked Swift and all others who witnessed it; the hopeless passivity of the people in this desolate land made it seem as if both the minds and bodies of the Irish were enslaved."[22] Kelly goes on to write: "Throughout the Irish tracts and poems, Swift continually vacillates as to whether the Irish are servile because of some defect within their character or whether their sordid condition is the result of a calculated policy from without to reduce them to brutishness. Although no one has done so, similar questions could be asked about the Yahoos, who are slaves to the Houyhnhnms." However, Kelly does not suggest a wholesale equivalence between Irish and Yahoos, which would be reductive and omit the various other layers of satire at work in this section.
Language
Part I includes examples of the Lilliputian language, including a paragraph for which Gulliver provides a translation. In his annotated edition of the book published in 1980, Isaac Asimov claims that "making sense out of the words and phrases introduced by Swift...is a waste of time," and these words were invented nonsense. However, Irving Rothman, a professor at University of Houston, points out that the language may have been derived from Hebrew, which Swift had studied at Trinity College Dublin.[23] [24]
Reception
The book was very popular upon release and was commonly discussed within social circles.[25] 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.[26] 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.[27] 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.[26]
Despite its initial positive reception, the book faced backlash. Viscount Bolingbroke, a friend of Swift and one of the first critics of the book, criticised the author for his overt use of misanthropy.[26] Other negative responses to the book also looked towards its portrayal of humanity, which was considered inaccurate. Swifts’s peers rejected the book 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.[27] 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.[26]
British novelist and journalist William Makepeace Thackeray described Swift's work as "blasphemous", saying its critical view of mankind was ludicrous and overly harsh. He concluded that he could not understand the origins of Swift’s critiques on humanity.[27]
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 defined as "a rude, noisy, or violent person" and its origins attributed to Swift's Gulliver's Travels.[28]
In the discipline of computer architecture, the terms big-endian and little-endian are used to describe two possible ways of laying out bytes of data in computer 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". The nomenclature was chosen as an irony, since the choice of which byte-order method to use is technically trivial (both are equally good), but actually still important: systems which do it one way are thus incompatible with those that do it the other way, and so it shouldn't be left to each individual designer's choice, resulting in a "holy war" over a triviality.[29]
It has been pointed out that the long and vicious war which started after a disagreement about which was the best end to break an egg is an example of the narcissism of small differences, a term Sigmund Freud coined in the early 1900s.[30]
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,[31] 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.[32] Gulliver's son has various fantastic, satirical adventures.
The traces of Swift's work can be found in the work of some modern Science Fiction writers.
In music
Georg Philipp Telemann wrote a Gulliver Suite for 2 violins without bass between 1728 and 1729. It includes a "Lilliputian" chaconne, a "Brobigdinian" gigue as well as a Loure of the "well-mannered houyhnhnms" combined with a Fury of the "naughty yahoos".
Adaptations
Film
- Gulliver's Travels Among the Lilliputians and the Giants, a 1902 French silent film directed by Georges Méliès
- Gulliver's Travels, a 1924 Austrian silent adventure film
- Gulliver Mickey, a 1934 film in the Mickey Mouse cartoon series
- The New Gulliver, a 1935 Soviet film
- Gulliver's Travels, a 1939 American animated film
- The 3 Worlds of Gulliver, a 1960 American film loosely based on the novel
- Gulliver's Travels Beyond the Moon, a 1965 Japanese animated film featuring Gulliver as a character
- Gulliver's Travels, a 1977 British-Belgian film starring Richard Harris
- Gulliver's Travels, a 1983 Spanish animated film by Cruz Delgado
- Gulliver's Travels, a 1996 animated film by Golden Films
- Crayola Kids Adventures: Tales of Gulliver's Travels, a 1997 direct-to-video film starring Adam Wylie
- Jajantaram Mamantaram, a 2003 Indian film starring Jaaved Jaaferi
- Gulliver's Travel, a 2005 Indian animated film
- Gulliver's Travels, a 2010 American film starring Jack Black
Television
- Gulliver in the Country of Dwarfs, a 1974 Hungarian television film starring László Sinkó as Gulliver.
- Gulliver's Travels, a 1979 television special produced by Hanna-Barbera. The same studio produced The Adventures of Gulliver in 1968. Gary Gulliver and his dog Tag are pursued by a ship's captain; he is aided by Lilliputians Bunko, Eager, Glum, Flirtatia, and King Pomp.
- Gulliver in the Country of Giants, a 1980 Hungarian television film starring András Kozák as Gulliver.
- Gulliver in Lilliput, a 1982 television serial produced by the BBC and aired in 4 parts; concertrating on the "Lilliput" section, the serial featured Andrew Burt as Gulliver.
- Saban's Gulliver's Travels, a 1992 French animated TV series
- Gulliver's Travels, a 1996 American TV miniseries starring Ted Danson
Radio
- Gulliver's Travels, a 1999 radio adaptation in the Radio Tales series
- Brian Gulliver's Travels, a satirical radio series starring Neil Pearson
- Gulliver's Travels, a 2012 BBC Radio 4 production starring Arthur Darvill, adapted in three parts by Matthew Broughton[33]
Bibliography
Editions
The standard edition of Jonathan Swift's prose works as of 2005[update] is the Prose Writings in 16 volumes, edited by Herbert Davis et al.[34]
- Swift, Jonathan Gulliver's Travels (Harmondsworth: Penguin, 2008) ISBN 978-0141439495. Edited with an introduction and notes by Robert DeMaria Jr. The copytext is based on the 1726 edition with emendations and additions from later texts and manuscripts.
- Swift, Jonathan Gulliver's Travels (Oxford: Oxford University Press, 2005) ISBN 978-0192805348. Edited with an introduction by Claude Rawson and notes by Ian Higgins. Essentially based on the same text as the Essential Writings listed below with expanded notes and an introduction, although it lacks the selection of criticism.
- Swift, Jonathan The Essential Writings of Jonathan Swift (New York: W.W. Norton, 2009) ISBN 978-0393930658. Edited with an introduction by Claude Rawson and notes by Ian Higgins. This title contains the major works of Swift in full, including Gulliver's Travels, A Modest Proposal, A Tale of a Tub, Directions to Servants and many other poetic and prose works. Also included is a selection of contextual material, and criticism from Orwell to Rawson. The text of GT is taken from Faulkner's 1735 edition.
- Swift, Jonathan Gulliver's Travels (New York: W.W. Norton, 2001) ISBN 0393957241. Edited by Albert J. Rivero. Based on the 1726 text, with some adopted emendations from later corrections and editions. Also includes a selection of contextual material, letters, and criticism.
See also
- Aeneid
- List of literary cycles
- Odyssey
- Sinbad the Sailor
- Sunpadh
- The Voyage of Bran
- Castle in the Sky
References
- ^ ISBN 9780141439495.
- ISBN 978-0-393-93065-8.
- ^ Gay, John (17 November 1726). "Letter to Jonathan Swift". Communion Arts Journal. Retrieved 9 January 2019.
- ^ "The 100 best novels written in English: the full list". The Guardian. 17 August 2015. Retrieved 17 August 2015.
- ^ Case, Arthur E. (1945). "The Geography and Chronology of Gulliver's Travels". Four Essays on Gulliver's Travels. Princeton: Princeton University Press.
- S2CID 163799730.
- S2CID 164044839.
- ^ Daily Journal 28 Oct 1726, "This day is published".
- ISBN 0-517-539497.
- ISBN 9780671707774.
- JSTOR 40753638.
- )
- )
- S2CID 154298114.
- ^ a b c Case, Arthur E. (1961). "From 'The Significance of Gulliver's Travels.'". In Milton P. Foster (ed.). A Casebook on Gulliver Among the Houyhnhnms. Thomas Y. Crowell Company. pp. 139–47.
- ^ ISBN 9780133715675.
- ^ a b c d Stone, Edward (1961). "Swift and the Horses: Misanthropy or Comedy?". In Milton P. Foster (ed.). A Casebook on Gulliver Among the Houyhnhnms. T Thomas Y. Crowell Company. pp. 180–92.
- ISBN 9780820303130
- S2CID 154047160.
- ^ JSTOR 40754389.
- S2CID 163799730.
- Jerusalem Post, 12 August 2015.
- ^ “Gulliver's Travels’ ‘nonsense’ language is based on Hebrew, claims scholar” by Alison Flood, The Guardian, 17 August 2015.
- ISBN 978-0737703429.
- ^ a b c d Gerace, Mary. (1967) "The Reputation of 'Gulliver’s Travels' in the Eighteenth Century". University of Windsor.
- ^ a b c Lund, Roger D. (2006) Johnathan Swift’s Gulliver's Travels: A Routledge Study Guide. Routledge.
- ^ "yahoo – definition of yahoo in English". Oxford Dictionaries. Archived from the original on 14 June 2013.
- ^ Cohen, Danny. "On Holy Wars And A Plea For Peace". RFC Editor. Retrieved 29 July 2022.
- ^ O’Toole, Fintan (16 March 2016) Pathological narcissism stymies Fianna Fáil support for Fine Gael, The Irish Times,
- ^ "Memoirs of the Court of Lilliput". J. Roberts. 1727.
- ^ l'abbé), Desfontaines (Pierre-François Guyot, M.; Swift, Jonathan (1730). "Le nouveau Gulliver: ou, Voyage de Jean Gulliver, fils du capitaine Gulliver". La veuve Clouzier.
{{cite web}}
: CS1 maint: multiple names: authors list (link) - ^ "BBC Radio 4 - Jonathan Swift - Gulliver's Travels, 3 The Voyage to Laputa". BBC. Retrieved 2 October 2022.
- ISBN 0192805347.
External links
- Digital editions
- Gulliver's Travels at Standard Ebooks
- Gulliver's Travels at Project Gutenberg (1727 ed.)
- Gulliver's Travels at Project Gutenberg (1900 ed.; with illustrations)
- Gulliver's Travels public domain audiobook at LibriVox
- Gulliver's Travels at the Internet Archive