DOCSLIB.ORG

Jonathan Swift and the Stage of the World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jonathan Swift and the Stage of the World JONATHAN SWIFT AND THE STAGE OF THE WORLD: A STUDY OF SWIFT'S POETRY, , WITH PARTICULAR REFERENCE TO THE POEMS ABOUT WOMEN. By JOAN ELIZABETH METCALFE A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1974 SK^^^LORIDA 3 1262 08666 231 8 ACKNOWLEDGEMENTS I wish to thank Professor Aubrey Williams for directing my disser- tation; Professors Robert H. Bowers and Douglas Bonneville for serving on my committee; and Professors T. Walter Herbert and Melvyn New for participating in my final examination. I wish also to record my gratitude to friends and family for their help and encouragement. il TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ±± ABSTRACT iv I. INTRODUCTION 1 Notes , 20 II. THE PERFORMANCE OF WOMEN Chapter I. Inadequacies 24 Notes 46 Chapter 2. Men's Share of the Blame 49 Notes 73 Chapters. The Ideal 76 Notes 88 Hi. THE PERFORMANCE OF SWIFT Chapter 4. Tutor and Courtier 89 Notes 108 Chapter 5. Courtier and Tutor 110 Notes 127 Chapter 6. Courtier, Lover and Poet 129 Notes 149 IV. DRAMATIC DEVICES, FORMS, AND IMAGERY Chapter 7. The Dean Observed 151 Notes 167 Chapter 8. The First Person 169 Notes 180 Chapter 9. Dramatic Imagination and Dramatic Structure: Scene and Play 182 Notes 213 Chapter 10. Further Echoes of a Tradition 216 Notes 231 APPENDIX 234 WORKS CITED 242 BIOGRAPHICAL SKETCH 246 iii Abstract of Dissertation Presented to the Graduate Council of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy JONATHAN SWIFT AND THE STAGE OF THE WORLD: A STUDY OF SWIFT'S POETRY WITH PARTICULAR REFERENCE TO THE POEMS ABOUT WOMEN. By Joan Elizabeth Metcalfe June, 1974 Chairman: Aubrey Williams Major Department: English Jonathan Swift possessed dramatic powers which, perhaps because of his beliefs about the theatre of his own time, perhaps because of his calling as churchman and moralist, perhaps because of his temperament, were never fulfilled in the writing of plays. In the poems, many of which have plots (a prerequisite for dramatisation) , and all of which are short enough to sustain tlie dramatic mode successfully (for it cannot work long outside its natural milieu) , Swift's dramatic skill found fullest ex- pression. Alienated from the contemporary theatre, he was, however, imbued with the notion of an older and greater drama, the drama on the stage of the world, directed by God Himself. In the world-stage figure and the related figure of the Chain of Being, the orthodox Christian world view held by Swift had for centuries found its liveliest expression. When Swift writes about basic personal relationships, he reveals most clearly his orthodox concept of the duties of human beings to one another and to God. It is 'with such relationships and duties that he is concerned when he writes about women, for woman in his time had little part in public iv life. Drama-like in form, concerned with fundamentals in content, the poems about women demonstrate most strikingly the harmony between Swift's literary techniques and orthodox beliefs. Swift shows concern at woman's inadequacy in performing the human role. He does not excuse the trivial-mindedness of leisured woman, but he recognises her handicaps: she is uneducated, or worse, miseducated. Women's plight is partly the result of men's failure to remember the place of Man in the Chain of Being. Impiously disregarding the humanity of women, men treat them as goddesses to be worshipped or beasts to be used. Women who rise above their disadvantages, however, are characterised by the reasonableness that to an orthodox Christian is the essence of human virtue. In these poems. Swift also reveals his concept of his own roles on the world-stage, all variations of his basic human role as moralist. To women, he is primarily tutor, effecting his purposes by teasing or flattery. We see him also as courtier, asserting and defending his own prestige in the world, and as lover and poet. The reader of the poems Is put into the position of a member of an audience, assessing the characters entirely by what he sees and hears, whether Swift's characters, including himself, are presented in the first person or the third. Many poems are playlike in structure, consisting of single scenes, or sequences having the shape of a full-length play. The most significant dramatic shape we find is that of "encompassing actions," which according to Thomas B. Stroup's Microcosmos (Lexington: University of Kentucky Press, 1965), may be derived directly from the concept of the world as a stage, and the related concepts of man and the stage itself as microcosms of that world, all directed by God, the Tester and Teacher. In the dramatic poetry about human relationships, echoes of the morality play (the psychomachia put into literally theatrical form) , and imagery derived from the world-stage concept, provide further evidence of the connection between Swift's world view and the dramatic mode in which he writes of it. vi I INTRODUCTION In the poetry of Jonathan Swift, master of Indirection, we are confronted by a paradox- We find much of it difficult because it seems too easy. Often the first reading of a poem leaves us with two apparently inconsistent impressions: we are in no doubt about the essential lightness of the poem, but at the same time we are aware that in it a significant statement has been made (although we may not yet be able to say exactly what that statement is). The problem lies partly in our own preconcep- tions about lightness and about poetry, but in so far as it is implicit in the poem itself, I believe, it is one of the results of Swift's use of dramatic technique. When we approach such a poem as if it were a play, we may find that the elusive significance becomes clear and that the appar- ently disparate elements are brought into harmony. It seems to me that the dominant mode of Swift's poetry is dramatic, and that this predilection for dramatisation is intimately connected with his world view as an ortho- dox Christian. In both his attitudes and his poetic practices he appears to be deeply imbued with the notion of the world as a stage, one of the figures by which orthodox Christians had for centuries expressed their be- lief about a Providentially ordered universe. The association between Swift's dramatic approach and his concept of the Christian's position and duty can be seen with particular clearness in the poems, and perhaps most clearly of all in the poems in which he writes about women. Swift's ability to dramatise realises itself most completely in his poetry. To begin with, many of his poems have plots, and it is self- evident that a plot, however simple, is the necessary groundwork for a ^ dramatisation. In some of the poems we are considering, he uses drama- tised episodes simply to illustrate the points he is expounding. But in many others he presents his topic entirely by means of dramatised action, establishing his characters in a situation, letting them speak and act for themselves and leaving the reader to deduce—with little or no more help— the principle exemplified in the action. Furthermore, all the poems except one are short. A wrriter with dramatic gifts normally finds the most complete expression of his talent in writing a play. If he uses the dramatic mode in writing a non-dramatic work, the result is likely to be playlike in the greatest number of respects if it is short; the mode, out of its natural setting, can be sustained for only so long.^ Although Swift uses dramatic techniques elsewhere in his writings, it is in the material of the poems that he finds the ideal material for dramatisation: simple plots that can be presented briefly. The poems are set apart from Swift's other writings in another impor- tant respect. In them alone, if we except obviously personal writings such as the correspondence and the Journal to Stella, do we come into ap- parently direct contact with Swift the man. In some of the poems he writes in his own character, and in some he appears to do so. Perhaps more im- portant, in the poetry he presents us with a self-portrait, in the exter- nalised character that he refers to most frequently as "the Dean." "The Dean" most often represents the Swift that he supposes other people to see, not Swift's own view of himself (which, however, we can often deduce by other means). Nevertheless, the presence in the poems of a character bearing Swift's name or title does much to account for our impression of his close personal involvement in the affairs of which he writes. It is in the poems about women, which include many of his most striking drama- tisations, that we most frequently encounter "the Dean." . But in by no means all of the poems about women does "the Dean" ap- pear. The group Includes not only the poems in which Swift writes of particular women, his personal acquaintances and friends, but also those such as "A Beautiful Young Nymph Going to Bed,"^ in which he presents his thoughts about the relationships of men and women through the stories of fictitious characters. All the poems in the group, however, are personal in another sense. In them. Swift is examining human relationships at the most simple or basic personal level; that is, for the most part he Is writing about one to one relationships.
Load more

Recommended publications
  • The Oxford Companion to English Literature, 6Th Edition
    e cabal, from the Hebrew word qabbalah, a secret an elderly man. He is said by *Bede to have been an intrigue of a sinister character formed by a small unlearned herdsman who received suddenly, in a body of persons; or a small body of persons engaged in vision, the power of song, and later put into English such an intrigue; in British history applied specially to verse passages translated to him from the Scriptures. the five ministers of Charles II who signed the treaty of The name Caedmon cannot be explained in English, alliance with France for war against Holland in 1672; and has been conjectured to be Celtic (an adaptation of these were Clifford, Arlington, *Buckingham, Ashley the British Catumanus). In 1655 François Dujon (see SHAFTESBURY, first earl of), and Lauderdale, the (Franciscus Junius) published at Amsterdam from initials of whose names thus arranged happened to the unique Bodleian MS Junius II (c.1000) long scrip­ form the word 'cabal' [0£D]. tural poems, which he took to be those of Casdmon. These are * Genesis, * Exodus, *Daniel, and * Christ and Cade, Jack, Rebellion of, a popular revolt by the men of Satan, but they cannot be the work of Caedmon. The Kent in June and July 1450, Yorkist in sympathy, only work which can be attributed to him is the short against the misrule of Henry VI and his council. Its 'Hymn of Creation', quoted by Bede, which survives in intent was more to reform political administration several manuscripts of Bede in various dialects. than to create social upheaval, as the revolt of 1381 had attempted.
    [Show full text]
  • {PDF EPUB} the Works of of the Rev. Jonathan Swift, Volume 18 by John Nichols the Works of the Rev
    Read Ebook {PDF EPUB} The Works of of the Rev. Jonathan Swift, Volume 18 by John Nichols The Works of the Rev. Jonathan Swift, Volume 18 (1739) by Jonathan Swift, edited by Thomas Sheridan, John Nichols, John Boyle, Patrick Delany, John Hawkesworth, Deane Swift, William Bowyer, John Birch, and George Faulkner Letter from Jonathan Swift to John Barber - 8 May 22, 2020 · The works of the Rev. Jonathan Swift .. by Jonathan Swift, 1808, Printed for J. Johnson [etc. edition, in English - A new ed., ... corrected and revised by John Nichols ...Pages: 19The Works of the Rev. Jonathan Swift - Jonathan Swifthttps://www.bbrarebooks.com/pages/books/JSW002/...Jonathan Swift (1667-1745) was born in Ireland. He studied at Trinity College and was close with Alexander Pope and John Gay, the two other most important writers of his time period. He penned poetry and prose, and is best remembered for writing Travels into Several Remote Nations of the World, or Gulliver’s Travels (1726). Jun 04, 2001 · Letters written by the Late Jonathan Swift, D.D. Dean of St. Patrick's, Dublin and Several of His Friends from the year 1710 to 1740, published from the originals. The following volumes from "The Letters " edited by John Hawkesworth. Printed in London by T. Davies and others. 1769. Volume 18. (volume 1 of 'the letters'.) 396 pages. 1769. Volume 19. Swift, Jonathan, 1667-1745: The works of the Rev. Jonathan Swift, (London, Printed for J. Johnson, 1801), also by John Nichols and Thomas Sheridan (page images at HathiTrust) Swift, Jonathan, 1667-1745: The works of the Rev.
    [Show full text]
  • Alphabetical Index of Articles Published in Swift Studies (1986-2020)
    Alphabetical Index of Articles Published in Swift Studies (1986-2020) Alderson, Simon J., ‘Swift and the Pun’, Swift Studies, 1996, 47–57 Apke, Bernd, ‘When Nature Took Sides: Richard Janthur’s Expressionist Illustrations of Gulliver’s Voyage to the Country of the Houyhnhnms’, Swift Studies, 2013, 115– 27 Arnold, Bruce, ‘“A Protestant Purchaser”: Bartholomew Van Homrigh, Merchant Adventurer’, Swift Studies, 2000, 42–50 ———, ‘“Those Who Seek to Obtain My Estate”: Swift on Love and Envy’, Swift Studies, 1996, 25–45 Arnott, Les G., ‘A Letter to the Editor of The Independent: Modest Proposal’, Swift Studies, 2006, 125 Baines, Paul, ‘Swift’s Last Speech and Dying Words of Ebenezor Elliston: Reading the Ephemeral Text’, Swift Studies, 2013, 78–95 Baltes, Sabine, ‘Diversion, Dollars, and the Dean: Jonathan Swift and Popular Culture’, Swift Studies, 2004, 110–20 ———, ‘Father Time: The Emblematic and Iconographic Context of “The Epistle Dedicatory to His Royal Highness Prince Posterity” in Swift’s Tale’, Swift Studies, 2005, 41–50 ———, ‘“The Grandson of That Ass Quin”: Swift and Chief Justice Whitshed’, Swift Studies, 2008, 126–46 Bernard, Stephen J., ‘Jonathan Swift and A Key, Being Observations and Explanatory Notes, upon the Travels of Lemuel Gulliver, with a New Edition of A Key’, Swift Studies, 2012, 87–119 Blanchard, W. Scott, ‘Swift’s Tale, the Renaissance Anatomy, and Humanist Invective’, Swift Studies, 2001, 83–97 Bony, Alain, ‘Mutiny on the Adventure: A Possible Source of Gulliver’s Travels’, Swift Studies, 2004, 72–85 Boucé, Paul-Gabriel, ‘The Rape of Gulliver Reconsidered’, Swift Studies, 1996, 98–114 Boyle, Frank T., ‘Ehrenpreis’s Swift and the Date of the Sentiments of a Church-of-England Man’, Swift Studies, 1991, 30–37 Brown, M.
    [Show full text]
  • Introduction
    Cambridge University Press 0521802474 - The Cambridge Companion to Jonathan Swift Edited by Christopher Fox Excerpt More information CHRISTOPHER FOX Introduction “When a true Genius appears in the World,” Swift wrote, “you may know him by this infallible Sign; that the Dunces are all in Confederacy against him”(PW i: 242). He may well have been speaking about himself. After his death, his ghost was said to haunt the aisles of St. Patrick’s Cathedral in Dublin, complaining that “The Pamphlets wrote against me, would have form’d a Library.”1 Jonathan Swift (1667–1745) lived a contentious life in a contentious age. The day Swift, an ordained Anglican priest, became Dean of St. Patrick’s in 1713, these lines of welcome were said to be posted on the Cathedral gate: Look down St. Patrick, look we pray, On thine own Church and Steeple, Convert thy Dean, on this great Day, Or else God help the People.2 Swift of course invited and sometimes even welcomed this response. He did so because he was first and foremost a political writer, and one who was not afraid to speak truth to power. As a political writer, Swift was a brilliant controversialist with an uncanny ability to become what he attacked and then burrow from within. During his lifetime, political writers were at a premium. Swift lived to see the emergence of the new two-party system in the wake of the so-called Glorious Revolution of 1688 and the explosion of print media after the lapse of the Licensing Act in 1695.
    [Show full text]
  • Jonathan Swift (1667-1745)
    JONATHAN SWIFT (1667-1745) Ian Campbell Ross Jonathan Swift is most famous as the author of Gulliver’s Travels (1726), the most widely read book ever written in Ireland or by an Irish writer. Never out of print since its first publication, translated into countless languages, read in innumerable editions and abridgements, made into films and cartoons (one starring Mickey Mouse), and the subject of impassioned arguments over nearly three centuries as to its essential morality or misanthropy, Gulliver’s Travels is nonetheless only a small part of Jonathan Swift’s writings, in verse and prose, produced over a period of more than fifty years, during which he served as a priest of the Protestant Church of Ireland, most notably as Dean of St. Patrick’s Cathedral, Dublin. Swift was born in Dublin in 1667. His father, a lawyer, died before Jonathan’s birth, and his childhood was partly spent in the care of a nurse and most likely in the absence of both parents. Certainly, he boarded at Kilkenny College between the ages of six and fourteen, receiving the foundations of the classical humanist education reserved for boys of his social class. In 1682, Swift entered what was then Ireland’s only university, Trinity College Dublin, continuing his studies in Latin and Greek, adding Hebrew, and deepening his knowledge of Aristotelian philosophy. After four years, he graduated with the degree of B.A. ex speciali gratia—a term that Swift later glossed to imply that he had been a poor student but which most likely did not have the negative connotations Swift would later mischievously suggest.
    [Show full text]
  • Cornered: Intimate Relations in the Words Upon the Window-Pane
    International Yeats Studies Volume 5 Issue 1 Article 3 April 2021 Cornered: Intimate Relations in The Words upon the Window-Pane Charles I. Armstrong University of Agder, Norway Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation Armstrong, Charles I. (2021) "Cornered: Intimate Relations in The Words upon the Window-Pane," International Yeats Studies: Vol. 5 : Iss. 1 , Article 3. DOI: https://doi.org/10.34068/IYS.05.01.02 Available at: https://tigerprints.clemson.edu/iys/vol5/iss1/3 This Article is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact [email protected]. Cornered: Intimate Relations in The Words Upon the Window-Pane Charles I. Armstrong hen Wheels and Butterflies was published by Macmillan in 1934, both the cover and the title page featured an image of three faces clustered together in a circular formation. This image was based Won theatrical masks made by the Dutch artist Hildo van Krop for The Only Jealousy of Emer and subsequently used in a Dublin production of Fighting the Waves (a dance play based on The Only Jealousy of Emer). The masks belong to the characters of the Woman of the Sidhe, Emer, and Cuchulain, and their juxtaposition on the cover reflects the complex love triangle inFighting the Waves.1 Set in intimate proximity, the three partially overlapping faces appear anguished and awkwardly, even forcibly intertwined. Although originally written and staged in 1930, The Words upon the Window-Pane was—like Fighting the Waves—one of the four plays included in the Wheels and Butterflies volume.
    [Show full text]
  • Tone and Intention in Swift's Verses on His Own Death
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1977 Tone and Intention in Swift's Verses on His Own Death Eleanor Leslie Taylor College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Taylor, Eleanor Leslie, "Tone and Intention in Swift's Verses on His Own Death" (1977). Dissertations, Theses, and Masters Projects. Paper 1539624982. https://dx.doi.org/doi:10.21220/s2-jj2k-5x31 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. TONE AND INTENTION IN SWIFT’S VERSES ON HIS OWN DEATH A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Eleanor Leslie Taylor 1977 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, April 1977 irl P . Tfaw, Jr. Frank B. Evans III Robert P. Maccubbin 8 6 0 0 7 7 ABSTRACT The purpose of this study is to suggest a better understanding of Jonathan Swift's "Verses on the Death of Dr. Swift" in terms of the author's tone and intention in the poem, especially regarding the role of the eulogist in the third section.
    [Show full text]
  • Governs the Making of Photocopies Or Other Reproductions of Copyrighted Materials
    Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. Factions' Fictions Ideological Closure in Swift's Satire Daniel Eilon ~ DElAWARE Newark: University of Delaware Press London and Toronto: Associated University Presses 122 PARTY mark of fanaticism. Swift described the succession of heresy after heresy and faction after faction of the Interregnum by way of allusion to the capricious builders of Babel, and the curse of dispersion inherited by Simeon and Levi,62 the men of violence: "Yet, clearly to shew what a Babel they had built, after twelve 5 years trial, and twenty several sorts of government; the nation, grown weary of their tyranny, was forced to call in the son of him whom those reformers had sacrificed. And thus were Simeon Book-Burning, Parsimony, Private Jokes, and Levi divided in Jacob, and scattered in Israel" (Sermons, and Antinomian Fiction Works, 9:226). Temporal and spatial isolationism are essentially similar; both contribute to the dissolution of the cursed Modern world. In this chapter we began by considering party, the contemporary target for Swift's satires and polemics against faction.
    [Show full text]
  • The Creative Role of Parody in Eighteenth-Century English Literature
    University of Warsaw Institute of English Studies The Creative Role of Parody in Eighteenth-Century English Literature (Alexander Pope, John Gay, Henry Fielding, Laurence Sterne) Przemysław Uściński Doctoral dissertation written under the supervision of Professor Grażyna Bystydzieńska at the Institute of English Studies, University of Warsaw Warszawa 2015 ACKNOWLEDGMENTS The present study has been prepared under the supervision and with an invaluable support and encouragement from Professor Grażyna Bystydzieńska from the Institute of English Studies, University of Warsaw. I would like to thank Professor Bystydzieńska in particular for her detailed comments and useful suggestions during the writing of the present study. I am also very grateful for being able to participate in numerous inspiring seminars and conferences organized by Professor Bystydzieńska. I would also like to express my gratitude to different literary scholars and experts in the field of Eighteenth-Century Studies for their helpful comments, suggestions, encouragement and inspiration, in particular to Professor John Barrell from the Queen Mary University of London; Professor Stephen Tapscott from Massachusetts Institute of Technology; Dr. Agnieszka Pantuchowicz from the University of Social Sciences and Humanities, Warsaw; Professor David Malcolm form the University of Gdańsk; Dr. Maria Błaszkiewicz from the University of Warsaw, Professor Adam Potkay from the William and Mary College, Virginia. I wish to warmly thank Professor Emma Harris for encouragement and valuable advice throughout my M.A. and Ph.D. studies at the Institute of English Studies, University of Warsaw. I also want to appreciate the friendly support and insightful remarks I received from all my colleagues at the Ph.D.
    [Show full text]
  • Reading Swift
    Reading Swift Real, Hermann J. and Heinz J. Vienken, eds; Proceedings of The First Münster Symposium on Jonathan Swift (Munich, 1985). Real, Hermann J. and Heinz J. Vienken.; “Preface,” pp. 9-10. Carnochan, W. B.; “Swift’s Poetic Gods: Jove, Apollo, Janus,” pp. 13-26. Carpenter, Andrew, and Alan Harrison.; “Swift’s ‘O’Rourke’s Feast’ and Sheridan’s “Letter”: Early Transcripts by Anthony Raymond,” pp. 27-46. Downie, J. A.; “Swift’s Politics,” pp. 47-58. Ehrenpreis, Irvin.; “The Doctrine of A Tale of a Tub,” pp. 59-72. Ellis, Frank H.; “‘A Quill worn to the Pith in the Service of the State’: Swift’s Examiner,” pp. 73-82. Halsband, Robert.; “Eighteenth-Century Illustrations of Gulliver’s Travels,” pp. 83-112. Harth, Phillip.; “Swift’s Self-Image as a Satirist,” pp. 113-22. Korshin, Paul J.; “Deciphering Swift’s Codes,” pp. 123-34. Kosok, Heinz.; “Gulliver’s Children: A Classic Transformed for Young Readers,” pp. 135-44. Löffler, Arno.; “Respublica Grubstreetaria: The Scribblers in Swift’s Poetry,” pp. 145- 56. Novak, Maximillian E.; “Swift and Defoe: or, How Contempt Breeds Familiarity and a Degree of Influence,” pp. 157-74. Peake, Charles.; “Swift’s Birthday Verses to Stella,” pp. 175-186. Probyn, Clive T.; “‘Haranguing upon Texts’: Swift and the Idea of the Book,” pp. 187- 198. Real, Hermann J. and Heinz J. Vienken.; “The Structure of Gulliver’s Travels,” pp. 199-208. Ross, Angus.; “The Books in the Tale: Swift and Reading in A Tale of a Tub,” 209-16. Rothstein, Eric.; “Gulliver III; or, The Progress of Clio,” pp.
    [Show full text]
  • ABBREVIATIONS Adv
    ABBREVIATIONS adv. (advs.) advertisement (advertisements) bl. blank cat. catalogue Copy: own. a copy belonging to my own collection of Swift books Frontisp. Frontispiece f.t. full-title h.t. half-title L.P. Large Paper N.D., or n.d. No Date Sm.P. Small Paper t. title Browning, Poems (see No. 197) Corresp. (see No. 196) Davis (see No. 215) Elr. Ball, Swift's Verse (see No. 1549) Griffith (see No. 1525) Hubbard, Contributions (see No. 1522) Monck Mason, History of St. Patrick's Cathedral (s·~e No. 1383) Prose Works (see No. 182) INDEX OF TITLES (The numbers given refer to the numbers of the text) Abhandlung uber die Zwifte . .. A then und American Journal of Insanity, The (1912), Rome, Eine (1820), 480. 1501. Accomplishment Of the First of Mr. Bicker­ American Speech (1926), 1537. staff's Predictions, The ( 1708), 495. A nato mist Dissected, The (I 727), 1233. Account Of Archbishop Marsh's Library, Anecdotes & Biography (1799), 1370. An (1926), 1474. Anecdotes, Observations, And Characters, Account of a Batte/ Between The Antient Of Books and Men (1820), 1384. and Modern Books in St.] ames's Libra­ Anglia (1888), 1450; (1893), 1458. ry, An. See Tale Of A Tub, A. Annoque Domini I7J2 (1732), 962. Account Of The Irish, Some (1753), 991. Answer, His Grace's [The Duke Of Graf- Account Of The journey-men Weavers ton's . .. to Smedley's Petition] ( 1724), grateful Congratulation of the Rev. Dr. 634. Swift, An (1726), 1213. Answer To Bickerstaff, An (1708), 494. Account Of The Life Of the Reverend Answer To Dr.
    [Show full text]
  • Jonathan Swift - Poems
    Classic Poetry Series Jonathan Swift - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Jonathan Swift(30 November 1667 – 19 October 1745) Jonathan Swift was an Anglo-Irish satirist, essayist, political pamphleteer (first for the Whigs, then for the Tories), poet and cleric who became Dean of St. Patrick's Cathedral, Dublin. He is remembered for works such as Gulliver's Travels, A Modest Proposal, A Journal to Stella, Drapier's Letters, The Battle of the Books, An Argument Against Abolishing Christianity, and A Tale of a Tub. Swift is probably the foremost prose satirist in the English language, and is less well known for his poetry. Swift originally published all of his works under pseudonyms—such as Lemuel Gulliver, Isaac Bickerstaff, M.B. Drapier—or anonymously. He is also known for being a master of two styles of satire: the Horatian and Juvenalian styles. <b>Biography</b> Jonathan Swift was born in Dublin, Ireland. He was the second child and only son of Jonathan Swift (1640-1667) and his wife Abigail Erick (or Herrick), of Frisby- on-the-Wreake. His father, a native of Goodrich, Herefordshire, accompanied his brothers to Ireland to seek their fortunes in law after their Royalist father's estate was brought to ruin during the English Civil War. Swift's father died at Dublin before he was born, and his mother returned to England. He was left in the care of his influential uncle, Godwin, a close friend and confidante of Sir John Temple, whose son later employed Swift as his secretary.
    [Show full text]