GULLIVER'S TRAVELS BY JONATHAN SWIFT.

1]  DO YOU AGREE THAT GULLIVER IS CRITICAL OF HIS OWN CULTURE?

Swift has at least two aims in Gulliver's Travels besides merely telling a good adventure story. Behind the disguise of his narrative, he is satirizing the pettiness of human nature in general and attacking the Whigs in particular. By emphasizing the six-inch height of the Lilliputians, he graphically diminishes the stature of politicians and indeed the stature of all human nature. And in using the fire in the Queen's chambers, the rope dancers, the bill of particulars drawn against Gulliver, and the inventory of Gulliver's pockets, he presents a series of allusions that were identifiable to his contemporaries as critical of Whig politics.

Why one might ask, did Swift have such a consuming contempt for the Whigs? This hatred began when Swift entered politics as the representative of the Irish church. Representing the Irish bishops, Swift tried to get Queen Anne and the Whigs to grant some financial aid to the Irish church. They refused, and Swift turned against them even though he had considered them his friends and had helped them while he worked for Sir William Temple. Swift turned to the Tories for political allegiance and devoted his propaganda talents to their services. Using certain political events of 1714-18, he described in Gulliver's Travels many things that would remind his readers that Lilliputian folly was also English folly — and, particularly, Whig folly. The method, for example, which Gulliver must use to swear his allegiance to the Lilliputian emperor parallels the absurd difficulty that the Whigs created concerning the credentials of the Tory ambassadors who signed the Treaty of Utrecht.

Within the broad scheme of Gulliver's Travels, Gulliver seems to be an average man in eighteenth-century England. He is concerned with family and with his job, yet he is confronted by the pigmies that politics and political theorizing make of people. Gulliver is utterly incapable of the stupidity of the Lilliputian politicians, and, therefore, he and the Lilliputians are ever-present contrasts for us. We are always aware of the difference between the imperfect (but normal) moral life of Gulliver, and the petty and stupid political life of emperors, prime ministers, and informers.

In the second book of the Travels, Swift reverses the size relationship that he used in Book I. In Lilliput, Gulliver was a giant; in Brobdingnag, Gulliver is a midget. Swift uses this difference to express a difference in morality. Gulliver was an ordinary man compared to the amoral political midgets in Lilliput. Now, Gulliver remains an ordinary man, but the Brobdingnagians are moral men. They are not perfect, but they are consistently moral.

Set against a moral background, Gulliver's "ordinariness" exposes many of its faults. Gulliver is revealed to be a very proud man and one who accepts the madness and malice of European politics, parties, and society as natural. What's more, he even lies to conceal what is despicable about them. The Brobdingnagian king, however, is not fooled by Gulliver. The English, he says, are "odious vermin."

.Swift praises the Brobdingnagians, but he does not intend for us to think that they are perfect humans. They are superhumans, bound to us by flesh and blood, just bigger morally than we are. Their virtues are not impossible for us to attain, but because it takes so much maturing to reach the stature of a moral giant, few humans achieve it

Brobdingnag is a practical, moral utopia. Among the Brobdingnagians, there is goodwill and calm virtue. Their laws encourage charity. Yet they are, underneath, just men who labor under every disadvantage to which man is the heir. They are physically ugly when magnified, but they are morally beautiful.

In Books I and II, Swift directs his satire more toward individual targets than firing a broadside at abstract concepts. In Book I, he is primarily concerned with Whig politics and politicians rather than with the abstract politician; in Book II, he elects to reprove immoral Englishmen rather than abstract immorality. In Book III, Swift's target is somewhat abstract — pride in reason — but he also singles out and censures a group of his contemporaries whom he believed to be particularly deprived in their exaltation of reason. He attacks his old enemies, the Moderns, and their satellites, the Deists and rationalists. In opposition to their credos, Swift believed that people were capable of reasoning, but that they were far from being fully rational. For the record, it should probably be mentioned that Swift was not alone in denouncing this clique of people. The objects of Swift's indignation had also aroused the rage of Pope, Arbuthnot, Dryden, and most of the orthodox theologians of the Augustan Age.

This love of reason that Swift criticizes derived from the rationalism of the seventeenth and eighteenth centuries. John Locke's theories of natural religion were popularly read, as were Descartes' theories about the use of reason. Then a loosely connected group summarized these opinions, plus others, and a cult was born: They called themselves the Deists.

In general, the Deists believed that people could reason, observe the universe accurately, and perceive axioms intuitively. With these faculties, people could then arrive at religious truth; they did not need biblical revelation. Orthodox theology has always made reason dependent on God and morality, but the Deists refuted this notion. They attacked revealed religion, saying that if reason can support the God described by the Bible, it may also conclude that God is quite different from the biblical God. The answer depends upon which observations and axioms the reasoner choose to use.

In Book III, Laputan systematizing is exaggerated, but Swift's point is clear and concrete: Such systematizing is a manifestation of proud rationalism. The Laputans think so abstractly that they have lost their hold on common sense. They are so absorbed in their abstractions that they serve food in geometric and musical shapes. Everything is relegated to abstract thought, and the result is mass delusion and chaos. The Laputans do not produce anything useful; their clothes do not fit, and their houses are not constructed correctly. These people think — but only for abstract thinking's sake; they do not consider ends.

In a similar fashion, Swift shows that philology and scholarship betray the best interests of the Luggnaggians; pragmatic scientism fails in Balnibarbi, and accumulated experience does not make the Struldbruggs either happy or wise. In his topical political references, Swift demonstrates the viciousness and cruelty, as well as the folly, that arise from abstract political theory imposed by selfish politicians. The common people, Swift says, suffer. He also cites the folly of Laputan theorists and the Laputan king by referring to the immediate political blunders of the Georges.

 Man is an infinitely complex animal; he is many, many mixtures of intellect and reason, charity and emotion. Yet reason and intellect are not synonymous — even if they might profitably be; nor are emotion and charity necessarily akin to one another. But few people see Man as the grey mixture of varying qualities that he is. Man oversimplifies, and, in the last book of the Travels, Swift shows us the folly of people who advance such theories. In his time, it was a popular notion that a Reasonable Man was a Complete Man. Here, Swift shows us Reason exalted. We must judge whether it is possible or desirable for Man.

The Houyhnhnms are super-reasonable. They have all the virtues that the Stoics and Deists advocated. They speak clearly, they act justly, and they have simple laws. They do not quarrel or argue since each knows what is true and right. They do not suffer from the uncertainties of reasoning that afflict Man. But they are so reasonable that they have no emotions. They are untroubled by greed, politics, or lust. They act from undifferentiated benevolence. They would never prefer the welfare of one of their own children to the welfare of another Houyhnhnm simply on the basis of kinship.

Very simply, the Houyhnhnms are horses; they are not humans. And this physical difference parallels the abstract difference. They are fully rational, innocent, and depraved. Man is capable of reason, but never wholly or continuously, and he is — but never wholly or continuously — passionate, proud, and depraved.

In contrast to the Houyhnhnms, Swift presents their precise opposite: the Yahoos, creatures who exhibit the essence of sensual human sinfulness. The Yahoos are not merely animals; they are animals who are naturally vicious. Swift describes them in deliberately filthy and disgusting terms, often using metaphors drawn from dung. The Yahoos plainly represent Mankind depraved. Swift, in fact, describes the Yahoos in such disgusting terms that early critics assumed that he hated Man to the point of madness. Swift, however, takes his descriptions from the sermons and theological tracts of his predecessors and contemporaries. If Swift hated Man, one would also have to say that St. Francis and St. Augustine did, too. Swift's descriptions of depraved Man are, if anything, milder than they might be. Midway between the poles of the Houyhnhnms and the Yahoos, Swift places Gulliver. Gulliver is an average man, except that he has become irrational in his regard for reason. Gulliver is so disgusted with the Yahoos and so admires the Houyhnhnms that he tries to become a horse.

This aspiration to become a horse exposes Gulliver's grave weakness. Gullible and proud, he becomes such a devotee of the reason that he cannot accept his fellow humans who are less than totally reasonable. He cannot recognize virtue and charity when they exist. Captain Pedro de Mendez rescues Gulliver and takes him back to Europe, but Gulliver despises him because Mendez doesn't look like a horse. Likewise, when he reaches home, Gulliver hates his family because they look and smell like Yahoos. He is still capable of seeing objects and surfaces accurately, but he is incapable of grasping true depths of meaning.

Swift discriminates between people as they are idealized, people as they are damned, people as they possibly could be, and others as they are. The Houyhnhnms embody the ideal of the rationalists and stoics; the Yahoos illustrate the damning abstraction of sinful and depraved Man; and Pedro de Mendez represents virtue possible to Man. Gulliver, usually quite sane, is misled when we leave him, but he is like most people. Even dullards, occasionally, become obsessed by something or other for a while before lapsing back into their quiet, workaday selves. Eventually, we can imagine that Gulliver will recover and be his former unexciting, gullible self.

Swift uses the technique of making abstractions concrete to show us that super-reasonable horses are impossible and useless models for humans. They have never fallen and therefore have never been redeemed. They are incapable of the Christian virtues that unite passion and reason: Neither they nor the Yahoos are touched by grace or charity. In contrast, the Christian virtues of Pedro de Mendez and the Brobdingnagians (the "least corrupted" of mankind) are possible to humans. These virtues are the result of grace and redemption. Swift does not press this theological point, however. He is, after all, writing a satire, not a religious tract.

After discussing all aspects of Gulliver's Travels I  Agree with the sentence that "Gulliver is critical of his own culture."