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With much of the intellectual discourse of the last several decades concerned with reconsiderations of modernity, how do we read the works of Jonathan Swift, who ridiculed the modern even as it was taking shape? The author approaches the question of modernity in Swift by way of a theory of satire from Aristotle via Swift (and Bakhtin) that eschews modern notions that satire is meant to reform and correct. Linking satire to Nemesis, the goddess of righteous vengeance, "Swift as Nemesis" develops new readings of Swift's major satires. From his first published work, Swift associates the modern with the new science and represents modernity as a pernicious strain of narcissism that devalues humanistic discourse. In his early satires, he compiles a profane history of the modern in which the new philosophy is an extension of the methodology of alchemists, the debased Roman Catholic Church, and the various Puritan sects. This history culminates in "A Tale of a Tub" with an assault on the intellectual basis of that most formidable of all modern works, Newton's "Principia." In "Gulliver's Travels," Swift attacks modern culture while aiming at individual readers. Novelistic identification with Gulliver's narcissism (beginning with masturbation and encompassing various scatological observations) implicates readers in the larger cultural critique in which Gulliver, paralleling Narcissus, rejects cultures he encounters until he embraces a cultural image that destroys him. The wider cultural implications of Swift's work are evident in the way he uses travel as a metaphor to link the inhuman consequences of European imperialism with the discoveries of the new science. Finally, Swift's works, like the mirror Nemesis uses to destroy Narcissus, are shown to return the narcissistic projections of critics. Recognizing that Narcissus and Echo have become important to the critique of modernism, the author argues that readers will find it useful now to turn to the contextualizing role of Nemesis. She emerges from Swift's critically irreducible satire with an ironic claim on modernity itself.
How do we read the works of Jonathan Swift, who ridiculed the modern even as it was taking shape? The author approaches the question of modernity in Swift by way of a theory of satire from Aristotle via Swift (and Bakhtin) that eschews modern notions that satire is meant to reform and correct.
The essays in this volume cover four broad categories: (1) Essays that historicize his relationship to the Church of Ireland and to the bruising world of eighteenth-century theological discourse in general. (2) Essays that examine how Swift represents religious figures and controversies in his poetry and prose, including a A Tale of a Tub. (3) Essays that theorize the relationships between religious and literary genres. (4) Essays that articulate the links between Swift's satires and contemporary religious, philosophical, and scientific discourse."--BOOK JACKET.
It is thought that Swift was opposed to the new science that heralded the beginning of the modern age, but this book interrogates that assumption, tracing the theological, political, and socio-cultural resonances of scientific knowledge in the early eighteenth century, and considering what they can reveal about Swift's imagination.
Poets are makers, etymologically speaking. In practice, they are also thieves. Over a long career, from the early 1690s to the late 1730s, Jonathan Swift thrived on a creative tension between original poetry-making and the filching of familiar material from the poetic archive. The most extensive study of Swift's verse to appear in more than thirty years, Reading Swift's Poetry offers detailed readings of dozens of major poems, as well as neglected and recently recovered pieces. This book reaffirms Swift's prominence in competing literary traditions as diverse as the pastoral and the political, the metaphysical and the satirical, and demonstrates the persistence of unlikely literary tropes across his multifaceted career. Daniel Cook also considers the audacious ways in which Swift engages with Juvenal's satires, Horace's epistles, Milton's epics, Cowley's odes, and an astonishing array of other canonical and forgotten writers.
The Cambridge Companion to Jonathan Swift is a specially commissioned collection of essays. Arranged thematically across a range of topics, this volume will deepen and extend the enjoyment and understanding of Jonathan Swift for students and scholars. The thirteen essays explore crucial dimensions of Swift s life and works. As well as ensuring a broad coverage of Swift s writing - including early and later works as well as the better known and the lesser known - the Companion also offers a way into current critical and theoretical issues surrounding the author. Special emphasis is placed on Swift s vexed relationship with the land of his birth, Ireland; and on his place as a political writer in a highly politicised age. The Companion offers a lucid introduction to these and other issues, and raises new questions about Swift and his world. The volume features a detailed chronology and a guide to further reading.
The heart-pounding sequel to Cast in Firelight, perfect for fans of epic, sweepingly romantic fantasy by Sabaa Tahir, Susan Dennard, and Mary E. Pearson. After a magical eruption devastates the kingdom of Belwar, royal heir Adraa is falsely accused of masterminding the destruction and forced to stand trial in front of her people, who see her as a monster. Adraa's punishment? Imprisonment in the Dome, an impenetrable, magic-infused fortress filled with Belwar’s nastiest criminals—many of whom Adraa put there herself. And they want her to pay. Jatin, the royal heir to Naupure, has been Adraa’s betrothed, nemesis, and fellow masked vigilante . . . but now he’s just a boy waiting to ask her the biggest question of their lives. First, though, he’s going to have to do the impossible: break Adraa out of the Dome. And he won’t be able to do it without help from the unlikeliest of sources—a girl from his past with a secret that could put them all at risk. Time is running out, and the horrors Adraa faces in the Dome are second only to the plot to destabilize and destroy their kingdoms. But Adraa and Jatin have saved the world once already. . . . Now, can they save themselves? "I was hooked from beginning to end!"—Kathryn Purdie, #1 New York Times bestselling author of Bone Crier’s Moon "Fans of Serpent & Dove’s smart-alecky Lou and The Wrath and the Dawn’s cunning Shazi should prepare themselves to fall head over heels for the fiery Adraa."—Kelly Coon, author of the Gravemaidens duology
These thirteen essays offer not only the representations of Swift to which its title refers but also a representation of Swift scholarship at the close of the twentieth century and a return to fundamental questions about the life, writing, and views of Swift, issues raised in part by literary scholarship's return to historicism but also powerfully suggestive of a return to biography.
This edition presents Jonathan Swift's most important Irish writings in both prose and verse, together with an introduction, head notes and annotations that shed new light on the full context and significance of each piece. Familiar works such as "Gulliver's Travels" and "A Tale of a Tub" acquire new and deeper meanings when considered within the Irish frameworks presented in the edition. Differing in noteworthy ways from the more traditional, canonical, Anglocentric picture conveyed by other published volumes, the Swift that emerges from these pages is a brilliant polemicist, popular satirist, political agitator, playful versifier, tormented Jeremiah, and Irish patriot.
A rich and riveting portrait of the man behind Gulliver’s Travels, by a “vivid, ardent, and engaging” (New York Times Book Review) author. One of Europe’s most important literary figures, Jonathan Swift was also an inspired humorist, a beloved companion, and a conscientious Anglican minister—as well as a hoaxer and a teller of tales. His anger against abuses of power would produce the most famous satires of the English language: Gulliver’s Travels as well as the Drapier Papers and the unparalleled Modest Proposal, in which he imagined the poor of Ireland farming their infants for the tables of wealthy colonists. John Stubbs’s biography captures the dirt and beauty of a world that Swift both scorned and sought to amend. It follows Swift through his many battles, for and against authority, and in his many contradictions, as a priest who sought to uphold the dogma of his church; as a man who was quite prepared to defy convention, not least in his unshakable attachment to an unmarried woman, his “Stella”; and as a writer whose vision showed that no single creed holds all the answers. Impeccably researched and beautifully told, in Jonathan Swift Stubbs has found the perfect subject for this masterfully told biography of a reluctant rebel—a voice of withering disenchantment unrivaled in English.