6.05 satiric modes essay.docx 6.05_satiric modes _essay.docx English 12 Satire in Gull

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6.05 satiric modes essay.docx 6.05_satiric modes _essay.docx English 12 Satire in Gullivers Travels In Jonathan Swifts Gullivers Travels, the author employs a range of satiric modes against a var... iety of targets. He targets English politics in the fourth chapter. Illustrating his political views through his expressive dialect, Swift shows the reader his political stances. The authors satire can be seen through the Lilliputians political controversies, which are used to reflect those of the British ruling class. It can be inferred that Lilliput and Blefescu could be a representation of the Whigs and Tories. Christopher Maclachlan states that œswift began as a Whig and later joined the Tories, which suggests just how little difference there was between the two. Nevertheless, he was always unhappy with the idea of a loyal opposition and indeed frequently attacked the whole idea of political parties. Swifts point was that the difference between the Whigs and Tories, or the Lilliputians and Blefescu are not any more important than how you eat an egg of the height of you heels. His satire is not aimed at political opinions but at the tendencies of parties to become more important than the politics itself. To sum up everything that has been stated so far, Jonathan Swifts use of satire was partially to illustrate his political views. He used the Lilliputians and Blefescu to symbolize the problems in the English government of that time and how he viewed political parties. Citation Page: Swift, Jonathan. G. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. .. . . . . . . . . . . . . . . . . . .. . . . . [Show More]

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