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JONATHAN SWIFT in the HISTORY of the ENGLISH NOVEL By

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JONATHAN SWIFT in the HISTORY of the ENGLISH NOVEL By JONATHAN SWIFT IN THE HISTORY OF THE ENGLISH NOVEL By SHELLEY HOWE RUTHERFORD Bachelor of Arts University of Oklahoma Norman, Oklahoma 1940 Master of Arts Northwestern University Evanston, Illinois 1942 Submitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degre e of DOCTOR OF EDUCATION May, 1969 OKLAHOMA STATE UNIVERSITY -~ L..ISRA.RY .t f SEP 291969 tI- 1} •l L~~,· ""'···,.,<--,F·,·»e"·~"'·"''·'"'""'"" .., .. ,, .. -- ., ..... , ... ,.··"·'"·· " JONATHAN SWIFT IN THE HISTORY OF THE ENGLISH NOVEL Thesis Approved: D.12. ~ Dean of 'the Graduate College 1725068 ii PREFACE Jonathan Swift's genius and the power of'his mind and personal­ ity are so great that the ablest cdtics for _more than two centuries have been attracted to him and have examined every phase of his thinking but if one small aspect of genius· is the infinite capacity for taking pains; then this study, which is conce.rned mainly with Swift's place in ·the history of the English novel, should also reflect, in his meticulou~ 'forging of-a.narrative technique,.another_aspect,. even though in a · small way, of ·his genius.; t wish to thank the members of my committee -- Dr-i Harry Campbell, Dr. Daniel Kron, a_nd Dr:~:'. John Susky _·:... for their encour­ agement and help both as my teachers and as my advisors in my graduate work:;,. - I ·am indebted to Dr~ Agnes Berrigan for the use of her materials in the field of the novel._ I have a special indebtedness to Dr. L·oyd Douglas, my advisor, whose knowledge of Swift is both wide ranging and deep. Finally, I am grateful to the Oklahoma State University Library staff for their courtesy and help. iii TABLE OF CONTENTS Chapter Page I. THE; SIGNIFICANCE OF THE STUDY: ITS LIMITATIONS, ITS SCOPE, AND ITS METHOD ... , ....... , ... 1 II. DEFINITIONS OF NARRATIVE TECHNIQUES: ELEMENTS: NORMS . , . 12 III. -AT ALE --.OF ---A TUB: A DETAILED DISCUSSION OF NARRATIVE TECHNIQUES IN A TALE OF A TUB . , 32 Plot, . , . 41 Characterization 52 Setting. 86 Dialogue. 104 Style. 114 IV.. SELECTED WORKS: NARRATIVE TECHNIQUES 125 Directions to Servants. 125 Polite Conversation . , . 140 "A Meditation Upon a Broomstick" . 166 V. GULLIVER'S TRAVELS: NARRATIVE TECHNIQUES IN GULLIVER'S TRAVELS 171 VI. CONCLUSION. 197 BIBLIOGRAPHY. 202 iv CHAPTER I THE SIGNIFICANCE OF THE STUDY: ITS LIMIT AT IONS, ITS SCOPE, AND ITS METHOD The importance of Jonathan Swift in the history of English literature has been great enough to make him the subject of innumer- able studies, but it seems curious that there has been an almost total omission of his name as one of the precursors of the novel. Even when mentioned by one of its greatest authorities -- George Saints bury -- Swift's relationship to the novel is barely referred to and not developed. His ability in characterization, narrative techni- ques, dramatic effects, poetic use of language, and understanding of the classics have been noticed by many critics, but they have never been recognized as having a significant relationship to and influence on the creation of the novel genre. One problem in the criticism of Swift seems to arise from the fact that he is considered almost wholly a satirist with little recogni- tion that the "idiom" which he forged for his purpose is closely related to the techniques of prose fiction which later developed into the perfected novel form. Most critics are so single-minded in this respect that in discussing Swift's style, even his misanthropy, his religious or political beliefs, they do not seem to realize that there 1 2 must be some significance merely in the fact that they have to use terms from prose fiction in order to analyze his style and his meaning,, for this proves his work has, at least, many of the qualities of the novel. Curiously, instead, most critics make it a point to emphasize the fact that Swift did not have any influence on the development of the novel. Some scholars, such as Ricardo Ouintana and W. B. C. Watkins, refer to the many examples in Swift's works which reveal his dramatic and poetic ability, but they do not indicate in any way his being a fore- shadower of the novel. In discussing what he calls Swift's "satiric idiom, 11 Mr. Ouintana us es terms related to both the drama and the novel such as plot, episode, dramatization of situations. He states that!:_ Tale ~~Tub creates suspense, that it is "intellectual comedy, 11 that it has the spirit of "a comedy of manners, 11 that it has the 1 coherence and unity of an organism. Concerning Swift I s poetic ability, Mr. Quintana writes that Swift not only uses the imagery and language of poets, but he has mastery of every type of poetic language, both serious and in parody: highly figurative, imaginative, metaphorical, epigrammatic, epic, dramatic,· comic,. an d sa t'1r1c. 2 1Ricardo Quintana, Swift: An Introduction (London, 1962), p. 58. 2Ibid., pp. 51-66. In this section, Mr. Qui'ntana discusses Swift's poetic ability and "A Tale of a Tub,w 11 The Battle of the Books,'·' and the "Mechanical Operation of the Spirit" both as three acts of a play and as three separate comedies. 3 Though Mr ...Quintana uses terms relating to both poetry and drama in his description of Swift's style, he does not mention that there is any fictional significance in Swift's peculiar blending of drama, comedy, and poetry, which constitutes his satiric idiom. It seems significant that Swift's peculiar blend of these three genres is far closer to that found later in the novel itself than the techniques used in the generally accepted precursors to that genre. Swift realized that the classical principles governing poetry and drama also governed successful prose fiction, the medium which he felt would be the best vehicle for his satire. In creating his idiom for satire, Swift applied these literary rules to prose. By keeping their essential meaning and by being true to the laws of nature, to human experience, and to the law of probability, Swift. devised a prose medhim which was not only effective for his satire but pointed the way to the pattern from which the novel genre could develop. Swift found his idiom early in his literary career: in verse in his 11 Verses wrote in a Lady's Table-Book" (1698) and in prose in his A Tale of~ Tub, which he wrote between 1696 and 1698 but which he did 3 not publish until 1704; he used this idiom in all his subsequent works. It is important to remember that Swift developed his idiom at this early date, for this fact disproves the .conclusions 6f many critics that·Swift was· indebted to Daniel Defoe for his narrative style and his use of 3Every point in Gulliver's Travels, even the impractical experi­ ments of the scientists in Laputa, is foreshadowed in -A Tale--·-. of-- a- Tub.-- 4 fictional elements in Gulliver's Travels ;4 whereas, the truth is that he had brought these techniques to a high degree of perfection before Defoe's narratives appeared. 5 Swift used this "satiric idiom" in all his works after 1696; he even adapted it to the persona or the narrator of each work. For example, the story of the three brothers and their coats in A Tale is told in the "highly figurative style 116 of the modern historian; where- as, the style of Gulliver's Travels is straightforward and simple as an unimaginative person such as Gulliver would use. Though Mr. Quintana, to be sure, praises Swift I s "incomparable matching of substance and voice, 117 in each work, he does not mention that this ability reveals Swift's creative genius in character drawing and plot construction. In order for him to fit the persona's style to 4 Many authorities on the novel make this statement. Ian Watt even names Daniel Defoe as the first novelist and gives him credit for introducing many of the techniques that Swift used in A Tale. Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson, and Fielding (Berkeley, 1964). 5Not all authorities agree with the Defoe thesis. John F. Ross is one of those who claim that Defoe was indebted to Swift rather than Swift to Defoe. John F. Ross, Swift and Defoe: A Study in Relationship (University of California Press, 1941). Mr. A. E. Case states that the theme of Gulliver is that of_A Tale, "worked out more clearly, more concretely and more universally; it is the effect of folly upon the fate of humanity." Arthur E. Case, "Commentary," Gulliver's Travels (New York, 1938), p. 342. In reviewing the possible sources of Gulliver, Mr. Case not only does not mention Defoe, but he emphasizes the fact that it is impossible to find the exact sources, for Swift selected what he needed from his wide reading and experience and molded all of it into a "new and original pattern. 11 "Commentary, 11 p. 350. 6 Quintana, An Introduction, p. 63. 7Ibid., p. 68. 5 his persopality,.. background, and education) Swift had first to under­ stand clearly himself what type of person his narrator was; only then could he make each persona speak and act in character, according to the law of probability. Swift recognized as does the novelist the truth of the classical precept that to make his characters credible, a writer must be careful to have each one act and speak according to his nature; he must never be out of character. Swift was so successful in understanding the personality of each of his characters that he has caused many critics to consider each one of them as being autobiographical, a conclusion that has resulted in much confusion in the interpretation of Swift's works and of his personality.
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