Gulliver's Travels is Jonathan Swift's satiric masterpiece, the fantastic tale of the four voyages of Lemuel Gulliver, an English ship's surgeon. First, he is shipwrecked in the land of Lilliput, where the alarmed residents are only six inches tall. His second voyage takes him to the land of Brobdingnag, where the people are sixty feet tall. Further adventures bring Gulliver to an island that floats in the sky, and to a land where horses are endowed with reason and beasts are shaped like men.

Read by children as an adventure story and by adults as a devastating satire of society, Gulliver's Travels remains a fascinating blend of travelogue, realism, symbolism, and fantastic voyage - all with a serious philosophical intent.

With a New Introduction by Leo Damrosch, thirty illustrations by Charles Brock, and five maps of Gulliver's journeys.

Gulliver’s Travels was an overnight success, a runaway best-seller. And why not? Not only did it smack of mystery and political, social, and sexual scandal, but it’s often hilarious, and just about always brilliant.
Swift was dean of St. Patrick’s Cathedral in Dublin when his novel came out.
Since in this book he wrote about- and often harpooned- prominent political figures, he published the book anonymously. While most readers were trying like mad to find out who the author was, Swift’s close friends had great fun keeping the secret. Days after the publication of the Travels, Alexander Pope, one of Swift’s dearest friends and the author of such important works as “The Rape of the Lock” and “An Essay on Man,” wrote him in an especially playful letter:
“Motte [Swift’s publisher] receiv’d the copy (he tells me) he knew not from whence, nor from whom, dropp’d at his house in the dark, from a Hackneycoach: by computing the time, I found it was after you left England, so for my part, I suspend my judgment.” Pope, of course, knew perfectly well that Swift was the author of Gulliver’s Travels.
London fairly buzzed with speculations, suggestions, and countersuggestions regarding the author’s identity, as well as those of some of his characters. In Part I, for example, the Lilliputian Emperor- tyrannical, cruel, corrupt, and obsessed with ceremony- though a timeless symbol of bad government, is also a biting satire of George I, King of England (from 1714 to 1727), during much of Swift’s career. The Lilliputian Empress stands for Queen Anne, who blocked Swift’s advancement in the Church of England, having taken offense at some of his earlier, signed satires. There are two political parties in Lilliput, the Low-Heels and the High-Heels. These correspond respectively to the Whigs and Tories, the two major British political parties.
It didn’t take long for people to catch on to the fact that the author was writing about England by way of Lilliput, Brobdingnag, Laputa, and the land of the Houyhnhnms. And it also didn’t take long for the public to discover that the author was Jonathan Swift. Not only had he been involved in some of the most important and heated political events of the time, but he was also a well-known political journalist and satirist whose style was, to say the least, distinctive.
Swift got his political feet wet in the Glorious Revolution (1688-89), the object of which was to convince James II (king of England from 1685 to 1688) to abdicate the throne. James, a Roman Catholic, sought to increase the power of the Roman Church in England at the expense of the Anglican Church, long considered the country’s official church. James’ interests ran counter to those of the majority of his subjects, which was bad enough, but his methods- underhanded, blatantly discriminatory against Anglicans (also called Episcopalians), and cruelmade the situation impossible. James did flee England in December 11, 1688, when William of Orange, his son-in-law and a moderate Protestant, arrived with a small army to depose him. James lived the rest of his life in France under the
protection of Louis XIV, but the English remained anxious that he or his son would again try to seize the throne.
At this point, Swift was secretary to Sir William Temple, a prominent Whig.
Though Swift (an Anglican clergyman, remember) welcomed the Protestant William of Orange, he was uneasy that the monarch was so lenient toward Roman Catholics. Swift, for example, favored the Test Act, which required all government officials to take the Sacraments according to the rites of the Anglican Church. This measure, of course, would exclude Catholics and other non-Anglicans from holding government posts. This put Swift at odds with the Whig party which, like the king, favored the repeal of the Test Act. By 1710 it became clear that the Whig government would fall. After making sure that the Tories would favor his policies for a strong Church of England, Swift changed parties.
All of Part I of the Travels is an allegorical account of British politics during the turbulent early eighteenth century, when the main political parties, the Tories and the Whigs, competed with each other bitterly. England is a limited monarchy.
There is a king and/or queen, whose power is checked by Parliament, especially the House of Commons which consists of representatives of the people. In Swift’s time the Tories tended to be a more conservative party: they supported a strong monarchy and a strong Church of England; they were hostile to the new mercantile classes; their support came mostly from the landed gentry and clergy.
The Whigs, on the other hand, emphasized the parliamentary aspect of the government, supported the rise of the new middle class, and were more religiously
tolerant than the Tories. The Whigs were a more varied group than the Tories, and drew support from the new middle class, sectors of the nobility who hadn’t profited from James II’s abdication, bankers and financiers, as well as Catholics and other non-Anglican members.
From 1710 to 1714 Swift, who was now a Tory, remember, was one of the most influential members of the English government. As editor of the Examiner, the Tory party organ, he was also one of the most famous political journalists of his day. He was very close to Oxford and Bolingbroke, heads of the Tories (they also appear, in various “disguises,” in Part I). Swift wrote in support of the Peace of Utrecht (1713), which ended the War of the Spanish Succession with France and Spain. This war is recounted allegorically in Book I as the war between Lilliput (England) and Blefuscu (France).
While in London Swift worked passionately for his political ideals. He expected that in return for his efforts he’d be rewarded with a bishopric in England.
That way he would remain close to London, the center of activity. He was slighted, however, and given the deanship of St. Patrick’s in Dublin. This was a blow from which many say Swift never really recovered. He felt as though he’d been banished, unfairly, and in many ways he had been.
Despite his disappointment Swift worked hard for his church in Ireland and for the cause of Irish freedom against the Whigs, many of whom considered Ireland more of a colony than a country. For most of the rest of his life, Swift was a clergyman/writer/activist. In 1729, when he was sixty-three, he wrote A Modest Proposal, considered by many to be the best satire ever written in English. In it Swift makes use of the persona of a respectable Whig businessman. His protagonist makes the suggestion that the Irish should fatten their children so that they could grace the tables- in the form of food- of the English. This would solve two problems, argued Swift’s Whig. First, it would relieve Ireland’s overpopulation problem. Second, English lords wouldn’t have to import meat from so far away.
In A Modest Proposal Swift made his readers take notice of the dire situation in Ireland, and he pointed a finger at the English who he considered responsible for it and callous about it, to boot.
Swift’s aims in the Proposal were humanitarian, yet his satire cut like a knife.
This is in keeping with Swift’s contradictory personality, which makes him one of the most puzzling figures in English literature. Acknowledged as a brilliant man of his age, he was a poor student. He entered the church reluctantly as a way of earning a living, yet he quickly became an ambitious and influential clergyman. His harsh satires caused many to call him a misanthrope, one who hates people. Yet he was a very outgoing man, a dazzler in the sparkling intellectual/literary/political/social constellation of John Dryden, Alexander Pope, John Gay, John Arbuthnot, Joseph Addison, and Richard Steele. He wrote many letters, and with few exceptions, they are witty, charming, and lively.
Even Swift’s biographers have had to live with the hard fact that the story of Swift’s life is hidden behind the public events, the verifiable dates, and the published works. For all his activism and close relations with public figures, we know surprisingly little about the private Swift. No one even knows if Swift ever married. He had a years-long, passionate relationship with Esther Johnson and many have suspected that the two were secretly married. Though they saw each other every day, they didn’t live together, and always visited in the company of a chaperone. Swift’s famous Journal to Stella, in which he satirizes his own fame and writing (another contradiction- he worked hard to achieve recognition, and obviously wanted it badly), was written from 1710 to 1714 while he was in London with the Tories. Swift also had an involvement with a woman he called Vanessa (her real name was Hester Vanhomrich), who left England to be with Swift in Ireland. They also didn’t live together, though Vanessa was devoted to Swift for years. Because Swift died insane, some biographers have suggested that he never married because he’d contracted syphilis as a young man and feared passing it on. We’ll never know.
We do know, however, that Swift was born in Dublin on November 30, 1667.
Swift’s father, an English lawyer, died while his wife was pregnant with Jonathan. Right after Jonathan was born his mother left him to be raised by her brother. Jonathan, never a good student, was graduated from Trinity College as a favor to his uncle. He worked halfheartedly on a masters degree, but left to join the Glorious Revolution.
From then on we have a pretty full accounting of his public deeds, but the private man remains mysterious. Swift was simultaneously praised to the skies and criticized severely for Gulliver’s Travels. His admirers called attention to the literary merits of the book and its ultimately humanitarian concerns; his critics said he hated mankind and cited his invention of the Yahoos as proof. It seems impossible to have a lukewarm opinion on Swift; the work is too strong and his personality, as his contemporaries tell it, seemed larger than life. As in the work there are few “mellow” passages, so Swift seemed to swing from one extreme mood to another.
Swift’s last years were a torment. He suffered awful bouts of dizziness, nausea, deafness, and mental incapacity. In fact, Swift’s harshest critics tried to discredit the Travels on the grounds that the author was mad when he wrote it. But he wasn’t. The Travels were published in 1726- and Part IV, which raised the most controversy, was written before Part III- and Swift didn’t enter a mental institution until 1742. He died in 1745.
Gulliver’s Travels, which you’re about to explore, may well be the world’s most brilliant “homework assignment.” Along with Pope, Arbuthnot, Gay, and other literary lights, Swift was a member of The Martinus Scriblerus Club. The purpose of this club was to satirize the foolishness of modern man. Each member was given a topic; Swift’s was to satirize the current “boom” in travel literature.
The final result, ten years later, was Gulliver’s Travels.