Assignment
Name : Latta J. Baraiya
Roll no : 12
Paper : Neoclassical Literature
Semester : M.A sem 1
Topic : A Tale of The Tub by Swift
Submitted to : Smt. S.B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University
Introduction
Jonathan Swift's Tale of the Tub is a brilliant failure. It is a prose satire intended as a defence of the Anglican church, but it was widely interpreted by contemporary readers as an attack on all religion. At the time of writing it, Swift was a junior Anglican clergyman hoping for substantial preferment in the Church. The appearance of the Tale, and its assumed message, was a serious obstacle to his promotion.
One of the things that makes the Tale difficult to interpret for that the work attacks multiple things of things at the same time: it's an allegory about religious differences it's a satire on pedantry and false scholarship it's a parody of the contemporary book trade it has attached to it two further treatises, the 'Battle of the Books', and the 'Mechanical Operation of the Spirit'.
◆Title of The Novel:-
The first thing that's puzzling about A Tale of A Tub is its title. The preface explains that it is the practice of seamen when they meet a whale to throw out an empty tub to divert it from attacking their ship. The whale that this tub is thrown out for most obviously represents Thomas Hobbes's Leviathan. Swift's tub is intended to distract Hobbes and other critics of the church and government from picking holes in their weak points.
A Tale of a Tub was published anonymously. But unlike with those later works, Swift was obsessively concerned with preserving the anonymity of his authorship of the Tale. His authorship of the Tale was never publicly acknowledged in his lifetime, nor did it appear in authorised editions of his collected works.
But although Swift vigorously maintained the fiction of anonymity in relation to A Tale of a Tub, never at any point did he try to suppress the book as a whole; he only tried to obscure his direct connection with it. But despite the fact that he was desperate that no one should ever know that he wrote A Tale of a Tub, he also seems to have been extraordinarily proud of his satire. The one comment that we have on record from Swift about the Tale comes from a letter transcribed for the Earl of Orrery:
"There is no doubt but that he was Author of the Tale of the Tub. He never owned it: but as he one day made his Relation Mrs Whiteway read it to him, he made use of This expression. 'Good God! What a flow of imagination had I, when I wrote this".
There is a strange paradox here: Swift wanted to disavow his connection with the work, yet at the same time he wanted the genius evident in the satire to be recognised as his.
◆Religious Orthodoxy :-
Swift says in the 'Apology' that was added to the 1710 edition that A Tale of a Tub was partly intended to attack the religious groups that he saw as threatening the hegemony of the Anglican church. In the Tale, Swift uses the analogy of the three brothers
MartiN [The Anglican Church]
Peter [The Catholic Church]
Jack [The Low Church, or Dissenters]
In doing so, he is trying to demonstrate that the spiritual practices of the Catholic Church and dissenting sects were based on a false interpretation of the true Word, the Bible. However, the sweep of Swift's irony in the book, and, the destabilising and confusing nature of its changes in satiric personae meant that many of his contemporaries read the Tale as an attack all religion.
Swift's decision to publish the apology in the revised edition of 1710 likely is related to his anxiety about his career at this time, and the Tale's potential to compromise his position. Late 1710, was perhaps the most exciting and promising time in Swift's career he was being courted by the rising Tory leader Robert Harley to join the Tory cause, and power and importance seemed imminent. Swift was to believe for the rest of his life that his failure to secure the ecclesiastical promotions that he wanted was due to influential disapproval of the perceived irreligious tendencies of A Tale of a Tub.
◆Authorship and Identity :-
If we think there may be more to Swift's desire to remain guarded about his authorship of A Tale of a Tub than just its potential to compromise his rise to power. Swift seems to be ambivalent about his ownership of the work not just in the original text of 1704, but also in the 'Apology' added in 1710. The 'Apology' is a very strange document: it purports to be a straightforward clearing up of unnecessary misunderstandings, but it actually fails to clear anything up at all.
It is supposed to be an intervention in the controversy over the intended meaning of the Tale. However, the author of the 'Apology' does not admit to being Swift, or even the author of the Tale. Swift creates a third person figure that seems to ventriloquise a defence of the work that is part on behalf of an enraged and violated author, and part an outsider coming to his rescue. The apology refers consistently to the author, saying that
'the author cannot conclude this apology without…' or 'the author observes'.
But the tale is complicated by the Apology's use of an 'I' in it, a figure that is differentiated from the author.
◆Originality :-
The idea of originality is vexed by A Tale of a Tub. As we've seen here, Swift both dismisses the importance of authorship and fiercely defends it. These ambiguous and contradictory concerns are is mirrored within the text, which in some ways it seems to push the boundaries of what can be called an original. A Tale of a Tub is profoundly postmodern in its intertextuality, its play with literary forms, and its changes in speaker and genre and that constantly undermine readerly expectations of the text. It parodies bookseller's catalogues, scholarly treatises, scientific works, effusive dedicatory prose, and it borrows, magpie-like, from a wide and disparate range of sources. A Tale of a Tub is a patchwork of unattributed quotations to Dryden, Marvell, Richard Bentley, Thomas Browne, and Joseph Addison.
These ideas about originality are reflected in the Tale's relationship to one of its major influences. The text that the Tale most explicitly situates itself in relation to is one that also poses problems of classification as 'original work' John Dryden's Translation of the Works of Virgil in English, of 1697. Dryden's Virgil was the big publishing sensation of the decade. The former laureate issued his definitive version of the great Latin's epic poems, and Dryden's Virgil remained the standard edition until well into the twentieth century.
◆Parody and Allegory :-
In addition to the 'digressions' that form a satire on modern learning and print culture, A Tale of a Tub's more obvious satire is that on abuses in religion. The satire works through the allegory of the three brothers: Martin, Peter, and Jack. Martin symbolises the Anglican Church (from Martin Luther) Peter symbolizes the Roman Catholic Church; and Jack (from John Calvin) symbolises the Dissenters. Their father leaves each brother a coat as a legacy, with strict orders that the coats are on no account to be altered. The sons gradually disobey his injunction, finding excuses for adding shoulder knots or gold lace, according to the prevailing fashion. Martin and Jack quarrel with the arrogant Peter (the Reformation), and then with each other, and then separate. As we might expect, Martin is by far the most moderate of the three, and his speech in section six is by the sanest thing anyone has to say in the Tale.
Both parody and allegory work by implicitly, or explicitly, comparing one sort of book with another. As a broad generalisation, they are concerned with intertextual relationships, and how you can use one text to invoke or critique another. But the distinction is that allegory teaches its readers to see beyond appearance to recognise truth, while parody teaches its readers to see beyond appearance to recognise error.
In the case of the allegorical story of the three brothers, the ultimate pre-text is the Bible: the father's last recorded words take the form of a will, a dead letter, defining and confining the ways in which the sons are to live their lives:
''You will find in my Will (here it is) full Instructions in every Particular
concerning the Wearing and Management of your Coats; wherein you must be very exact, to avoid the Penalties I have appointed for every transgression or Neglect, upon which your future Fortunes will entirely depend''.
The later subversion of the will provides us with an allegory of misreading. The abuse of the living coats (the Church) provides an allegory of desire and corruption. The brothers abuse and misinterpret the will as a way of figuring misuse and misinterpretation of the Bible. The attack on Jack, representing Dissenters, is particularly biting it targets the sectarian groups who exalted the individual worshipper or small congregation with their claims to inner light and private conscience, unchecked by tradition and institutional authority.
◆Experimentation :-
A Tale of Tub is particularly noteworthy for its experimentation with, and departure from, the literary conventions of the period. Narrators’ voices and literary genres switch from section to section as a way of taking the work in radically new directions. Swift also concentrates his satirical fire on the new literary and publishing experiments that emerged in the early 18th century, particularly the apparent obsession of printers with producing endless numbers of novels and short pamphlets. By peppering 'A Tale of the Tub' with excessive punctuation and typographical marks, Swift parodies the enthusiasm for the publications that characterised the print market. Likewise, the work sets out to lampoon the uncritical consumption of contemporary literary prose, which Swift believed too easily led readers to an over-interpretation of meaning.
◆Nature of Satire :-
Upon its publication, the public realized both that there was an allegory in the story of the brothers and that there were particular political references in the Digressions. Swift's targets in the Tale included indexers, note-makers, and, above all, people who saw "dark matter" in books. He attacks criticism generally, and he appeared to be delighted by the fact that one of his enemies, William Wotton, had offered to explain the Tale in an "answer" to the book and that one of the men he had explicitly attacked, Curll, had offered to explain the book to the public. In the fifth edition of the book in 1705, Swift provided an apparatus to the work that incorporated Wotton's explanations and Swift's narrator's own notes as well. The notes appear to occasionally provide genuine information and just as often to mislead, and William Wotton's name, a defender of the Moderns, was appended to a number of notes. This allows Swift to make the commentary part of the satire itself, as well as to elevate his narrator to the level of self-critic.
It is hard to say what the Tale's satire is about, since it is about any number of things. It is most consistent in attacking misreading of all sorts. Both in the narrative sections and the digressions, the single human flaw that underlies all the follies Swift attacks is over-figurative and over-literal reading, both of the Bible and of poetry and political prose. The narrator is seeking hidden knowledge, mechanical operations of things spiritual, spiritual qualities to things physical, and alternate readings of everything.
Within the "tale" sections of the book, Peter, Martin, and Jack fall into bad company (becoming the official religion of the Roman empire) and begin altering their coats by adding ornaments. They then begin relying on Peter to be the arbitrator of the will, and he begins to rule by authority (he remembered the handyman saying that he once heard the father say that it was alright to put on more ornaments), until such a time that Jack rebels against the rule of Peter. Jack begins to read the will (the Bible) overly literally. He rips the coat to shreds to try to restore the original state of the garment. He begins to rely only upon "inner illumination" for guidance and thus walks around with his eyes closed, after swallowing candle snuffs. Eventually, Peter and Jack begin to resemble one another, and only Martin is left with a coat that is at all like the original.
An important factor in the reception of Swift's work is that the narrator of the work is an extremist in every direction. Consequently, he can no more construct a sound allegory than he can finish his digressions without losing control. For a Church of England reader, the allegory of the brothers provides small comfort. Martin has a corrupted faith, one full of holes and still with ornaments on it. His only virtue is that he avoids the excesses of his brothers, but the original faith is lost to him. Readers of the Tale have picked up on this unsatisfactory resolution to both "parts" of the book, and A Tale of a Tub has often been offered up as evidence of Swift's misanthropy.
As has recently been argued by Michael McKeon, Swift might best be described as a severe skeptic, rather than a Whig, Tory, empiricist, or religious writer. He supported the Classics in the Quarrel of the Ancients and the Moderns, and he supported the established church and the aristocracy, because he felt the alternatives were worse. He argued elsewhere that there is nothing inherently virtuous about a noble birth, but its advantages of wealth and education made the aristocrat a better ruler than the equally virtuous but unprivileged commoner. A Tale of a Tub is a perfect example of Swift's devastating intellect at work. By its end, little seems worth believing in.
Formally, the satire in the Tale is historically novel for several reasons. First, Swift more or less invented prose parody. What is interesting is that the word "parody" had not been used for prose before, and the definition he offers is arguably a parody of John Dryden defining "parody" in the "Preface to the Satires." Prior to Swift, parodies were imitations designed to bring mirth, but not primarily in the form of mockery. For example, Dryden himself imitated the Aeneid in "MacFlecknoe" to describe the apotheosis of a dull poet, but the imitation made fun of the poet, and not of Virgil.
Additionally, Swift's satire is relatively unique in that he offers no resolutions. While he ridicules any number of foolish habits, he never offers the reader a positive set of values to embrace. While this type of satire became more common as people imitated Swift, later, Swift is quite unusual in offering the readers no way out. He does not persuade to any position, but he does persuade readers from an assortment of positions. This is one of the qualities that has made the Tale Swift's least-read major work.
Conclusion
At the end we see a splendid performance of lack of self-awareness, one of the footnotes for a very obscure reference in the Tale concludes by solemnly declaring, “I believe one of the Author’s Designs was to set curious Men a hunting thro’ Indexes, and enquiring for Books out of the common Road”, essentially acknowledging that he as a scholar has been played the fool. The commentator remarks upon finding himself on a wild goose chase for an excellently constructed bit of nonsense alla Swift. In a similar vein, while the quest for the “Perfect edition” of a text is in some sense a valiant one, adopting a more relativist approach to editorial practice and not simply taking Swift’s words at face value may save future scholars from “a hunting” and “enquiring” for the perfect copy of A Tale of a Tub when there is in fact no such thing.
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