Contents: introduction chapter I literature of the age of enlightenment

CHAPTER II "ENGLISH WRITERS OF THE ENLIGHTENMENT"
2.1 Jonathan Swift
Swift began his creative activity at the turn of the two centuries, when the extremely diverse experience of English literature of the 17th century. began to be rethought in the light of emerging enlightenment ideas. Swift was a contemporary and partly belonged to the great social movement called the Enlightenment.
Under the influence of the writer-essayist Temple, the foundations of Swift's worldview were formed. In philosophical and religious questions, he shared Montaigne's skepticism in the Anglican interpretation, emphasizing the weakness, limitations and deceptiveness of the human mind; his ethical teaching was reduced to Anglican rationalism with the requirement of strict ordering of feelings, their subordination to common sense. At the heart of his historical ideas was the idea of ​​historical variability.
Swift's journalistic activity in defense of Ireland was accompanied by a creative upsurge, which resulted in the creation of Gulliver's Travels (1721-1725). This work is the highest achievement of the author, prepared by all his previous activities. Gulliver's Travels is one of the most complex, cruel and torturous books of mankind. One might even say one of the most controversial books. In the fourth part of Gulliver's Travels, Swift seems to express his hatred of humanity. To agree that this is the only conclusion from his book is to put him in the camp of the enemies of humanism and progress.
Swift's book is connected by many threads with his modernity. It is teeming with allusions to the topic of the day. In each of the parts of Gulliver's Travels, no matter how far the action takes place, England is directly or indirectly reflected in front of us, English affairs are resolved by analogy or contrast. But the power of Swift's satire lies in the fact that specific facts, characters and situations acquire a universal meaning, turn out to be valid for all times and peoples.
To understand this, we must consider Swift's book in the atmosphere of the time that gave birth to it. 17th century writers could not show humanity the path it was to follow. They did not know such a path and did not believe in its existence, therefore they are only capable of fantastic constructions. This direction and the pessimistic spirit of Swift's satire were a direct legacy of the 17th century.
The main theme of "Gulliver's Travels" is the variability of the external appearance of the world of nature and man, represented by the fantastic and fabulous environment that Gulliver finds himself in during his wanderings. The changing face of fantastic countries emphasizes, in accordance with Swift's intention, the immutability of the inner essence of mores and customs, which is expressed by the same circle of ridiculed vices. Introducing fairy tale motifs in their own artistic function, Swift does not limit himself to it, but expands its significance through parody, on the basis of which the satirical grotesque is built. Parody always presupposes the moment of imitation of a previously known model and thereby draws its source into the sphere of action. The double artistic function of fiction - entertaining and grotesque parody - is developed by Swift in line with the ancient and humanistic tradition through plot parallels, which constitute a special layer of sources in Gulliver's Travels. In accordance with this tradition, the plot is grouped around the scheme of a fictional journey. As for Gulliver, his image is based on the English prose of the 17th century, in which the narratives of travelers of the era of great geographical discoveries are widely represented. From the descriptions of sea voyages, Swift borrowed an adventure flavor that gave the work the illusion of visible reality. This illusion is also increased because in appearance between the midgets and giants, on the one hand, and Gulliver himself and his world, on the other hand, there is an exact ratio of greatness. Quantitative relationships are supported by the qualitative differences that Swift establishes between the mental and moral level of Gulliver, his consciousness and, accordingly, the consciousness of Lilliputians, Brobdingnezhians, Yahoo and Houyhnhnms. The angle of view from which Gulliver sees the next country of his wanderings is precisely established in advance: it is determined by how much its inhabitants are higher or lower than Gulliver in mental or moral terms. The illusion of credibility serves as a camouflage for the irony of the author, who imperceptibly puts masks on Gulliver, depending on the tasks of satire. The fairy-tale plot, combined with the believable adventure flavor of the sea voyage, form the constructive basis of Gulliver's Travels. This includes an autobiographical moment - family stories and Swift's own impressions of an unusual adventure in his early childhood (at the age of one, he was secretly taken away by his nanny from Ireland to England and lived there for almost three years). This is the superficial layer of the narrative that allowed Gulliver's Travels to become a reference book for children's reading. However, the storylines of the plot, being an allegory of generalized satire, combine many semantic elements designed exclusively for an adult reader - allusions, puns, parodies - into a single composition representing Swift's laughter in the widest range - from a joke to "severe indignation". allowed "Gulliver's Travels" to become a reference book for children's reading. However, the storylines of the plot, being an allegory of generalized satire, combine many semantic elements designed exclusively for an adult reader - allusions, puns, parodies - into a single composition representing Swift's laughter in the widest range - from a joke to "severe indignation". allowed "Gulliver's Travels" to become a reference book for children's reading. However, the storylines of the plot, being an allegory of generalized satire, combine many semantic elements designed exclusively for an adult reader - allusions, puns, parodies - into a single composition representing Swift's laughter in the widest range - from a joke to "severe indignation".
The disclosure of the most important social contradictions in the novel is carried out in a generalized image of the state, penetrating all four parts of the work. England and - wider Europe appears before us in several dimensions, in different plans. So, the tiny inhabitants of Lilliputia, the ugly inhabitants of Laputa and the disgusting Yahoos from the country of the Houyhnhnms are fantastically and satirically transformed Europeans, the embodiment of the incurable vices of society. Comparing and playing with creatures of different sizes gives the author the opportunity to show a person from an unusual point of view and reveal new aspects of his nature. If you look at a person through the eyes of midgets, he will seem huge, if through the eyes of giants, he will seem small. Everything depends on the point of view. Everything that claims to be absolute is compared with the insignificant and small. However, despite the small size of the Lilliputians, they have their cities, manners, customs, state, emperor, court, ministers. And, what is especially important, they had ancient wise regulations, which are gradually superseded by modern mores. Swift uses a materialized metaphor to show the servility and dexterity required to make a career in the Lilliputian court. It is necessary to train from childhood to dance on a tightrope. You must also show your dexterity in jumping over the stick held by the emperor, or crawling under it. The statement of power and greatness sounds comically from the lips of the Lilliputians and suggests the relativity of any power. The struggle of the two parties that exist at court - the party of high and low heels - serves to divert people's attention from the pressing issues of life. The party struggle is complemented by the depiction of religious strife. They are shown in the form of a struggle between blunt-pointed and pointed-pointed. Because of which end to break the egg, fanatics go to their deaths. Swift speaks here against religious bigotry and religious prejudice.
The intrigue that began against Gulliver is the first digression into the field of human nature, as it manifests itself in the field of politics. Gulliver not only protected the state from enemy invasion, but also saved the palace from fire, which the Lilliputians could not understand and appreciate. For inexplicable reasons, hatred for Gulliver is growing and something terrible is brewing behind his back. But if Gulliver's enemies offer to kill him, then a friend offers a humane measure - gouge out his eyes. He believes that this will satisfy justice and delight the whole world with his gentleness.
Swift's irony here reveals the squalor of good deeds that a friend is capable of, who does not break with the vile logic of the ruling order. The troublesome vanity of intrigue acquires the character of an empty and insignificant game among the Lilliputians. Lilliputians are vile, but their small stature symbolizes the pettiness and insignificance of their deeds - human deeds in general.
In the second part of the novel - the journey to Brobdingnag - everything turns upside down. The inhabitants of the country are giants. Swift continues to play with the size difference. Gulliver falls into the position of a midget. He himself looks like an insignificant creature, an animal, an insect. On the other hand, Gulliver's small stature and, accordingly, a different sight of his eyes give him the opportunity to see what big people do not see, for example, the unattractive sides of the human body up close.
The giants are shown in two ways. These are creatures of mighty dimensions, gross material beings, not ennobled by spirituality. Their great growth is combined with mental limitations, unpretentiousness and rudeness. But this does not exhaust the characteristics of the giants. The king and queen are big people, big not only physically, but also morally and intellectually.
The theme of England is introduced here differently than in the first part. The central place is occupied by Gulliver's conversations with the king. Gulliver acts like an average Englishman, with all his prejudices and unconscious cruelty. He wants to elevate his fatherland, portrays the political system as ideal, highlights everything that, in his opinion, can decorate this state. In response to this, the king - a man endowed with natural common sense, remarked how insignificant human greatness is if such tiny insects can aspire to it. Swift expressed this idea by comparing the Lilliputians with Gulliver, and he repeats it by comparing Gulliver with the giants. The sober, sensible character of the king of giants seems very attractive to Swift. Swift positively assesses the social system of giants. Politics is not raised to the level of science. The king of giants is an opponent of state secrets, intrigues and sophistication. He believes that a man who has grown one grain is worth more than all politicians.
The third part of the book philosophically interprets the question of the relationship between science and life. Swift's art lies in the fact that he is able to express the most abstract and abstract things concretely and visually. Laputa Island soars in the sky. It is inhabited by noble people, representatives of the aristocracy. These people are deep in thought. Everything here is subordinated to science, abstract and speculative. The island is not just inhabited by scientists. He is a miracle of science, which is cut off from the people. Science is the property of the upper classes. The capital of the state itself and most of the villages are located on the land where the subjects live. When the inhabitants of one city rebelled, the flying island crushed the rebellion. The miracle of science is used against the people. All this is not just Swift's invention. He expressed in a witty and visual form the real contradiction of the old society - the separation of the people from culture and science. The inhabitants of the island of Laputa went into abstract spheres and were indifferent to real life, where ignorance and poverty flourished. On the ground, the Academy of searchlights was created, which is a society of half-knowers who are trying to make humanity happy with their naive discoveries. They demonstrate an inexhaustible supply of stupidity. Searchlights want to change everything just to change. None of their projects have been completed. They destroyed the old but did not create the new. Therefore, the country is in desolation and ruins. Swift develops a very deep thought here. He ridicules people who are obsessed with the mania to change everything, blind commitment to the new and the desire to destroy the old at any cost, people who stop halfway and do not complete their undertakings, who are busy with meaningless projects, not arising from the requirements of life and, moreover, absolutely unrealizable. It is necessary to remake what is really bad, what life requires, and remake based on real grounds and real possibilities. Among the projectors there are people striving to improve society and correct its vices, for example, to find smart ministers, to stop the dissension of parties. Swift speaks of this with undisguised irony, viewing these attempts as equally hopeless and unfeasible projects.
The third part also deals with the question of the development of mankind - its historical and biological development, the movement of history, life and death. Getting to the island of Globdobdrib - the island of sorcerers and wizards, the whole history of mankind passes before Gulliver. This is where Swift's historical concept comes into play. He has a deep respect for antiquity and its heroes. This respect develops into a kind of classicism. Comparison of ancient and modern history is necessary for Swift in order to show the degradation and decline of mankind. Oppression, bribery, perfidy, betrayal - that's what accompanied the birth of a new civilized society. The concept of human development, which Swift expounds, emphasizes, first of all, the contradictions of this development, the final decline of the human race. It opposes the optimistic concept of the Enlightenment,
The third part of the novel ends with a visit to the eastern countries. The absurdity and cruelty of court life appears in it in especially frank forms. A special group of people in this country are the struldbrugs, or immortals. The description of these people, as it were, echoes the resurrection of the dead, which took place on the island of sorcerers and wizards. Longevity is the dream of every person. Gulliver was delighted with this idea. He believes that eternal life can give a person experience and wisdom, that the wealth of life experience that the immortal accumulates will prevent the decline and degeneration of mankind. But everything happens the other way around.
Man cannot hope for eternal youth. And the strulbrugs turn out to be eternal old men. They are deprived of natural feelings and hardly understand the language of the new generation. Greedy and greedy, they want to seize power, and since they are not capable of governing, they can only lead the state to death. This chapter tells about the biological and social degradation of man and the impotence of science to find recipes for his salvation.
"Gulliver's Travels" captured the period when bourgeois relations were thoroughly strengthened in all spheres of public life, and Swift's novel, by its construction, conveys their relative immobility. The circumstances in this satirical work have only one direction of development, which is expressed in the expansion and deepening of the sphere of evil. Life, all living things seem to be devoid of movement: under the deep cover of this inviolability, the tragedy of the lonely Gulliver is growing. But the social relations themselves, the structure of society, have frozen dead. It is no coincidence that Gulliver did not notice any changes for the better in his native country over the years of his wanderings. Time stopped. Or, to be more precise: time moves in a direction hostile to man. A tragic time that did not portend genuine and tangible progress.
Swift's novel "Gulliver's Travels" is on the main highway of literary development. Its outstanding significance is determined primarily by the formulation and solution of the most complex and important socio-philosophical problems that worried European society in the 18th century, as well as in later times. The role of Swift's satire is so great that not only Swift's contemporaries W. Gay, J. Arbuthnot, but also the largest English writers of other generations somehow took the lessons of the author of Gulliver's Travels and were under his influence.