Mary F:rbaugh. Keep Co-op, April 12 t 1970
THE EI,mODYING H1AGE: A DESIGN FOR A OF DISTORTED BODY IHAGERY IN .;;;...;;:.=.;;:;;;.;;;:;...;.;::;;..::.:;..,.::~ .-;;.;:;;..:;;..;==
Of all the imagery available to the writer the body's imagery is perhaps the most powerful and immediate" Using arms and legs and eyebroi'm in his work he insures himself of a bond with his reader, for each reader has his ovm arms and legs and eyebrows to identify with in his mind and experience.
No one can read Swift· s terse sentence, II st w'eek I saw a woman flayed t and you will hardly believe how much it altered 1 her person for the worse,," without feeling a shudder of horror and sympathy in his own body.
'y!?~.§., is full of body images.. Gulliver himself is a very fleshly human being; he is primarily interested in the people
he finds. We, the readers t are first entranced by ~:~~ because it tells us about people like ourselves only somehow different.. It is this likeness '\'iri th and difference from our-
selves that makes the powerfully in~riguing book it is.
The differences betitieen ourselves and the people in ,.;;;;.;:;:=,;:::. ver come ly in the distortions of their bodies: they are tvfelve t s as or as 1 as w'e are t have Erbaugh -- 2 eyes or are filthYt or are. to all superficial appearances, horses@ We are led from the familiarity of our own bodies to the strangeness of Swift- s creations, froIQ. experience (we '/ all lrnow people somewhat taller or shorter than ourselves, for, example) to the allegory of imaginqtion. These allegories and symbols are concentrated in special areas: mOst of the distor tions are changes or size, quality. or horselikeness. Moreover, these changes become more pronounced and more shocking as the story develops@ But Swift. for all his fury. is in full com mand of his satirical allegory of mankind 1'7hose physical dis tortion is sometimes a converse and sometimes a parallel of the human part ,of him beyond his body, his personalitYt or, as Swift would have called itt his soul$ The embodying metaphor where the imagery of the body is used to stand for the elements of an abstraction is one of the most powerful devices of thought. St. Paul speaks of Christ as the tihead tI of the church; 't'Te are the Itmembers .. II Or againt we are all familiar with the parts of the "body poli or even more appropriately, wi th the I!.;::..;;;...::::~..;;;;.:;;;.!I of a wri tel".. These images have in their physicality the nearness. strength, and frailty of the physical body itself.. The meaning of the con demna tion of an author's cor}?u.§. or Nork as ildiseased U is qui te clear. SNift' s vJOrIr has borne thi s accusation from the cri cs from Thackarey to Huxley to Murry. Yet his use of the image as a cohtrolled and. ss sati Erbaugl) 3 gests that he was in complete command of his mind and his work .. In certain parts of the body are singled out'for attention both as themselves and as parallels to the mind and behavior.. Eyes are particularly important to Gulliver..Oulli ver is most concerned that the Blefuscudian arrows 1dil blind him; he protects himself with the spectacles which are almost
the only the he has hidden from the Emperor 9 $ inventory.. He uses his te scope to save himself in each shipwreck.. The final punishment proposed for him by the lliputians is blinding him. The Lilliputians' tiny eyes are clear, but they "see to no t distanceU while the Brobd have the converse defect of ghtedness@ The t eyes are also symboli distorted: one turns up while the other is crossed inltl'ard.. Their stargazers come in for special tion by iver although he ts the merits of their superior telescopes.. The smug Houyhnhnms pity Gulliver for having so flat a face that he 6annot see both directions at once as they can.. But they have no conception of stargazing; Gulliver's sorrel servant cannot discern the island Gulliver sights from his telescopee The s have the additional of providing a means of communication between people even when their languages are mutually inc ble .. In the f1 two books Gull is very concerned plac himse eye wi the peocle he meets, with Ii .. In is dis by op , s t of off
into t vv'hi one of the first th s he s Erbaugh'-- 4
first Houyhnhnms he meets is the Itvery mild Aspect" of hilp:eyes., Eyes serve as the most direct communication of the state of the body and the soul; they are everywhere important. Indeed~ the bulk of Gulliver's reporting is visually oriented .. Genitals are another important actuality and allegory in the book.. However, mnstead of being sho-vffi in erotic terms, Swift usually speaks of their excretory function, referring to them as the "dishounourable Parts." Gulliver's shame at excre- / tion is striking; it is one of the first things that concerns him in Lilliput --there it is the cause of his expulsion-- and in Brobdingnag.. In Brobdingnag he is appalled at the Uhogs- heads" of urine the maids prodUce and himself will not sit on a chair he has made from the Queents hair because he would be placing a ttdishounourable of his body on it.. In LapU~q many of the projectors are experimenting with urine and feces. The medicines Gulliver the surgeon recommends are all purges of some sort or elEe made from excrement.. The most appalling thing Gulliver finds about the Yahoos is their filth: they pelt him with it; even the little three year old he tries to cuddle pisses allover him. Strangely, the Houyhnhnmstl dung is never mentioned, though they are described as being ly clean" Womens· bodies espec corne in for Gulliver@ s revulsion; he is disgusted by the huge mottled sts of the Brobd maids honor .. is e Erbaugh -- 6
to besti~lity. There is a paradox here: the more the body diverges from the standard for hUmanity as exemplified by Lemuel Gulliver, the more the souls of the people are rational. Kindness and emotion are some'what separate values which come
inbetNeen physicality and rationali ty. In other words t the)moie j distorted and inhuman the body, the more ideally national the soul. Body parallels mind in some ways: in Lilliput the people are charming curio ties until we discover the vi and parochial pettines~. The Brobdingnagians are as magnani- mouS t tolera~ntt and imaginative of other states as they are large and gross.. There is someth1ng of a reversion 1n Laputa; fe't'J' of the people are really deformed though they are all Yet they are the least practical and most abstracted people in the book. Their excesses seem to be a total escape from the body into abstraction. But it is in the fourth book that
Swift really comes to his fo;r<~ cif body imagery.. The Yahoos are the vilest and most fleshly of all his creations. They are , carnivourous and have all the worst excesses of bodily and mental depravity.. They are irrational but clever, cruel and avaricious in proportion to thei howling filthiness. Their eyes are appropriately fixed to the ground.. 'Ilhey seem to have no intellect and less charity. Their bodi distortions are those of quality. The Houyhnhnms' bodies are the most distorted of all; physically they are horses, sts~ though very the pasterns. Their bodies serve as a pe ect foil to their souls which are ut rati almost devold emotion -- 7 The allegory reaohes its olimax here: if man were a "beas then perhaps he would be rational; as things are now the ohanoes
/ of a manvs behaving rationally and unemotionally are about as great as those of his growing a mane and tail overnight.
When Gulliver t the "oross ourrent and the oontradiotiont " returns to England~ he whinnies and trots his way to live in the stables though he retains the i onally emotional and Yahooishly absurd hope of reforming all of England to an equine paradise. Though is nakedness is oovered. he is still revulsed by himself and hi s world.. We howl 1'1i th laughter as we shudder at the intensity and sino ty of his oonversion.'
SwiftWl.ns his point Ithand over fist .. 11 distortion of body is an important satirioal teohnique .. faot, Swift's use of irregularly formed bodies as physioalizations of mens· oontorted and disfigured mental stateiS is the most vividly important quality of the booIt" Though Dr" Johnson was attaoking SW'ift when he said,. ultihen onoe you have thought of big men and little men. it is very 2 easy to do the re his remark reoognizes the importanoe of bodily distortion in ~~~~ But Rwift's peopie are not only larger or smaller than is normal; they oan so be filthier, wilier, Wiser, furrier, more intro ect , older, more
madder t saner, sicker, more be or niore rati like horses .. ftWs of the embodies all these states; his dcmi rse is its d and wi om~ fS jects mants r Erbaugh -- 8 life as the body holds the soul. The angrily humoruus teaching that satire does is a ture of many techniques: parody, the nonsensically straight- faced exaggerations of the style of some serious subject as I the tight-rope dancing ministers parallel England's cou~t currying royal favor; ironY$ the pseudoserious cise tations of some serious subject. as Gullivers's wonder that 1- he did not see the mercy of the Lilliputians' order to blin~ and starve him; sarcasm, the inverted use of praise or criticism to cut down an opponent, Gulliver himself uses this~ though the Houyhnhnms are sarcastic in their trying to di guish him from the Yahoos; and cature~ the exaggeration of certain aspects of a character to a ludicrous whole, Gulliver's treatment of the Academy of Projecters is primarily a caricature of the Royal Society; personification, something akin to this happens when the lliputians think that Gulliver's I'latch 1s some sort of or Swift's elevating actual horses to the human level of the Houy~nhnms; and the converse, making a hUman being into an animal, as Gulliverts relegating / I the Yahoos to the animal world. Any or all 0lthese components of satire be combined in any proportions in producing a whole vmrk of art.. Each of these techniques involves SOme sort of distortion, an inten on is twi a part is made more important that the whole or the s the
ze or is st, an enl es ac t or the ssness of si obscures the .. F.rbaugh ... - 9
as a work in itself and ignoring Swiftts personal life and the contemporary psychological interpretations of distorted body imagery, it is still apparant that the distorted human body is the vehicle for ft's piercing idea that man 3 is not \This discusses only human body imagery; by Swift's definition I interpret hUman to mean any animal capable of reason, under thi s definition both -ehe.. Houyhllhnms and\the ~ahoos are human beings for they both have bodies and are capable of reason .. If Swiftts primary purpose 1s tine; Gulliver i'las to show that man is only capable of reason t he could have done so much more economi by c: in so doing he would have lost the and delight of book.. The strength of is its ingenious concreteness on ch the symbolism ends for its force. Our senses and minds are aroused and captivated by
the physical allegories of man~s depravities; quite literally we can picture them.. Concreteness in symbolism can be as bur densome as the L~lputans· projected object language where a man would carry the objects he wanted to communicate about, a book for example. and shovv it in conver on instead of talking
~bout it. An image by image d fould be as tedious and decept as the putan codes where
;he word "Buzzard II means a sta sman. Rather~ the ty and fluidity of t*s symbols the book both amus on several Is Erbaugh -- of meaning from the childos to the philosopher's. So it is
dec tive to say, for example t that the Houyhnhnms phi sophers, or abstracted reason; they represent and have characteri:stics of all of these, but most of all they are themselvest the Houyhnhnms, Swift's own special creation. What we like and learn frvom them comes by our appreCiation of the Houyhnhnms themselves, not by a point by point conversion to this or that abstraction.. The values of concrete imagery are clarity, and paradoxically, multi-levelled meanlngs~ The image of the kindly, gross Brobdingnagian mD.cl.ds\ who dandle Gulliver on their nipples but have never knovm war is amusing " and instruc ti ve 1n its sensu.al acui ty. The ovexall effect of is diverse: a first reaction is amusement at the ingenuity of the story, then wonder at its infinite imaginative detail. then shock at Swift's horror and rage at man's cruelty, smugness, apd filth, then anger at the seeming insult to humanity, and finally the insight into oneself and society that comes from sharply focused satire.. Not all readers reach all the'6e levels, and the re- actions vary from book to book; the Lilliputian book aione is mo 1y winsome. But 1n reading the who satire the most vivid reaction is shock. a surprise and horror at the grossness fil t vehemence, and accuracy of ft's attack on .. The design of this paper is to compare the ssion of shock rece by an ocular the boolr the
1fl analy sand tion of ific dis Erbaugh -- 11 body images. At this point I have encoun~ered so many program- ming difficulties that it is not possible to a comparison between mentally and jnachine,pl"oduced This paper will compare the processes necessary to an intuitional and a computer- aided analysis of and then try to approximate the resul ts the machine would have reached.. M.y ocu,lar impression is that distortion of body imagery is Swift's primary component of satire. These are distortions of size ( or small).
I 1 qu~lity (eg filthy, noble, sooty), and horse qualities (neighing, trotting).. They increase in frequency of appearance and inten- sity of shock value ~s the book progresses. In other words, ~" Gulliver begins by being a modest surgeon reporting on some charm- ing miniatu;re people, and ends by being a fanatical rec revolted by the sight and of the English Yahoos, trying to convert the We world to the Ho~yhnhnmst equine rationality, The philosophy of humanistic, ocular analysis of a book is emotional: the impressions of the whole are greater than the sum of their remembered parts.. There is usually little effort to analyse the 't'J'orl( page by page, far less word by word. and with reason: the task is too ~ediously time can to be worth the effort. So the reader relies on notes and selected pages as examples.. Unfortunately these examples are often chosen because they shore up the readerts thesis or cause they are vividly red. not because they are s tis- tically repre of the wo [:lS a whole.. An
1 s rs re so that ses Erbaugh -- 12 to be impressionistic and subjective selections of the whole .. The earlier Pert of this paper is an example of this type of analysis. Computer-aided analyses of books aim toward more empiricism in critical techniques.. A computer analysis does not abolish a humanistic reading of the book; the computer does not read the book fo~ you. Instead the computer tions as a timesaving computational and analytic tool. The data it selects and prints out are additions to and comparisons with the ocular readings. The critic can aim for more minuteness of depth analysis while being able to explore the worlt as alfrhole undaunted by the \ limitations of timet attention, and endurance. Admi the scale of values is different: the analysis will necessarily be quantifiable in some way_ but editorial judgement is not excluded. In fact, in a computer analysis one must be as care- ful about 1'J"hat information to exclude or ignore as about what is to be chosen and examined. Com~uter-chosen ~ata serves as a test of the mental hypothesis; if one hypothesis is explod the critic can text another until he finds what he can accept
9.S the facts of the examinations.. He is no longer bound to an emotional reaction. The mental process required by programming is more impD~tant to the resulti analysis the actual lata produc to become aOcustomed to the aental set requi by programming; at fi there m[~y be no
:;ime by u the e1' at .. t Erbaugh 13
definition of the problem, logically viable analy sand divison into feasible job stepst and the editorial techniques necessary in the ocular analy s of the data produced are real aids to clear thinking in genearl as well as the problem at ha.nd .. Another value of computer-aided criticism is that the methods involved are viable not only for determining editions, but also for a wide variety of problems of stylistlcs, imagery and symbol- ism, translations, and aids to appreciation. In computer-aided
analysis what is happ~ning in the text and how it is being done, both expressed in quantifiable terms, are the neces foundations of why a text takes a certa form, the primary questi'on of oou- lar analysi s .. computer-aid analy s method 1s as impro as the resulting impres on.
The application of co~puter-aided de gn in this project is in the. study of imagery in quantifiable form.. The idea farr , the project, stated above, entered my head in a very subjective way after reading Gulliver.. The feasibi ty of the computer-
aided project WaS determined by how preCisely defined and inachine- readable the images sought could be made" The text, words, sentences, chapters, and boolrs of had to be defin for the purpose of this project. The most accurate un-edl text avai is the Motte 1726 first edition ..
While some of the s ~re m1 and Swift made a few changes in the Ition, notably adding the Erbaugh -- 14 duotion~ the Motte edition re s spell and punctuation while being un- i by the III'10derns .. 1I Because of the value of the 1726 first edition, r xeroxed a working copy of the book. The text for the computer project had to be limited in size and statistically valid. Using a table of a million random numbers I chose ten randomly selected s for analysis by letting tl)e first digt t of random number be the volume in which the: page appeared whi the next three digits were the pages to be scaihned.. s 72, 73. 80 t 136, and 218 were selected from volume I; ins 106, 124, 131, and 199 were selected.. This is a statistically significant .. 86 of the text. These s are reproduced in the append .. Because it comes from the oc first edi on each has cons erably fewer words than the modern editions.. These pages were put into machine-readable fonnby keypunching them on computer cards.. Each card s an eight digit code to shOW volume. book, chapter, patte, and The remaining sixty-four spaces on the were punched with the text of
Gull r.. Because the h has a limited number of ters, only capital t rs for , I used a list of conver ons for spec 1 c c s and punctuation , * fies a capi 1 Ie r, for .. The sts were s 11arly without ace Erbciugh -- 15
A scan for distortion of body supposes a. text to be scanned~ definitions of body s~ definitions of dis- tortions, and a means of comparing the list and the texto I decided that for the purposes of this project the basic units of compari son would be the sentence and the 'I'Jord. A word is the characters which come between two blanks; a sentence is the characters, mainly words, which come between a capital letter and a perioJ, excl~mation mark or que on (rarely used by Gulliver) followed two spaces. Any sentence in which a body image appears would be~ logically enough. a body image sentence. A distortion of body imagery is a body sentence in which a word from the ze. quality or word lists ':[1hus body as di by proximity of words, not by So the pass sentences
"The Yahoo was filthy .. " and saw the huge ship .. 1i are equally body distortion sentences, f t a quality distortlon sen- tence, the next a size disto ion sentence.. An ocular edi of the output would be neces to separate the t1'W.' H01\Tevcr' , nost of ft~s sentences are long and camp enough that the frequency of a sentence cants distortions in conjunc am
!Vi th body I'mrd s the di ortlon words do not i
:lady word s 1 s not too ft himse set the other
sions of t11e t the chapters, books t and )r1n tel" set the numbers ..
The Ii s of body, ze~ i s vwre Erbaugh -- 16 selected in an ocular reading of the book. All the words have been normalized to eighteenth century lling. Some editorial judgement necessarily entered here. Body words are all parts of the body. hUman pronouns, names of human beings or groups of human beings, numbers representing human beings, and distinc ively hUman ve~bs. Clothing words : are luded as extensions of the body while some words scribing mental characteristic$
,are added to show the contrast with body quality~ There 'are 1132 body words selected evenly distributed throughout the book. The ze word s are mostly clearly defined adj ec ti ve s, as 'tvell as numbers as a measure of s in books one and t't'-TO, and ani- mals as an indicator of size in Brobdingnag. This use of ani- mals. as the II splaclnnuckr as mea in Brobdingnag is addi- tional testimony to the phys ity of Swiftts images. There
,are 205 selected size words almost all of which ~are found ": in the first and second books.. The quality words are also adjectives; adVerbs, and ve expressing human qualities .. Sometimes the definitions here are a little ambiguous as with the words "monstrous" andtlprodigiouslt bo
of all appropri te words are to be count and matched tely by the computer. For the complete Ii s see the appendix. There is a definite progression in qualitiy of \ the body and quality "twrds as they progress from the Lilliputian book to the Houyhnhnm book.. The body words begin innocuously with
tlauthorlt and "bod'y" in Lilliput, go to 'fnonsters" and "bristlesU in Brobdingnag, tonvillaintt and "spitting" in Laputa and "ravishern and",hovJlsn in, the land Qf the Houyhnhnms. Similarly the quality words begin wi Italiveil and t'cleanlinesstl and end with ncruel" and "sinester. u The size list is concentrate in the first two books while the horse wbrd,s come almost entirely from the fourth book. As further examples here are each thirtieth word from the selected lists: There is clearly a progression in shock value distortion as the book goes on; even the supposedly neutral body words change in quality. Erbaugh -- 18 BODY SIZE QUALITY HORSE LILLIPUTn~----_------~------author bigger alive horse body fifty cleanliness persons good behaviour butler merits scholar absurd eight general BROBDINGNAG------r------child thimble love of their country monsters insect raving stockingweavers kittens horrible bristles whale bemired '1\roices patience wen crowd suits LAPUTA------discharged listless malady adapted swearer sooty host flatus tyrant politeness ghost consummate page Roman villain pro ltut spltt folly pro e ty Erbaugh --19
BODY SIZE QUALITY HORSE Christians
HOUYHNHNM------~~~i~~~~~~------~~lt She Governor goats carriages aspect flat lying honourable forging sagacity go to war cruel ravishers sinister injuring fawns / suspend seat howls giber virtuosos judges Erbaugh -- 20 -# The language I use for programming is SNOBOL.3.. Program- ming is the most difficult and uncertain part of this type of project: the very clarity and precision demanded by the m~chine slow the production of data because of the many' trials and revisions required before ,a program actually runs correctly. This fa6tor of programming and the very large amount 'of data to be scanned and rna tched coupilied \'Vi th the fairly small storage space available in the computer created problems lv-hich I had not anticipated in this degree@ Because it is best to write programs in segments and check them before writing a ~hole program for all the data, I concentrated on writing'the first . ) / stage of the program which is ~o scan sentences of the text of for body words. If a body word in the sentence, the computer is to count the total number of words in the sen- tence and print out th~ sentence code fol16wed by the sentence itself. The following printed line s to tell the number of body words out of the total number of words in the sentence .. Because of the stora.ge dlfficulties, at this point the program w~ich will be discussed s out data correctly only when it is analysing a very few card so A larger number of card s exhausts the a.mount of free storage available in the computer"
I plan to work on and i the p which folIOl/IS.. I could not have done t I have thout the encour- agement and help s. ..
i 1. Erbaugh -- 21
Some o'f the sic concepts of computer programming be~r discussion here. After basic d inltions of whose job is to be done p the language used, and the storage available. a task is divided into many smaller ones each one to be repeated. until it is completed. The lists of characters are called "strings". For economy of space and machine time as well as to preserve some semblance of loglc, many command9are gi1ten different options, for example if a match succeeds it go
to "PRINTf' t if it fails it should return to 1/ LOOK" .. Thi s option would be printed, /S(PRINT)F(LOOK). Each series command whose cycle must be completed for the program to s,ucceed is called a loop.. Each loop is preceeded by charac or numbers which identify it" A series of loops which finally maIms up the whole program. Though the loops follow one another vertically dOl'm the pa:ge t their options for success or failure or repeti tion carry the task up over the page mal,).y time s" So a program is really a comprc ssed and logically flo1ATcharted in struc'tion sheet. The program is punched one command to a card and inserted \fii th the data into the machine. After the computer has analysed the data it prinman output, the rendi on of many more commands. The printed (or punched) output follows the program on succeeding sheets of paer. One can a for a printout of the internal steps the machine goes throug}l in solving
(or trying to solve) the problem, but I will only discuss the basic program and its output. I mul pIe es in many p es to bility to the comments .. Erbaugh -- 22
II SEQI" UlVIX 7 0113 (this is the job number given by the computer center)
(job number, 25 pages 10 minutes of machine my name) IISYS003 ACCESS SCRATCHl (put the test material on a scratch tape and make it accessible) . II EXECUTE COPY80(COPY) (read the material in and store it on tape 80 spaces at a time)
(the text s in here) END OF COPY80 JOB 149 INPUT R.c;COHDS 149 INPUT (the text h~~ been read into the computer and stored) I I REHnm SYS003 IISYS003 ACCE II EXECUTE COFY80(COPY) (rewind the tape and put the body word li on a record (disk) in units of 80 C)1aracters J (the body word list goes in here) END OF COPY80 JOB (the wordlist has been read 62 INPUT RECORDS and copied onto the di ) 62 REGORDS COPIED (rewind the text tape) I I REIHND SYS003 (the li and text are on the IISYS002 SCRATCHI tape in units of 80 charac ) II LAB~L 80. 80 I I SNOBOL3 ( ST) (begin the program u the language SNOBOL3 list the internal mach at s uc;ed)
R'r OF' Erbaugh -- 2.3
0001 SPECIAL - o*/*$/*=/**Q D/** •• /"/:/;/./?/'/' (These are t:he characters for capi Is, italics, end of ltalics,begin and end quotations, periods for abbrevia tion, the same when they ap~ear at the end of sentences, apostrophes (the machine reads only one here) colons, semicolons, pe ods, question marks_and exclamation points all separ:;;t ted by slashes and dEH.fmi ted by apostrophes. Collectively these are referred to as SPEC .) 0002 '* (Leave a space for the line here) 000.3 RDTEXT GET2(LINE) /F(END) ('fa1m a line called LI1'E from the text; if there are no more lines go to • ) 0004 LINE *CODE/'8'* (Scan for some 8 long called CODE, and something re mstining, the rest of the line, TXT .. ) 0005 SNT ::: SNT TRnI ( TX':J:l ) (The letters SNT refer to the words and characters in part of the 1 called SN'r conca tena ted vTi th TXT with the unnecessary blanks removed .. )
0006 PRIlJT ( • 1 SENT == , SN'r) (Print out the first sentence as being equal to the charac rs in SNT. This is a mes to help in diagnosing bugs in the prOgram.) 0007 , '*NEW* == NEW /FC ) (SN'l1 t any given plece of the is divided into two sections, the first which ie ed 1s ed by a p od and two from the remainder which 1s call .. The contents of by the letters there are no rc letters in, that go more. ) 0008 SENT :. ' , OLD W • ( T. the sentence. to scanned is the old part of line before the pe ad, preceeded followed by a blank. )
0009 PRINT( t 2 T) (Print out the conterts of SENT and number 2 in the This is another diagnostic command. )
0010 * CLeave a blank 1 here .. ) 0011 * SENTENCE IS NOV! (The sentence is now a c te uni t. ) 0012 * ( a blank line here .. ) 001) SPEC :::: SPECIAL (The letters. of to all the contents called. ..) 0014 /F(SCAN) (In the function called take somath called Cll out of the string of special acters called .. Cll" is any number of characters ifol by a I. Get rid of these characters one by one, that is, set th~m equal to no In case of failure, when are no more characters, go SCAN .. )
0015 PRINT(') CH::::· CH} (Another diagnostic messa .. ) 0016 ,:.'SENT CH Is( )F( (Scan for 1e scan the sentence for a c cter. If this succe St a c charac r is found. go to If this fails and nos characters are found, to .. ) Erbaugh -- 25
0017 HID P2 /(AGAIN) (In 'I' or the word there is something called, l~ containing a special charac CR, followed by P2, part 2. Parts one and two are set to the two parts without the char acter. This eliminates apostrophes and allows the words of the text with apostrophes to match with the basic body words of the list.)
0018 it- (Leave a blank line here.. )
0019 it· SEHTENCE IS NOH READY TO SCAN (A self-explanatory labelling message. ) 0020 '* (Leave a blank line here.. ) 0021 SCAN GET3 (BODY) /F(KP) (Go to the di with the list of body words.. there are no more body words go to ..)
0022 PRINT(t4 BODY::::: t BODY) (At a place numbered 4 print the body words. This is a diagnostic entry.. )
0023 LIST ::::: ST BODY /(SCAN) \ J (LIST is equal to LIST con catenated with BODY. After this go to SCAN~ )
0024 KP KEEP ::::: LIST (The string called is the same"as the contents of .. ) 0025 PRINT('5 ) (At number 5 print out the I.:contents of KEEP" )
0026 OCCURS::::: tot (The string called which will count the number of bodywo s in the sentence is equal to 0 .. 0027 (The string called COUNT whi will count the total number of words in the sentence is equal to 0.. ) Erbaugh -- 26
0028 LISTI40HD IF(OUTPUT) (A t item STvJOHD SCan the Ii st ,of body l/Jord s, for something called WORD. that is a word, delimited by slashes. If none is found. go to OUT1)UT.. ) 0029 PRINT(t6 WORD::::' WORD) (At number 6 print the con ,tents of WORD" ) 00.30 KEEP tit Wo.RD :::: (The oontents of whioh rna tch \;JORD preceeded by a I are disoarded by being-set equal to nothing. )
00.31 SENT ' t WORD ' , IF(LISTWORD) (Scan , the sentence p for WORD, a body word delimited by blanks.. I,f there are no more words gd back to WORD.) ','
\ 00.32 OCCURS ::: + I( STI-JORD) (OCCURS is equal to the mumber of times a body word has been found plus 1.. This total is the number of body words found in the sentenoe so .. After counting go back to STWOHD,,) 00.3.3 "* (Leave a blanl{ line here .. ) \'" 00.34 SENTELJCE "* (A self- tory label .. ) / 00.35 "* (Leave" a blank line here. ) 00.36 OUTPUT .. (OCCURS, to;~), Is( ) (At OUTPUT when OCCURS is eqlt'?l to 0 go back to for more text. OC is equal to o 'VIrhen there are no body words in the sentence" )
00.37 FRINT( t 7 ::::: T) ( r 7 t s of ) Erbaugh .... - 27
0038 SENTI :::: SENT (The characters of call forth the contents of SENT- )
0039 WDC~T SENT • $ /F(PR) (At WDCNT (wordcount) scan SENT, sentence, for-gemethlng called BIT. a word. delimited by blanks. If BIT is not found, if there are no more words. go to PRe ) 0040 SENT ' , BIT :::: (The sentence is discarded, set to nothing, word by word.) 0041 COUNT:::: COUNT + 'It /(WDCNT) (The total number of words the sentence is computed by having 1 added to the current value of COUNT each time the sentence is for a word& After this is done, go to WDCNT. )
0042 PR PRINT ( f IN SENTENCE e CODE t ARE ' OCCURS C • BODY WORDS OUT OF ' COUNT • TOTAL WORDS. t t) (At PR a message is printed and continued on the next line. It will say. IN SENTENCE -- 8 digit code-- THERE hovvever many body w'ord s -- OUT OF _.- however many TOTAL WORDS followed by a blanlL )
0043 110RE SENTI *PART/'132 t * :::: /F(REST) (At ~lORE is scanned for something called 132 characters long. When there "'are not 132 charac ters t go to .) 0044 PRINT ( ) /(W)HE) (Print the part of the sen- tence called that is done go back to for mo:re t. ) PRINfE( ) (Print tever remains ) -- 28
0046 (Leave t~\TO blank s the printout. ) 0047 * (Leave a blanlr. line program here.. )
0048 'il: READY F'OR NE~v SENTENCE (A self-explanatory label.. ) (Leave a blank in the pro- gram here.. ) .
0050 NEWSEN'r SENT :::: NEW (A t NEI>JSENT SENT is equal to the remainder of the t already read II NEvJ.. )
0051 REWIND ( ':3 t ) /(RDTEXT) (Rewind the tape containing the text and go back to TEXT.. ) 0052 END
****{~ END OF (OUTPUT)
SEN'r := INGRiVrITUDE IS AIvlONG A CAPITAL CRUm AS TO HAVE IN SOME OTHER COUNTRIES F'OR TI-LEY HEASON THUS THAT ( EVEH }lAKES ILL RETURNS TO HIS MUST A COMMON TO THE OF lVIANKIND) 1the words in parentheses are printed on another line. )
THERE AHE 1 BODY WORDS OUT OF' 72 TOTAL WORDS
This is, of courseI' only a model for the total amount of 1 (- '. ., 1" data to be fed in. and 'for the rest of the program .. The rest of the program will locate-all the body s in the same e wit size. quality, or/and horse print out the e '(,vi th its c The body, ze, quality. horse s will be printed out Vvi th figures for their numbers out of the total nUill- of words count " c Erbaugh -- 29 of 1~ord s in all the sentence s a the sample te:::t .. The shock value is the third major assignation of the pro gram. Shock is graded according to the amount of bodily dis tortion ranginSfrom little or no distortion in Gulliver and the L9.putans to mild distortion of size (enlarged or diminished twelve times) withe Brobd the Lilliputians. to distortions of quali ty in S(Ame of the LBrmtan projectors an¢!. the Yahoos to a total deviation from the human body in the horse bodied Houyhnhnms.. Any body word has a shock value of plus one; a size word a value of two, a quality word a value of three, and a horse word a value of four.. These values \IITill be weighed by sentence s t the average number of l\Tord s in a sentence having comput'tld.. It will then be easy to tell the shock value of the distotlons of body imagery does indeed increase as the book goes on. There will be a printout of all the ~entence values ..
Finally~ a concordance of body, ze, quallty and horse words will be made by alphabetizing the words and printing out the code with the sentences which the words appear. It will then be clear exactly i'J"hich words appear where\! how frequently.- and in what context" Because the programming ha not progressed as far as I had hoped. I shall do an ocular approximation of what the computer will do. There are f en ze distortions in the first a t v I p 73; each has a shoe}\: value of plus hw, they are II
• the numbers, " II sma r.1I There are distortions of lty th a of e 'fhese 30
are matched with the body wo s "I" and II which match "highly resented" and the "obstinatell war.. The total shock of the page is thi "The degenerate Nature of Man" is the first distortion in the second sample in v I blr I p 100 e It is a d i stcttion of quality and so has a shock value of plus two.. Next "INGRATITUDE" f'illit and IIEnemy" match "well and Itmankind"; the first two are qu~lity distortions. The next sentence matches "man" and "not fit to liveu , a quality dis~ortion with a total value of three.
The body words "parent • "children", Itt and "female!' add four points for a total page distotion of thirty-two.
lt In the Lilliputian book page 72 "Inch , "two", and "high", are size word s \1h1ch rna th the body words UtheyU s
"Philosophers", and esty .. 11
"higher", "great" t tllarge" and ilhundred" are size 't'V'ords while fipOl'Verful" is a qUfllity word.. The total value for the page is thirty-one ..
"Searchers" and "nose"are all body words in the next page, page
\ 80. The total value for the page is twenty-one" On pap;e 136 the 1,i iputian book the body words are: "!". "Arm-pi ts" $ "£.1en" t and "People" while "mighty" and "wand care quslity words. The total value for the page is thirty ..
In the Brobd book 1 421 is s ze G
II and IIFeetli are size words th a two.. The body ·vlOrd s are "I II • Erbaugh -- 31
"myself". The total value for the is fortynine .. The next sample page is v II page 106 in the L.8.putan book; it is not a very distorted paragraph s most of the words are body words: u&Overnor". (A)Ii=;::~;;..;.....;;;...~
"menU. tlG§:.sl2endi", and~IIEpicurus" are all body words .. The total shock value of this page is a low fifteen .. The next passage in Iaputa page 124 has quite a felA! quaIl ty ~'JOrds9
"Royal". "Maliclously" # If young" t tt good Ii f !'gracious", tlpoorlt,: are body words Ie ¢foneU and "fouru are size words. The total value of this page is twenty-eight ..
The last two sample s are from the Houyhnhnm. book g In the first. horse and body words predominate with some size size words: "twenty". "five", It , "horse" t Ithayu t " Houyhnhrun" •
"chl1dren","chl1d", "male nmother" t and "familyu.. QuJ.\ ty is represEmted by "deficient U and "unanlmous".. The total valu;;; for this page is thirty-seven. The last page is v II p 199, the last page of the book. It has primarily quality, body. and _, horse words with no size words:
!Ip and" ght" are body words. ty is represented by IIplainly", ", "Miserable"t IIEnglish"~
II Insupportable!1 II .. The horse words are represented by II The to the is forty-four ..
We see that the amount distortion ses i
/ from vfhere the di s ion values are in the low thi es Erbaugh -- 32 through the major size distortions of the Brobd book with a value of forty-n though this discusses bodies only indirectly, drops drasti in the Lapu tan book '\AThere the shock distortion value is only f1fteen in the ghost scene but rises to twenty-eight where the evil court poisoning 1s discussed. The Houyhnhnm samples both have very large distortion values t thirty-seven ar{d forty-four .. last is espe striking because the last page of the book is qui short and covers only part of the page. 11 it has an extremely high level of distortion .. The types of distortion from book to book: in Lilliput it is ly quality and size distortion$ Brobdingnag size is used almost exc In the emphasis is on the names of charac rs their 1 personali- ties; their bodies are hardly discussed all.. still the poi- soning episode has a high sI10ck value despi te ,the long string IlJhl is f brought to a cl san Erbaugh -- JJ of "will not presurme to come into my Sight." So 'tqe may surmi se that Swift t s sa tircal technique i ~ con sistent throughout the book. O~ each randomly selected page he uses distorted body imagery in a vivid and clearly definable way. While the types of distortion vary from primarily size d.istortion in Lilliput and Bro:"idingnag to quality distortions in Laputa t the Houyhnhnm book uses all these forms of distortion wi th the addi tion of the most grossly distorted horse INords .. On the last page the abstractions nVice lt and "Reason" contrast wi th the most elementally human V'JOrds tlLeglt and "Arm!!.. Houyhnhnm and Yahoo are joined together at st in the shocking contrast of a beast·s body endowed with rationality and the body of a man festering with depravity.. Gulliver rages in behleen with :reasc)n in his Yahoo body and succumbs to angry pettiness and imi- tation of the superficialities of Houyhnhnm existence, a trotting gait and a neighing tongue .. Swift's satircal technique is then not t~ power of some inspired madness or the angry venting of some fecal or sexual frustrationt but rather a controlled, inspired , and vivid vituperation of the Yahoo each of us.. Swift was in ( supreme command of his language and his mind" reaches us even tod~y because Swift's genius w~s in concious mas of itself. As Swift himself says in his preface to Satire is a of p wherein beholders do generally discover ~~~ is face but their own; whtch is the chi reason for tha.t kind of on Erbaugh -... 34 it meets in the world, and that so very few are offended with it. But if it should happen wise, the danger is not great; and I have learned from long experience never to apprehend mischi from those understandings I have been able to voke; for anger and fury, though they add strength to the sinews of the body~ yet are found to relax those of the » and render its effects feeble and impotent .. The preceeding sort of ting of a mental hypothesis is both a useful exercise in the analy s of Swift@s satire and a statistically valid check on exactly how the creation of satire proceeds to produce its emotional effect. Hopefully this exercise wi th the computer is less a Balnibarian Ucontrivance., (whereby) the most ignorant rson at reasonable ~ and i'li th a little bodily t may wri in Philo Politi Mathemati thout the st as stance from or but ra a means of making sure that itJere put upon books,with the fatal con- 7 finement of delivering nothing beyond what is to the purpose"u In;comput1::ng deciding what to leave out is as important as choosing what is to be put in.. I trust that this project has de- livered nothing beyond'what is to the purpose of under ing and absorbing ftt~ consummate sa 1 Jonathan ftt II a Tub", .. s e i ons, ( ston t 1960) \1'. p. 333. 2 James Bo Ge t " Hill, (Nevl York, 1891) , lIt 365 .. 4 Allen Forte ll , Mass .. , 1968) .. 5 Jonathan Swift~ 6 Jonathan Swift, HTa1e a Tub".." P 31'7 .. 7 Jona than Svlift II ttle of the p .. 358 .. LIST OF lrWRKS CONSULTED Boswell. James$ ed .. George BirkbeckJ Hill, New York. 1891. Forte, Allen. Sv.Jift? ;]ona than, Louis Landa. Boston, 1960. Sv·rift. Joha than j Wor,lq..L London t 1726-7. BODY WOIIDS hair ears ma~:esties criminals hairs person cook taylor authol't'! body persons cooks taylors authors bodies butler scholar butlers sCholars ,e armp~t fingers knee prisoner armpits lord Empress knees prisoners thigh lords Empresses us self thighs mortal lady searcher I eye mortals ladies searchers me eyes men courtier palm .laster breast man courtiers palms masters breasts neck priest chin priests beard la'\i\Tyer beards ons chillS nat belly commfJnder hUman s lawyers \ bellys commanders humans no 1 guard guards waist ~aughter creature nos s waists daughters creatures nose soldier soldiers nobility crew hand noses boy .. .Jrews hands foot officer boys we back feet officers girl companion baclrs Emperor frl ons them friends girls youth they face e count counts youths g faces p es carcase limb .Legs other a ent carcasses limbs o TS a s domestic one tants pe servc'l..:nt two drm eo se d cs arms ear majen c nol 2 rs i'J'Oman army male maids ~x armies males pa,\,] seven leader female lor paws \ ~ight rs females talon ~. ne parent talons te,...n gen s parents s nurse ~leven tropps child nurses lelve Bo180 1am children monsters infant twenty Galbit semp ress infants thirty adm sempstresses phi:}.o soul midleg prod philosophers ty souls thumb prod nipple pound thumbs nation nipples ~ven p s 'tArai nations dug 8i.ghty re waiters dugs ty heel consort foref ott red heels consorts ,spots thousand Tramecksan urine hinds pimple :nillion S urines palm pimples ster scout ~umbas Glestrinpalms freckle minis s scouts heart wi drIes rider 1an s wives skin l~~ders B subject huntsman m subjects grt:mdmo rs c on huntsmen s mi ss comp ons 'h-.lodsman letons mis sses s Woodsmen' men son s s women sons 3 life mortal chap s beards lives s cha:ps habit bris e health cancer vomit habits s ths cancers vomits flapper countenance voice wen vomiIting, f rs countenances voices wens crowd c 'ound shape beggar crowds suit wounds shapes beggars crol',-vding suits blood quadruped shin barber footman '.i scharlEed quadrupeds shins barbers footmen necessities of nature embryo naked sanse astronomer traveler embryos smell senses astronomers ·ravellers birth smells reason schoolmistriss lover giant painter schoolmis sses dwarf lovers giants pain i dwarfs bone ce litch stomachers bones apprentices scalcath splackmuck snock skull projector artist imb skulls projectors artists l!imbs cuat pledge st upolsterer nobleman coa pledges artists upolsterers ... oblemen doublet person colic smith s doublets person fit smiths shoe pe(!)ple fits minister s1;loes conduc ministers s rs jerkin pyra s excrement jerkins pyrates c exc s ~.rail1 Dutchman phy c optics s anus t anuses ge ts 4 rue ons rs ances c guts accuser ance bladder s accursers Junius s di on prosecu r Socrates fool bladders \ di stions prose s ices pulse evidence Cato di pulses evidences 1'1ore sharpers di s swearer tyrant page '9upil malady swearers tyrants pages pupils corn usurper lacquey heart corns instruments usurpers lacqueys '1earts breech spirit re valet bre s ts restorers valets humours ear ancient coachman ears s diseases oce it Caesar game 1'" convulsion oce its pompey fidd ~onvulsions hero vi f nerve brains s vi s player nerves sex demi Didymus sexes demigods thius sinews po or o cap contrac on ped Ramus pi ts ions po ors p ts dunces pl t tumor ordures s discoverer i rs discoverers curus c mat ss bull s he t rs tion i n BODY 5 s s age sodomites d ages sentry informer lick die s sentries informers licks died years Spaniard \ villain licking dying lives s villains spit dispositions life prisoner ba't'V"d spits disposi on Hollander prisoners bawds spitting folly Hollanders She Governor pimp wipe, follies Christian foreparts pimps wipes infirmity Christians tail pm:rasite wiping infirmi s rascal tails narasites noble middle rascals buttoc1cs buffoon nobles memory sickness claw buffoons Bliffmarklub memories sicknesses cla1'ls "'ogue chamberlain emp health point rogues chamberlains employments healths points traitor interpreter civil HOUYHNHNM spring +.rai tors interpreters purchase Houyhnhnm springs lineament Luggnagians purchases Houyhnhnms springsing lineaments struldbrugg purchas!;ng yahoo leap "I,anner struldbruggs take yahoos leaps manners spot takes cabin boy leaping diet spots taking cabin boys bound "l.lets deaths amuse: recruit bounds dress senio11:" amuses recruits bounding dresses seniors amusing merchant pudenda -reoman brotherhood beg merchants dug brotherhood s begs buccaneer dugs c contemporary begging buccaneers Ind s come 6 doubting r war comes vi lie put to death coming vi s lies s e st lying c ze speech s beasts \ destroy civi zes raping howl speeches destroys civiliz sodomy howls want destroy de re flying from ho't'dilng 1'iants blovv their desires aspect wanting favor desert desiring aspects pas favors deserts seize jockey passions fatmrlng deserting seizes joclreys cleft plead broken prison sei confer clefts pleads hang kill confers drink plea.d hangs kills conf drinks cant hanging killing l.ook drinking cants hanged son looks whore jargon starve ·imprisons looking whores jargons starves imprisoning lips whoring language starving banish mouth games languages vice banishes mouths game speech vices banishing devour gaming speeches lust dispo tion r to plunder perples devours lusts murders plunder perplexes d intemperance murde plunders disquiet being intemperances theft plund di ets be mali strip disquiet malices poysons s gloves envy ence poy s injure injures t es s inj d go to WClr f 7 ic on b hector of reason predic ons cut gs c f -,p~ z cuts profound nec zealot cutt feed rob vo zealots s robs vo s retire fed voting retires fe steal reti tread eat n not s scribbles hungry porter treads steal scribbl drink thout porters tread provocation of cheat s ze thi wench i'vri te/ s s zes wenches writes c s z s thern wri ting p libel ion bury p s 8 ce buries P t burying prec tes admi feel us prec ting admitting feels of the use for of our s tated or retire feeling prevent diges made us me tion retires giber f t dive repletion retiring gibers flat d s tions howl censurer d . form a compo h01\r1s censurers d force 1" forces de ra rs on fore d rEt tes hi ions seat d t f seE?t ts m1 s Is 8 C at 8 s les politloif1n d re s o d s re wit c wi s s splene 0 1'e splenetlos s civilize t civili he tallters pedants she eontrovertist on~ con s ions ravi r reI ravishers soound s murderer erers s robber j robbers j s virtuoso ingmaster virtuosos dane ers leader ef leaders de I' follolr,rer de irs followers shop]{e er swoon shopJ\:eepers me o s~voonil1g me os s s SIZE ,1 big six blugstrug elephant prominent LILLVUT bi r blugstrugs circumferencE giant eight mile Lilliputian circumferencE biggest nine miles inch magnifying inches high ten broad moon tall higher eleven broader hazelnut highest dozen broadest taller pumpion tallest wide twelve low moons widest t'ttJ'Bnty lower long pumpions longer wider thirty lowest , babyhouse mountain forty bulk longest babyhouses mountS'cins fifty glumguffs small insect great si:mty size smaller insects greater seventy sizes smallest monstrous greatest eighty thimble dirh'inui tive monster 1 ninety thimbles prodigious monsters 2 hundred quantity large glonglungs 3 thousand quantities larger square 4 million proportion largest little huge proportions foot 5 littler 6 huger invisible feet littlest 7 hugest superior yard little-ness 8 length yards tennis ball 9 lengths lofty great barrel 10 drurr. altitude greater hogshead greatest 11 drurrs altitudes hogshe~ds 12 flne spire-ste bi ss frog one flner spire-steeples musket bullets f.rogs hw finest high mon)<:ey hi r three collosus single hl f 2 1 01 monlteys bills f es toad .- t f toads ts l~iQ sp swan wasps spiders swans partridge wea pipp s weasals pipp s fish sparrows fishes sparro'\t'l rabbit s rabbits e se lice ttens shi dog snouts ox me,sti p ma s greyhound. el s s boar te boars s sun suns s rat worm s worms mouse mice s I circum on ma lie lour t: ·a less s ts eur human 01 good shr1 po di ect better eable vi majestic be mighty ene midd f icity dexteri true ch pity victorious noble believer richer kindness immoderate liberal as stance richest fami urgency fatal encours.gemen t wonder shame delighted astoni bloody di plea vslo\ir careless:.r. ingenious strong confusion frighted submls plain experienc ho i grief enemy de i Asia c re solu:ti on d ght puis dete clear terror ambition articulate pleasant ab ity free chee raljible comfortable absurd brave bold poor fruitful ignominic wisest dangerous terribly dreadful fraud wise / exc mildly sublime care wiser perfectlon gently ally vi ler;cE open strong rich leisure honesty bold young idle 1 cu:nn bolder curious ious mons boldest t vani s tel" t tie~ sons c1 lYle s test exact erstar acute 2 i i i ous on ss subl gone to c hypoc truth treason nauseous p iousne justice traitrou beautl cruel teJIperance devili defects perfect experience tence madness f good intent:'l.on falsely coarse hatred thin corrupt painful ill c envy swagger to to courage srnoo lust mult ly and. malicious defend ,his fury whitest malice corruptions loathsome weak fairest ambl on a viscous ence int smooth ignorance de ingratitude infamous te idleness hole r'oncupiscenc 1 ir vice off docility tenderness shocking virtue naked clemency gourous holes piety uneven 'Y'eligion gentle sunburnt learning odious love~f their rashness wide conduct frolicsome country want of deformed valor experience filthy folly comely integrity ravihg weak vice well love disturbed my bruised asham of head proportioned wisdom be s filthily pernicious r bemired ornaments fierceness tame ence clean st odd curious di cruel dim s s se f Ities s s exce d c ce fla 3 enjoy vertigo admi - humbler dis ces ra deli spe humblest ions .scrofulous mercurial wonder st foet vulgar singular relish ancient pt:trulent contemptible rec vivacity filth lentitives helpless ease yellow aperives unable, zenith security blind abs s d rated f1 s old prudent corrosives robust intense dri restrungents liable 1'10 i obedience stubborn palliatives grand mathematl di violent mu wi illustrious s c s astoni 1 f sem ictericks di ty clumsy bu lambs apophlegmati t magni earnestly acousti c1\.:s i es unhandy speculative weak barbarous bad poli laborious short contempt vehemently folly ignorant brevity nence beggary black obI! tion stricte blue hone exact illi inventlon ce political wond ous di s me t tion em t sthm c i eSE! st ce de t mea pec (" 1300 1 Cf1t di e ecn t QUAI,rrry ~, pOisoned wisest incest coal x, oli teness fever since ty prostituting blacl{ honor exesslve Roman betraying justice conE;umma piety poisoning Mortal ,/isdom firmness truth perverting happy skill truest innocent dejected calamity constancy benevolence exc mean free ~hastity intelligence corruption meaner disengaged sense tedious malioe me!nest apprehension nature illustrious hi st truth modesty corrupt '" colour insatiable dignity pox libertine octor suitable profit altered opinionat taste taller wisdom low volati consistence comelier integri jus ce sober crudeness comely roguery love copious maturity erect ignorance inadvertence delightful serious quick ill offensive happiness thoughtful piercing treachery crammed thrift intent stooped strength indigent management , green meager royal brovm wealthies acuteness lank positive deadly excel curious thin confident infected hospi complete hollow restive polite saving compli£4,nce crowned prodigious generous hopeful partldular perjury courageous usefulness vigor crack-brained oppres on courteous lmmor crazy sehood on dl oldest lame cowardice f red unreEl, 1c sm c1 1" unju,st horror stl de wide i 5 assistance s qge reasonable coarseness lazy ! prosp ty poor hooked brOimness biassed health incapable extended hairiness loud uerpetual relish lity edily t ious immortal appetite red sensitive stupid fated modest black hateful despicable willingly scanty disagreeable teacha l.:lene s s finest extremity despised antipathy civility noblest grief hqted contempt cleaniness costly torture ominous aversion cunning better peevish morttfying ugly unteachable sick covetous horrible distorted white dispirited "'1orose gha ess mischi diverting uncomfortable vain extreme odious execrable rottenness talkative keen mild governing maladies -Priendship ple'tsing grey rational abominable dead perpetuity orderly degenerate detestable natural malicious rl:ttional brutal purge "'ffectton HOUYHNHNlvl acute generous clYster ,/ envy calenture judicious strength sllperior vices debauched poor swiftness anterior sure tied distressed soft inferior rest singular hhuun tender posterior ect deformed unartfully prominence annoying "ruth frizzled perfectly barbarous disgusting ts neat kingly sagaci se detes e honourable passions be ob ~ east uious do buff flat vile sub ent l s ty d 6 sity fa"fTo evil quarrelsome un1'latural se n01 sy lower dubious plain dec empty toleroble industry eited idleness exercise luxury hard ss tediousness lewd noisome heat unsound indocile difference of sentiments ricketty tameness ea kept pe ty ty offensive fiercest offensive maims i my re::,son le't'ifdness hurts attemp anything coque justness against my life censure minuteness sinis r scandal joy prudence rank grief ty stink s th fear perverse incons tude injuries f ity i nity ty "-I., ject oeconomy m ern c ec ion ..c~,, 1 ens te rns whip wbips sos s ss stablel mare sses stables mares coursers ham Is s carris hoof cattle carris s hoofs colt castrated colts ca te Honour foal cas s rna foals iron-grey forefoot sorrel iron-greys sorrels nei fetlock teats nei fe s neighed bind s brute hinds groom brutes mare-se grooms d racing es race ste races steeds chariot fore-hoof chari oats found in the feet brid hay briO. 8 Ie sadd I'n urs 1, j 'I , IL L r lit.: UI S l r' I) \Ii I u HI 1Ill\il 111 I ~ i I I ; ( li r 1 H; I! ,1'1 I) Ill' H r~ ,l ()., j I <. 11 \ Ii Cit 1 il:; "q(~HlV lJ,j ; I~::; 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'; G I I'~(; T'l f':LL VO- \ +1)/ I'J. ,F':'I ,'l'l ,,\I.;[,!) I 1:\ J T '."i/\ F"] C) .\'; T flLL II r N<,; f)CC 1\':; r ni'~. 1 r I r; 1\ L Ul ,,'I'~ Ii i) IV AV 0 111/ AK I :U; o ;- n 'ID IIU r H S " "1 J TY HUV~ C;OI~~G ru i \) t. () 1 ) 1 ~":" /\ J) 1"1 C IJ TJ i) l', t P "I TfIF n!F:i~ PU-1L t SH J?,';l I) 1\ H I S'~(3{j2J C T5. UPI)N Gil 1\ P ~J LT IE Or ;}.:)'j ftJ F lH s~ [*p ,lPLE'Si] HIG :) ';, l! ILY "-::; r i) H I '1' ')tm 1 Tr:::LL. l)"; H1E,t lOOl/\l) I~;)'r) T\-il",r THEY 61()OlD- ATHi c;::,- i) ,',10 () 1 ::~ T HT. V THE GR~OUAL INC E SE 11) 100:'> 1*1\1*:,; ,;, Cr,~ I 'VI F: \I ,I\S WE 11610 ;2 11 fd) I H;~ r:{);q "'tHEY' rfE-";sOr-:,r'--' t06100i! T U~). rHA HIS *HFNFFACTOR. MUST N l,)6tOO? • F D~~ V.JHDM H~ t:: If A~<' 1:,1 A N f S Not OUT! ES UF ':'P:"RENTS t\,ND *CI'1 I ):<\'-'=-o sri"!?" IoN tH': Ii- 0 1 '.' 1 :J F \"i [ [ T I [3FT THESE T n RTIES RUN lO:.O!~':lSU HIl;ll. I L. 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