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[But trust the Muse — she saw it upward rise]
Referencing the muse is another epic convention, and it lends some ironic gravitas to the conclusion of this ridiculous battle.
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[Not fierce Othello in so loud a strain Roar’d for the handkerchief that caus’d his pain.]
In Othello, the titular character is convinced that his wife Desdemona is cheating on him when a handkerchief that he gave her winds up in the possession of Cassio. Iago manipulates him into thinking this, and Othello falls for the deception. This reference has the effect of implying that Belinda’s focus on the lock is like Othello’s focus on the handkerchief, and that she is allowing something trivial to occupy her mind.
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In lines 77 and 78, the words that complete the heroic couplet, chagrin and spleen, at least with my American accent, don’t rhyme perfectly. The poem up until this point is almost perfectly sing-songy, so this moment stands out as a slightly jarring departure.
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In humoral theory, the spleen was thought to be the organ that produced black bile, which made a person melancholic. Here, Pope creates the Cave of Spleen, which is probably a place of melancholy.
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In lines 45-52, Pope utilizes the mock-epic style to its fullest extent. In these lines, Pope compares the perceivably petty battle between high society individuals of the time period as something comparable to the wars in Homer’s The Iliad, where Greek and Roman gods engage in a war. Pope makes sure to use something so extreme to ensure the mockery he is making of these high society people is perceived as even more ridiculous to the average reader.
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Here, Pope reinforces his mockery of the obsession and superficiality of beauty in high society. In this line, Pope explains that what truly matters is good sense, as beauty may gain these women a lot temporarily, but it won’t keep around what good character can. It also feels like a commentary on women’s youth and how that is perceived in society. Once a woman “loses” her beauty when she ages, all she will have is good character. One could argue that Pope saying this is also a way to reinforce society’s obsession with looks, as he comments on the concept of beauty himself several times.
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In lines 83-84, the Goddess of Spleen collects the force of “female lungs” which turn out to be sighs, sobs, passions, and the war of tongues. This reinforces a stereotype of the time period where women were viewed as emotional, unstable, and almost prone to tantrums. Pope writes this to mock and satirize the social norms of the period, by treating high society women’s emotions as something dramatized and blown out of proportion.
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Again, Belinda is referred to in a way that has a sexual connotation. Being referred to as a “prude” typically refers to someone overly modest or proper. However, there is also the aspect of Pope mocking Belinda’s sorrow and anger at losing this lock of hair, as he sees it as something superficial. I feel like it is superficial, but not when looked through the lens of a loss of identity. Belinda feels as though something she holds so much value to was stripped from her by force, even if it was only one lock of hair.
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This line establishes a pattern from canto II, where Belinda is talked about in an almost predatory way. She is referred to as “The Virgin”, making her “purity” the subject in this line rather than her name or another way to refer to her. Pope chooses the words he uses in lines with intention, as using any other word to allude to Belinda in this line would not have put this almost lustful image that the Baron sees of her into the reader’s attention.
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Pope displays a pattern throughout the cantos of this theme of mockery of high society. The mock-epic itself, and then also the way he speaks about high society is satirical and critical. In this line, he refers to how gossip is so serious to the people of high society that it would cause the reputation of another to completely die in seconds. It creates a link to his personal life, as Pope details these well-off people gossiping and concerning themselves with the lives of others. Which, he dealt with himself throughout his life. Being catholic in a Protestant-ruled kingdom, and also living with a disability that changed his appearance.
Recent Activity in Public Documents
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Julia Gartley commented on the post, Canto V, on the groupblog
Eighteenth-Century Innovations 20 minutes ago[But trust the Muse — she saw it upward rise] Referencing the muse is another epic convention, and it lends some ironic gravitas to the conclusion of this ridiculous battle.
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Julia Gartley commented on the post, Canto V, on the groupblog
Eighteenth-Century Innovations 23 minutes ago[Not fierce Othello in so loud a strain Roar’d for the handkerchief that caus’d his pain.] In Othello, the titular character is convinced that his wife Desdemona is cheating on him when a handkerchief that he g […]
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Julia Gartley commented on the post, Canto IV, on the groupblog
Eighteenth-Century Innovations 1 hour, 10 minutes agoIn lines 77 and 78, the words that complete the heroic couplet, chagrin and spleen, at least with my American accent, don’t rhyme perfectly. The poem up until this point is almost perfectly sing-songy, so this […]
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Julia Gartley commented on the post, Canto IV, on the groupblog
Eighteenth-Century Innovations 1 hour, 17 minutes agoIn humoral theory, the spleen was thought to be the organ that produced black bile, which made a person melancholic. Here, Pope creates the Cave of Spleen, which is probably a place of melancholy.
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Madalyn Hayes commented on the post, Canto V, on the groupblog
Eighteenth-Century Innovations 2 hours, 47 minutes agoIn lines 45-52, Pope utilizes the mock-epic style to its fullest extent. In these lines, Pope compares the perceivably petty battle between high society individuals of the time period as something comparable to […]
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Madalyn Hayes commented on the post, Canto V, on the groupblog
Eighteenth-Century Innovations 2 hours, 53 minutes agoHere, Pope reinforces his mockery of the obsession and superficiality of beauty in high society. In this line, Pope explains that what truly matters is good sense, as beauty may gain these women a lot temporarily, […]
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Madalyn Hayes commented on the post, Canto IV, on the groupblog
Eighteenth-Century Innovations 3 hours, 2 minutes agoIn lines 83-84, the Goddess of Spleen collects the force of “female lungs” which turn out to be sighs, sobs, passions, and the war of tongues. This reinforces a stereotype of the time period where women were […]
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Madalyn Hayes commented on the post, Canto IV, on the groupblog
Eighteenth-Century Innovations 3 hours, 8 minutes agoAgain, Belinda is referred to in a way that has a sexual connotation. Being referred to as a “prude” typically refers to someone overly modest or proper. However, there is also the aspect of Pope mocking Belinda’s […]
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Madalyn Hayes commented on the post, Canto III, on the groupblog
Eighteenth-Century Innovations 3 hours, 20 minutes agoThis line establishes a pattern from canto II, where Belinda is talked about in an almost predatory way. She is referred to as “The Virgin”, making her “purity” the subject in this line rather than her name or […]
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Madalyn Hayes commented on the post, Canto III, on the groupblog
Eighteenth-Century Innovations 3 hours, 31 minutes agoPope displays a pattern throughout the cantos of this theme of mockery of high society. The mock-epic itself, and then also the way he speaks about high society is satirical and critical. In this line, he refers […]
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Madalyn Hayes commented on the post, Canto II, on the groupblog
Eighteenth-Century Innovations 3 hours, 42 minutes agoBelinda is now protected by fifty Sylphs who see the harm that the Baron is trying to cause her, and immediately take action. However, while this is a mock-epic from Pope, it still feels overkill in a way. It […]
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Madalyn Hayes commented on the post, Canto II, on the groupblog
Eighteenth-Century Innovations 4 hours, 1 minute agoThere are very specific word choices from Pope in this line, as the line itself is referring to taking a lock of Belinda’s hair. The words “force”, “ravish”, and “fraud” are words that we would normally associate […]
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Kristina Neos commented on the post, Canto III, on the groupblog
Eighteenth-Century Innovations 8 hours, 1 minute agoPope describes a simple card game using the language of war with the players preparing “in arms” and later saying the cards as troops. I think it’s quite interesting how he keeps making ordinary social activities […]
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Kristina Neos commented on the post, Canto III, on the groupblog
Eighteenth-Century Innovations 8 hours, 3 minutes agoI feel like it’s interesting that Pope puts the Queen taking political “counsel” and drinking tea right next to each other, almost making them sound just as important as each other. This is adding to the pattern […]
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Kristina Neos commented on the post, Canto II, on the groupblog
Eighteenth-Century Innovations 8 hours, 5 minutes agoI feel Pope is creating a big contrast between spirits who protect entire nations and the Sylphs who protect women’s beauty and looks. It’s kind of interesting that he describes both jobs so seriously, even though […]
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Waylon Mattimore commented on the post, Canto II, on the groupblog
Eighteenth-Century Innovations 8 hours, 6 minutes agoPope describes in these lines how having Belinda’s petticoat is like guarding it on a important military mission. I feel like this creates some sort of humor as if guarding this coat with your life is being described here.
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Waylon Mattimore commented on the post, Canto II, on the groupblog
Eighteenth-Century Innovations 8 hours, 9 minutes agoPope is talking about serious concerns like reputation while also writing about damaged clothing and missed parties. I feel like these comparisons highlight this high society life that seems to consider […]
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Kristina Neos commented on the post, Canto II, on the groupblog
Eighteenth-Century Innovations 8 hours, 11 minutes agoPope seems like he’s trying to create progression from the Baron seeing the lock and wanting it, and then deciding he is going to win it. I noticed that he calls the lock a “prize,” which seems to turn Belinda […]
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Kendra Brace commented on the post, Canto V, on the groupblog
Eighteenth-Century Innovations 8 hours, 22 minutes agoThis sounds similar to Pope saying, “time must go on”. That even though this whole quarrel will be memorialized, people will come and go, and the sun will always set, and that it doesn’t really matter in the grand […]
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Kendra Brace commented on the post, Canto IV, on the groupblog
Eighteenth-Century Innovations 8 hours, 55 minutes agoThis line makes me think that Pope intended for the Sylphs and other fantastical creatures to be more than spirits that help Belinda, but also to represent her inner emotions, her feelings, and the inner workings […]
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Chapter 1 (112 comments)
The author is headed on a boat that has the intent to fetch water, but he is going to discover the country where the boat is going.
When he arrives in the country, he seems to be captured by the natives and taken to a farmer’s house.
Seems like this part of the book is going to talk about his experiences in this new country and a description of the people there.
Him and Captain John Nicholas are headed to Surat.
The captain got sick; therefore they were stuck there for months during the winter.
They were taken off course (east of the Molucca Islands) due to violent winds.
The captain had prepared them for the monsoon that was about to set in.
Demonstrates Gulliver’s personality and his desire to travel.
The storm is extremely dangerous, which makes the situation feel intense and scary.
The storm was as powerful as to cause physical damage to the sail.
Everyone has to work together to keep the ship under control during the time of the storm.
Taking risks rather than doing what is safe during this storm.
Makes the ship seem strong or brave because it survived the storm.
Shifts from danger back to normal.
Carried so far that the older sailors couldn’t tell where they ended up.
Thankfully, everyone was in good health after the storm.
Their problem now, is the lack of drinking water.
They have to decide the next best course of action because they are very unsure of where they are and where they’re going to end up.
They finally begin to see land again and it is actually a continent they believe.
The captain sent out his armed men looking for vessels of water.
No signs of life on this land.
As said earlier, the men decide to go look for water, but Gulliver decides to walk alone where he observes the rocky country land.
The other men already were on the boat after their search for water.
Mysterious creature began walking after them in the sea.
Rather than going to see what this creature was, Gulliver ran in the opposite direction.
As he was running away from the creature, he found that the land had actually been cultivated and that the grass seemed to be about twenty feet high!
What seemed like a road for him was actually a foot-path for the inhabitants of this place.
The corn seemed to be forty feet high!
Fence seemed at least one hundred and twenty feet high.
Sees an inhabitant and it seems to him that he is very large and that his voice is many degrees louder than speaking.
Gulliver hoped he would end his days laying between two ridges.
Gulliver couldn’t imagine what these inhabitants could do to him when he is so small and they are so large. Shows the actual fear within him.
These inhabitants seemed drastically different to Gulliver, but individuals in distant parts of the world might match them, but it hasn’t been discovered.
Gulliver was fearing for his life when one of the inhabitants almost squashed him to death under his foot. Therefore, he made a loud scream.
He picked Gulliver up and held him between his forefinger and thumb and brought him right before his eyes.
This creature appeared pleased with Gulliver’s voice and was very curious wanting to know more about him.
This creature put Gulliver in his coat pocket and ran to go show him to the master.
They were very curious about Gulliver, and he wanted to show them that everything was okay, and he had no intention of running away.
Gulliver offered the farmer a purse filled with gold.
The farmer was very unsure of what this gold was and why Gulliver was giving it to him.
Told Gulliver to put the purse filled with gold back in his pocket.
The farmer believed that Gulliver was a legit creature.
The way the farmer talked to him pierced his ears.
The farmer carried Gulliver to his house in a handkerchief.
The farmer should Gulliver to his wife and she was freightened at first, but when she realized his pure gestures, she grew extremely caring of him.
Dinner was brought to Gulliver in a dish that seemed about 4 and 20 feet in diameter.
Gulliver was held up by the farmer’s youngest son, and it seemed that he was being used by these creatures, but his son was just messing around.
The cat seemed to be 3 times larger than an ox to Gulliver!
The cat seemed to be scared of Gulliver.
The child began crying at the sight of Gulliver.
The farmer’s wife had huge breasts which shocked Gulliver.
These creatures weren’t deformed by any means. In fact, they were very well proportioned.
The farmer gave his wife the duty to take care of Gulliver for the night. He was provided a handkerchief as a blanket and was able to stay in his wife’s bed.
All Gulliver really wanted was to be back with his wife and children.
Gulliver was being attacked by rats.
She was very caring and protective over Gulliver, especially seeing him with blood all over him.
Gulliver had killed the rat that attacked him, and he was covered in blood.
Gulliver was untouched/harmed from this incident.
The author is saying that although some of these details in this chapter are unnecessary, they will certainly help a philosopher to enlarge his thoughts and imagination and apply them to the benefit of public and private life.
Gulliver did end up removing some parts of his story that he believed the audience would find boring or unimportant.
Everything was going well at first, until it wasn’t. This seems as though it was common for these 18th century journeys by boat. Due to the sheer amount of time it took to travel places, there were so many opportunities for things to go wrong, which they did in these first few paragraphs.
Even though they had no idea where they were, they thought that as long as they kept going on the course that they were, they would not end up in a really cold part of the world. So, even while facing a lack of resources, they felt as though it was better to deal with that in a milder climate, rather than the frozen sea.
[I desired his leave to go with them, that I might see the country, and make what discoveries I could]
People known as explorers were historically at the forefront of imperialism and colonialism. England was an imperialist power and Gulliver is English, so this desire makes sense for him.
[These people were not so well clad as the first, whose servants or labourers they seemed to be;
Gulliver immediately tries to understand the people he encounters in terms of a social hierarchy that is already familiar to him, that being the hierarchical relationship between employer and employee based on the quality of their clothes.
[I reflected what a mortification it must prove to me, to appear as inconsiderable in this nation, as one single Lilliputian would be among us.]
Following Hobbesian logic, which claims that people are equal due to common sensory and bodily experiences, Gulliver’s differing bodily experience from the Brobdingnagians places him below them in the hierarchy.
[He considered awhile, with the caution of one who endeavours to lay hold on a small dangerous animal in such a manner that it shall not be able either to scratch or bite him, as I myself have sometimes done with a weasel in England]
Gulliver, again, uses his pervious understanding acquired in England to make sense of what he is experiencing, which might otherwise be beyond belief. Maybe it is only possible for us to absorb the impossible through the lens of what we already know.
[All I ventured was to raise my eyes towards the sun, and place my hands together in a supplicating posture, and to speak some words in a humble melancholy tone, suitable to the condition I then was in: for I apprehended every moment that he would dash me against the ground, as we usually do any little hateful animal, which we have a mind to destroy.]
I haven’t read Part I, but I don’t think that he would have approached the Lilliputians with this kind of humility seeing as he was larger than them. How a person acts depends on what they believe their position to be in the percieved hierarchy.
[I pulled off my hat, and made a low bow towards the farmer. I fell on my knees, and lifted up my hands and eyes, and spoke several words as loud as I could: I took a purse of gold out of my pocket, and humbly presented it to him.]
Despite adopting a posture of humility, there is something pompous about his actions and the tone he takes when describing them. It is almost as if he is smugly proud of what he seems to think of as appropriate diplomatic action.
[However, when she had a while seen my behaviour, and how well I observed the signs her husband made, she was soon reconciled, and by degrees grew extremely tender of me.]
It, again, seems as though he is inwardly congratulating himself for acting appropriately and respectably, and he may also be exaggerating the tenderness that the farmer’s wife has for him. “Extremely” is a strong word.
[ I walked with intrepidity five or six times before the very head of the cat]
The use of the word “intrepidity” makes it sound as though he is doing something heroic and daring, when in reality he is facing off against a house cat.
[The mother, out of pure indulgence, took me up, and put me towards the child, who presently seized me by the middle, and got my head into his mouth, where I roared so loud that the urchin was frighted, and let me drop, and I should infallibly have broke my neck, if the mother had not held her apron under me. ]
This supports the idea that Gulliver may have overstated her fondness for him.
[This made me reflect upon the fair skins of our English ladies, who appear so beautiful to us, only because they are of our own size, and their defects not to be seen but through a magnifying glass; where we find by experiment that the smoothest and whitest skins look rough, and coarse, and ill-coloured]
Introducing the idea that the Brobdingnagians have human-like flaws, but perhaps magnified.
[whereat she was extremely rejoiced]
The word “extremely” reappears with regards to how much the farmer’s wife likes him, supporting the idea that he is prone to exaggeration.
[I hid myself between two leaves of sorrel, and there discharged the necessities of nature]
He is very delicate when describing bodily functions, even after the fairly graphic rat fight scene.
[without affecting any ornaments of learning or of style]
Swift intends this to be ironic; Gulliver narrates with a supercilious affectation.
[apply them to the benefit of public as well as private life]
Gulliver thinks very highly of himself and his account, which comes off as ridiculous. When referring to the things that he deems important to philosophers, he seems to be talking specifically about his mention of going to the bathroom.
Very matter of fact about this giant that he’s seeing, a very dry way of being humorous
[We had a very prosperous gale, till we arrived at the Cape of Good Hope, where we landed for fresh water; but discovering a leak, we unshipped our goods and wintered there; for the captain falling sick of an ague, we could not leave the Cape till the end of March.]
The journey seems to begin with great momentum; however, that quickly dies down when they discover a leak in the ship that requires them to stop. It is also at this stop that the Captain gets sick, so their journey can’t continue until he is in good health.
This passage gives readers a very detailed description of the storm they are trying to navigate through to get to their destination. The storm is personified as “very fierce” and “dangerous”.
The imagery almost makes it feel like I’m navigating the storm with the crew. There is a lot of teamwork described in trying to keep the ship from capsizing. The images that the author chose make us wonder if the crew is going to survive.
[ Leave a comment on paragraph 4 5 During this storm, which was followed by a strong wind west-south-west, we were carried, by my computation, about five hundred leagues to the east, so that the oldest sailor on board could not tell in what part of the world we were.]
The strong winds from the aftermath of the storm caused the ship to be thrown off course so much that even the most knowledgeable sailor couldn’t tell where on Earth they ended up. If they can’t tell where they are, how will they know where to go?
Eight days after my birthday! Well…give or take 300 years before I was born 😀
Why are we wandering a strange island we’ve never been to, alone? This has disaster written all over it.
See, I was going to laugh because he wandered the island by himself, and that caused him to miss boarding the ship with his crew. Then, I saw that a big creature was following the ship and thought, ‘maybe it’s for the better that he needed some alone time’.
He’s comparing their sizes. He is so “short” that the path for the giant creatures looks like a grand road to him. In reality, he is the oddity in this situation, not the surroundings.
[These people were not so well clad as the first, whose servants or labourers they seemed to be; for, upon some words he spoke, they went to reap the corn in the field where I lay.]
Interestingly, he picks out the hierarchy system almost immediately upon seeing this scene. Here he is comparing the creatures who are working the field to slaves or servants he has seen before.
As a whole, this chapter describes Gulliver’s terrifying arrival in Brobdingnag, where everything in the landscape and every living creature is incredibly huge. Swift uses extreme scale to highlight Gulliver’s vulnerability in comparison to the creatures, and to create a mix of danger and wonder.
[But this I conceived was to be the least of my misfortunes; for, as human creatures are observed to be more savage and cruel in proportion to their bulk, what could I expect but to be a morsel in the mouth of the first among these enormous barbarians that should happen to seize me? Undoubtedly philosophers are in the right, when they tell us that nothing is great or little otherwise than by comparison.]
Narrator has come to the realization that being captured by the creatures is not his biggest worry…it’s that he may be eaten by them, and that is 10x scarier than being imprisoned.
The farmer has no interest in Gulliver’s money, goes to show how different cultures value different things. This probably would have been unheard of during this time in England.
Most cultures love alcohol in some capacity
Naturally the author had to throw in some comment about how the English are superior to everyone else.
Gulliver screams to get the giant creature’s attention before it squishes him to death, which surprisingly works for some reason??
The creature picks Gulliver up to get a closer look at him, because I guess being big means you have poor eyesight. Gulliver is very careful to not move in a way that displeases the creature.
The creature is pleased with Gulliver’s voice! So instead of munching on him for a snack, it puts Gulliver in its pocket, as women do with their chihuahuas. Whatever floats your boat, mister giant creature!
It looks like the giant creatures are trying to figure out what type of animal Gulliver may be. They’ve never seen such a tiny thing that looks like him.
[I pulled off my hat, and made a low bow towards the farmer. I fell on my knees, and lifted up my hands and eyes, and spoke several words as loud as I could: I took a purse of gold out of my pocket, and humbly presented it to him.]
Gulliver described these creatures as types of large monsters that he had never seen before. So this act is quite performative of him: trying to win them over with gold for potentially his safety or freedom.
That’s all it took to convince the farmer??
The farmer and Gulliver try to communicate with each other, but it falls on deaf ears. The farmer is too large to properly hear Gulliver, and Gulliver does not know what language the creatures speak, so he tries several languages.
Gulliver tries to show that he has good intentions and won’t put up a fight. The farmer puts Gulliver in a handkerchief and brings him home to his wife. The wife seems scared at first, but realizes that Gulliver is no threat and becomes fond of him.
Gulliver is served dinner and eats with the farmer’s family, or at least tries to. His plate is large.
[his youngest son, who sat next to him, an arch boy of about ten years old, took me up by the legs, and held me so high in the air, that I trembled every limb: but his father snatched me from him, and at the same time gave him such a box on the left ear, as would have felled an European troop of horse to the earth,]
The youngest child of the farmer is curious and picks Gulliver up. His father is not pleased by this action and smacks his son, and takes Gulliver into his own hands.
Child abuse exists in giant countries too 🙁
If the wife was so fond of Gulliver as he claimed upon their first meeting…why is she so quick to give him to her child that doesn’t know any better than to put him in its mouth?
I think he was just being cocky about the creatures liking him and wanted to feel special.
“All women are beautiful objects to look at, but if we look closer, they have flaws they are hiding from us!”
Gulliver is comparing the creature’s appearance to the people he met elsewhere. Says that although they’re quite large, they seem to be well-proportioned creatures.
Gulliver yearns to be home with his wife and children. He woke up to being alone and left to defend himself from rats.
Rats vs Gulliver. A humerous battle. Gulliver wins!
Gulliver is again claiming that the wife is quite fond of him. Is he exaggerating when he says that the giant woman is gentle with him and how she acts around him, or is he projecting his wife’s emotions and actions onto her (if she were there and not the giant woman)?
Gulliver’s gold means nothing to the farmer because he does not understand what it is or why it is valuable. Gulliver calls him “ignorant,” which makes the farmer seem unintelligent from Gulliver’s perspective. The farmer does not care about the gold, even though Gulliver sees it as something valuable. This shows how Gulliver is quick to judge the farmer based on his own ideas of what is valuable and important.
[ but I had the good fortune to rip up his belly before he could do me any mischief. ]
Gulliver has changed a lot because he now has to protect himself in a world where everything is much bigger than him. When the rat attacks him, he kills it before it can hurt him. Earlier in the story, Gulliver was more focused on exploring and observing the people around him, but now he has to be more prepared to protect himself. This shows how his new environment has made him more cautious and focused on surviving.
This first paragraph is oddly vague. If I’m remembering correctly my reading from the fourth part of Gulliver’s Travels, the Houyhnhnms book was very specific in its descriptions.
[Having been condemned, by nature and fortune, to active and restless life]
Gulliver reveals right at the beginning of this story his reasoning for its existence. Although Gulliver isn’t necessarily unhappy at home, he has a ‘natural’ sense of curiosity, a voracious desire to travel (his restless life), and a lingering sense of alienation from human life in England from his travels in the first part: A Voyage to Lilliput.
[spooning]
I had to look up the meaning of “spooning” in sailing terms.
“It’s an old maritime term that means to run directly before the wind and sea during a storm or heavy gale” (Oxford Reference).
[I bemoaned my desolate widow and fatherless children. I lamented my own folly and wilfulness, in attempting a second voyage, against the advice of all my friends and relations.]
This statement by Gulliver is incredibly ironic. He thinks he might die here and bemoans his widow and fatherless children, his own folly and willfulness, and ignoring advice from friends and relations. Yet, he did so the first time and will continue to do so for each part of Gulliver’s Travels. Along with going on each part of his travels, he gets more and more alienated from his fellow humans leading to a slow decline of his psyche and rationalities—this alienates him from his family and friends in the end anyway.
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Gulliver’s reflection emphasizes the absence of absolute truth – everything is dependent on comparison.
He is embarrassed to not be an apex predator any longer. He reflects on the Lilliputs who he thought was below him figuratively and literally.
Town Eclogues: Saturday; The Small-Pox (44 comments)
“Town Eclogues: Saturday; The Small-Pox” by Lady Mary Wortley Montagu. Source: The Poetry Foundation.
I making this annotation for lines (5 – 8) Montagu uses a lot of questions and exclamations here to show how shocked Flavia was at her change in looks compared to before. Through these lines the questions to her make it seem like she is confused by what she is seeing. This shows how much she depends on her looks and beauty for her own self confidence. Because she believes that with looks comes everything else.
This annotation is for lines (39- 40) because Montagu uses a scene of how much everyone used to “adore” Flavia and how she looked. Then in line 40 it says that her lovers are now “no more.” This shows how people change from liking someone and all because they are losing there sense of their own beauty. Throughout the poem they are trying to focus on natural beauty rather then unnatural putting a fake figure on.
This annotation is for lines (61 – 64 ) This part is important because this is where I realized how much Montagu repeats the idea of “beauty fled” and “no more” throughout the poem. I think it is important that he keep saying this because this shows us the readers the lose of beauty and how Flavia is truly feeling.
[¶ 28 ‘For me the Patriot has the house forsook, Leave a comment on line 28 0 ¶ 29 ‘And left debates to catch a passing look: Leave a comment on line 29 0 ¶ 30 ‘For me the Soldier has soft verses writ; Leave a comment on line 30 0 ¶ 31 ‘For me the Beau has aim’d to be a Wit. Leave a comment on line 31 0 ¶ 32 ‘For me the Wit to nonsense was betray’d; Leave a comment on line 32 0 ¶ 33 ‘The Gamester has for me his dun delay’d,]
Montagu uses repetition in these couplets, beginning with the lines “For me…”. This repetition allows for emphasis on how Flavia is able to influence men of all different occupations and social roles. I would also argue that the tone shifts from critical to more boastful due to the rhythm the repetition creates.
Annotation for lines 41-46
Montagu again uses repetition but not in the same way it was used previously. The repreated phrases come in different words but all relate to the same thing -> “picture” (twice) and “canvas”.
Montagu also shifts the tone once again from this playful and boastful stanza above to a sadder and more regretful tone. Words like “weeping eyes”, “sorrow”, “killing”, and “lost resemblance” help to shift the tone for the rest of the stanza.
Montagu uses the capitalized words in this section to show all the different types of men from all different social groups that are attracted to the speakers beauty.
Montegu ends multiple sections with the sentence “Beauty is fled…” to show the point that people place so much value on beauty and looks but it is something that does not last.
[Ah! faithless glass, my wonted bloom restore; Leave a comment on line 13 0 ¶ 14 ‘Alas! I rave, that bloom is now no more!]
Montagu personifies the mirror by calling it a “faithless glass.” This makes the mirror seem like something that has betrayed Flavia, showing how strongly she connects the mirror with her shifting appearance.
[‘No borrow’d lustre can my charms restore; Leave a comment on line 53 0 ¶ 54 ‘Beauty is fled, and dress is now no more!]
Montagu repeats the idea that beauty is “no more” throughout the poem. This repetition creates a refrain-like pattern that emphasized Flavia’s sense of loss and shows how central beauty is to the poem.
Montague impresses upon the reader the countless hours dedicated to vanity and perfecting the female image for the patriarchy. While these worries are superficial, it reveals how women were reduced to their image and without it, they are nothing.
Montagu uses anaphora and exaggeration at the end of the majority of sections, “beauty is fled,” to prove her point that she is no longer useful in society and should be exiled. This is reflected in line 16, where “youth” and “useless” appear almost as initial rhyme connecting how women are more useful to men in their youth. While this poem focuses on losing beauty after a bout of small pox, this poem can be applied to women aging and losing their value without their youthful appearance.
Montagu is repeating almost the same sentence, especially “Now beauty’s fled,” but changes what Flavia has lost from “presents” to “lovers.” I feel as if this repetition creates a pattern where beauty is repeatedly connected to the things Flavia receives from other people, which suggests that her social power depends heavily on her appearance.
I feel that this part speaks to power and political rule to describe how he feels about beauty. By comparing Flavia’s lost beauty to a lost “empire,” This metaphor makes beauty seem like something authoritarian that Flavia once possessed over the people around her, rather than simply a physical characteristic. The second one is especially interesting because Montagu returns to that political metaphor near the end which makes the beauty comparison is bigger pattern across the entire poem.
This line perfectly summarizes Flavia’s lament of the entire poem: that with a loss of beauty comes a loss of power. It begs the question, though, is Montague critiquing the system of women’s pretty privilege, or is she critiquing smallpox?
In lines 28 through 32, Montagu repeats the phrase “For me” at the beginning of several lines. This repetition shows how many different people were affected by Flavia’s beauty and helps emphasize how important her appearance was to her social status.
[For me the Patriot has the house forsook,]
In this line and the four that follow, Montagu’s speaker laments that the Patriot, the Soldier, the Beau, the Wit, and the Gamester have abandoned their arts or their roles in response to the change in the speaker, demonstrating a kind of panic surrounding the abandonment of defined societal functions. The terror that Montagu creates in the speaker has the effect of critiquing the injustice of women’s primary function in society being defined by their beauty, and that if their beauty is lost, they are discarded.
Throughout the poem, Montagu is writing in iambic pentameter, and heroic couplets, and I think that she is using the heroic couplets specifically to create satire around how the poem is about a women who has lost her beauty, rather than a story about heroism. However, she could also be making a statement that those who used to be beautiful, and are no longer, are brave for going out in the world.
[ ‘There let me live in some deserted place]
Montagu uses images of isolation when Flavia describes where she wants to live after losing her beauty. There is a contrast between the social world she used to enjoy and the isolated world that she wants to spend her future in. The words “obscure” and “deserted” create an image of Flavia removing herself from society. This contrasts with the “operas” and “circles” that she used to go to, showing how losing her beauty has changed her place in the social world.
[You shall again be well, again be fair]
By limiting references to the actual illness of smallpox (aside from discussion of its aesthetic aftermath) to this one line, Montagu highlights how ridiculous it is that the speaker is more concerned for her looks than she is for her life. Montagu is not being misogynistic; the way that she characterizes the speaker is a critique of the way that society conditions women to believe that they only have societal value as long as they are beautiful.
In lines like this, where Flavia is essentially begging someone to save her, Montagu is showing how her beauty has made her feel entitled to things, such as a better life than one where she might not be able to get by on her looks anymore.
[ ‘A frightful spectre, to myself unknown!]
Montagu uses emotional language to show the difficult feelings that can come with growing older and seeing changes in yourself. Words such as “frightful” and “unknown” show Flavia’s sadness about how she has changed. Montagu also uses more positive words to describe her appearance, like “fresher” and “sparkling,” when Flavia remembers her younger appearance, showing how she misses the way she used to see herself.
Montagu repeats the word “beauty” here, which shows how much Flavia’s thoughts are focused on her appearance. The repetition makes it seem like beauty is the main thing she cares about and almost all she can think about.
Montagu compares Flavia’s face to a “frightful spectre,” which makes her description of herself sound almost scary. It shows how differently Flavia sees herself now compared to how she used to see herself.
Line 12 contains a metaphor for Flavia’s life changing. After contracting small-pox, not only did her appearance change, but so did her entire life. In line 2 she wonders, “Thus breath’d the anguish of a wounded mind,” and in line 8 questions, “‘That promis’d happiness for Years to come?'” She compares her life being forever altered by the disease to a gun shot that “shot sparkling from my eyes” into ruin and death.
Although it occurs throughout the poem, this technique is extremely evident in this stanza. Montagu uses iambic pentameter and heroic couplets. The heroic couplets allow for a full thought to be self-contained while also relating to the rest of the poem around it. Montagu’s heroic couplets also help form the dramatic, dynamic, and spirited exclamations of this poem’s style [I looked up whether there was a term for this style and Google led me to the “epigrammatic style”].
“Cease, hapless maid, no more thy tale pursue,/ Forsake mankind, and bid the world adieu!” (lines 83-84) This is a separate thought from the other two heroic couplets in the stanza yet it still moves as part of the whole. This also emphasizes the epigrammatic style because its short, witty, and dramatic.
Tying this to line 4, I believe he was either engaged to or married to Flavia; either way, “she sought before” implies they had a previous relationship or interaction in the past. So it’s not just longing or scorn.
Tying this to line 4, I believe he was either engaged to or married to Flavia; either way, “she sought before” implies they had a previous relationship or interaction. Since it say’s “promised years to come” I’m leaning towards marriage. So it’s not just longing or scorn.
Line 95, ‘Ye operas, circles, I no more must vier!’ addresses that Flavia no longer has to put up with superficialities. Throughout the entirety of this poem, it states the beauty that Flavia once had, and the large number of suitors and their gimmicks that “pursued” her ( 28-40 ) however not that she’s apparently become disfigured not a single one of them still wants to pursue her. Instead, they begin to mourn and curse what was apparently lost. When her face was lost, so was their ‘care’ ( 76 ). Any ‘oath’ ( 81 ) those men made, was made to her beauty and not to her. She now knows who was who. Who truly loved her for herself and who were with her just because they were superficial.
*now that she’s apparently become disfigured.
I’m making this annotation for the whole stanza. Flavia reclines backward on a couch, holding her mirror backward to avoid seeing the scars left by smallpox. By turning away the glass she once loved, she shows how the loss of her beauty has entirely shattered her identity and social power, subverting traditional pastoral poetry to expose the shallow, tragic reality of 18th-century womanhood.
I’m making this comment for the whole stanza. Flavia bids a bitter farewell to the operas, fashion, and elite social circles of London as she exiles herself to a deserted wilderness. Realizing that cosmetic “patches” can no longer hide her scars, she accepts that the loss of her beauty means the complete death of her social existence.
Flavia compared her looks to an “empire”, showing she felt her power came from her beauty. Now she has lost her beauty, it has left her with nothing and all she can do is cry.
87-88
Montagu emphasizes here that contracting smallpox itself was not the worst part; it was the societal reaction afterwards. When Flavia loses her looks, the men who used to adore or idolize her now mock her. What pained her the most was not her face that was now scarred, but the way society abandoned her when she wasn’t valuable to them anymore.
The Norton version tells us “Flavia” means blonde, and blonde is one of the most stereotypical beauty standards. It’s also been associated with vanity, as this woman is. Blondes may be portrayed as beautiful but also dumb, but that also uplifts their beauty and forces that to be their only “value” as a person.
Throughout the poem as she recalls her better days, it’s clear that she feels she has no worth as a person or a woman because of the scars on her face. It’s really sad to read, and very reflective of how many women still feel this way today. She feels she has no “empire” (line 64), and that also reminds me of celebrities who alter their appearance, both young and old, to hopefully stay beautiful and therefore relevant to the public.
I’m making this annotation for lines (3-4). Montagu uses very specific word choices throughout the poem, but especially in these lines. The words “shun’d” and “sought” are paired within the same line to create a contrast in how Flavia saw herself prior to, and after, she views her beauty as something that does not exist anymore. The words “revers’d” and “shun’d” being almost stacked on top of one another is significant as well. As they pair together and create a poetic pattern that ties to the theme of the poem.
Montagu emphasizes lines throughout the entirety of the poem with exclamation marks. It creates a very clear and almost dramatized effect on the content of the poem, as the repeated use of it sets a tone in the way Flavia is speaking. She is outraged, hurt, and ashamed of the way her beauty has been “tainted” by the smallpox that changed her appearance. Montagu uses the exclamation marks as a literary tool to continuously reiterate how Flavia views the change to her face.
(This is for lines 28/29) From what I am getting from these 2 lines is how much attention Flavia used to get because of her beauty. In a way, Flavia’s beauty gave her a lot of power in society. Men that were all about their work and were indulged in their career would stop their important task/responsibility, for example politics, just to be able to give Flavia a glance.
(This is for lines 52-54) Within these 3 lines Flavia has this realization. She realizes that materialistic items such as jewelry, clothes, and even makeup can not fill this void and fix things for her. This also shows the perspective that Flavia really was dependent on her appearence and really relied on her appearance to help herself to feel valuable. With that being said, none of these don’t really matter because those things don’t give her the same confidence that she had before.
Flavia laments that youth traditionally considered the greatest gift to the gods.
Oops I hadn’t realized we were required to do two until I was going back through Brightspace today – anyway, Montague writes Flavia to believe herself to have been better than everyone else before smallpox brought her crashing down, which adds an element of imperfect victimhood to Flavia’s character that only serves to heighten empathy for her as a human being, if one reads past the surface level.
Montagu exaggerates the power and attention that Flavia’s beauty holds by saying that men that were all about their work and were indulged in their career would stop their important tasks/responsibility, for example politics just to be able to give Flavia a glance. Montagu uses this pattern to really show how society gave a lot of attention to Flavia because of her looks/beauty.
Montagu emphasizes how much Flavia is reliant on that materialistic items such as jewelry, clothes, and even makeup can not fill this void and fix things for her. This also shows how Montagu uses the perspective that Flavia really was dependent on her appearance and really relied on her appearance to help herself to feel valuable. With that being said, none of these don’t really matter because those things don’t give her the same confidence that she had before.
Chapter 2 (38 comments)
[She made me seven shirts, and some other linen, of as fine cloth as could be got, which indeed was coarser than sackcloth; and these she constantly washed for me with her own hands]
Despite Gulliver’s insistence that they see him as a creature of sense, they continue to treat him as though he is a pet. Glumdalclitch makes clothes for him and dresses him like a doll.
[She had also observed how modest I was in my nature, how nicely I regarded my honour, and what an indignity I should conceive it, to be exposed for money as a public spectacle, to the meanest of the people.]
Gulliver continues to suggest that others find him to be full of various virtues, while the actions of those around him suggest that they don’t think very highly of him.
[since the king of Great Britain himself, in my condition, must have undergone the same distress]
He is a stranger in Brobdingnag, and the king would be too. The condition of being unknown gives him the same status as the king would have, which is none at all.
[I walked about on the table as the girl commanded; she asked me questions, as far as she knew my understanding of the language reached, and I answered them as loud as I could. ]
Gulliver portrays his “nurse” as the only one who truly cares about what is in his best interest, but she is taking part in turning him into a spectacle.
[My master, for his own interest, would not suffer any one to touch me except my nurse; and to prevent danger, benches were set round the table at such a distance as to put me out of every body’s reach. ]
He is not protecting Gulliver out of concern for him as a human being; he is protecting him as one would an investment.
[(except Wednesday, which is their Sabbath,)]
It is like an England where everything is very large and slightly shifted.
[for Glumdalclitch, on purpose to spare me, complained she was tired with the trotting of the horse.]
Gulliver assumes that this is for his benefit.
[She often took me out of my box, at my own desire, to give me air, and show me the country, but always held me fast by a leading-string.]
She treats him better than anyone, but she still treats him like both a pet and a prisoner by using a “leading-string.” He believes Glumdalclitch to have some investment in his dignity, as he mentioned earlier, but she is still participating in his subjugation. This is another example of him misreading the situations that he’s in and misinterpreting his relationships with those around him.
This chapter is going to talk about the description of the farmer’s daughter and the travels of Gulliver to the market-town and the metropolis. Hopefully this will reveal to us more about this land he has stumbled upon.
The farmer’s daughter has some very advanced skills for her age.
Gulliver stayed in the baby’s cradle during the time that he stayed with this family, showing the intense care they had for him.
It’s interesting that this girl is changing his clothes for him.
This girl had given Gulliver the new name of Grildrig.
They referred to Gulliver as an animal which is interesting given that he had human features. Could be that they saw someone that was out of the ordinary and automatically thought he was a foreign creature/animal.
Gulliver is being treated as an animal as he seems that he is doing tricks or something of that sort.
Gulliver knew that one day he would recover independence that he had previously known.
Again, it seems as Gulliver was on display like a pet to do tricks for everyone that came to come see this mysterious creature.
Gulliver being shown to all of these companies demonstrates that this family didn’t necessarily care about him, but we’re interested in benefiting themselves.
The farmer seems to be treating Gulliver like a paid attraction. Even if one family came to look at Gulliver, the farmer still charged them the full price as if the entire room were filled with paying spectators.
[ Leave a comment on paragraph 8 2 My master’s design was to show me in all the towns by the way, and to step out of the road for fifty or a hundred miles, to any village, or person of quality’s house, where he might expect custom. ]
Swift shoes how the farmer exploits Gulliver by turning him into a traveling attraction. The farmer plans to take Gulliver from town to town to display him for profit wherever he can find paying customers.
[Besides, I had learnt their alphabet, and could make a shift to explain a sentence here and there; ]
Gulliver begins to learn the Brobdingnagian language, gaining just enough skills to communicate basic ideas. This shows his adaption to this society and marks his first step of becoming more than a visitor.
The wife’s young daughter was skilled for her age. She was able to make clothes and dress Gulliver whenever she needed to. He describes her as good-natured and even tried to teach him things. She gave him the name Grildrig.
It sounds like he wants to repay her kindness but fears something.
[ Leave a comment on paragraph 3 5 It now began to be known and talked of in the neighbourhood, that my master had found a strange animal in the field, about the bigness of a splacnuck, but exactly shaped in every part like a human creature]
He is referred to as an animal-like creature, but then also compared to a human-like creature in the same sentence.
[Another farmer, who lived hard by, and was a particular friend of my master, came on a visit on purpose to inquire into the truth of this story. I was immediately produced, and placed upon a table, where I walked as I was commanded, drew my hanger, put it up again, made my reverence to my master’s guest, asked him in his own language how he did, and told him he was welcome, just as my little nurse had instructed me.]
It almost feels like he’s a shiny new toy that the giant creatures are playing with. “Look at my new pocket-sized person! He doesn’t bite!” And Gulliver has to endure it in fear of being eaten or killed.
[She said, her papa and mamma had promised that Grildrig should be hers; but now she found they meant to serve her as they did last year, when they pretended to give her a lamb, and yet, as soon as it was fat, sold it to a butcher.]
Parents lied to her, saying that she could keep Gulliver. She compared it to her getting a lamb and it being sent off to be killed when it was big enough. Kind of sad hoenstly 🙁
Gulliver is once again put on display. “Come look at my shiny new toy! He can do tricks! I’m the only one in the world who has one!”
Gulliver seems to describe the child as the only one is this new world who seems to show him any care. He believes she may actually respect him or even feel a little pity towards him.
Gulliver is put on display for many people. He seems to be grateful that no one is allowed to touch him. A young boy throws a walnut at him, and it barely misses his head. Gulliver is amused when the boy is scolded.
Get that bag, I guess? I wonder what the “rate of a full room” is in USD.
[except Wednesday, which is their Sabbath,]
What religion are they? Did they make Gulliver convert?
He thinks pretty highly of himself. That the people who are using him for money would genuinely care about his comfort over getting more out of him.
[little nurse]
It is ironic that Gulliver calls Glumdalclitch his “little nurse” because she is actually much taller than he is. I know the word “little” refers to her being a child, but Gulliver is the one who is small and needs to be taken care of. This shows how Gulliver’s size has changed his role because he is an adult but has to depend on a child.
[She carried me on her lap, in a box tied about her waist. The girl had lined it on all sides with the softest cloth she could get, well quilted underneath, furnished it with her baby’s bed, provided me with linen and other necessaries, and made everything as convenient as she could. ]
This quote shows how Gulliver is treated almost like a pet because Glumdalclitch carries him around in a special box tied to her waist. She makes the box comfortable with soft cloth, a bed, and other things he needs, almost like someone who is traveling with a small animal. Gulliver is treated as something that needs to be carried and cared for instead of as an adult who can take care of himself. This shows how his small size makes other people see him differently. It is impressive how responsible Glumdalcitch is for a child because her parents trust her enough to take care of Gulliver.
[prevent danger]
Gulliver seems glad that his master protects him from the people who want to touch him. He seems to think that his master and nurse is protecting him because he cares about him and wants to keep him safe. I think Gulliver does not see that his master is protecting his own interest by keeping Gulliver as an attraction.
Regarding the comment I made of the first paragraph of the previous chapter, I now understand that the purpose of this first paragraph in the beginning is to outline the topics that will follow in the chapter.
[as I began to learn their language and make my wants known.]
Gulliver speaks a lot on language and linguistics in Gulliver’s Travels. In chapter one he mentioned speaking English and the giants only understanding his tone and body language. Here he speaks about learning to speak the giants’ language to be able to express his “wants” and communicate through spoken words.
[ the grultrud, or crier]
Town criers were extremely common up until the 21st century. They helped move news and information that would normally be inaccessible to many due to low literacy rates, delayed newspapers, distance in settlements, and colonization.
[I was that day shown to twelve sets of company, and as often forced to act over again the same fopperies, till I was half dead with weariness and vexation; ]
Although Gulliver is being paraded around and forced to entertain, the little girl continued to protect him. Gulliver is giving us an insight into their dispositions from the comparison of the father and his friend to the little girl.
Canto I (37 comments)
What isn’t clear to me here is the significance of the two Pages and a Chair (sedan chair). While the image expressed I believe is referencing age lost, I do not understand the significance of the objects. Is this in reference to he that scorned the woman?
What isn’t clear to me here is the shift into “Bibles”, an element that doesn’t quite fit with the rest of the list or Canto 1 since there are more spiritual and Greek allusions present. While the Norton note mentioned that it may be referring to “bibelots” or trinkets, it also states that trinkets is not a widely accepted interpretation posing the question of why a Bible and if it was meant to be a Bible(s), why is it placed in the middle of the list and not at the end or beginning. Why end on sweet letters rather than the register turn of Christian undertones.
Annotation for lines 7-12
What isn’t clear to me here is that I cannot tell if Pope is being serious or just exaggerating the conflict for humor’s sake. (Not that assault is funny in any form.) A young woman is described as a “gentle belle” in the first couplet, but then has “mighty rage” in the last couplet. These two phrases are contrasting in nature, so it’s surprising how extreme this reaction of hers is.
Also, I’m quite confused as to why “rage” is capitalized?
Annotation for lines 111-114
What isn’t clear to me here is the Sylph’s warning. It feels generalized. Just from these lines alone, we aren’t made aware of the danger that is being warned about, even though the repeated command “beware” sounds urgent. Should the young woman beware of all men or just a specific man? Is this a warning for right now, soon, or in the distant future?
What isn’t clear to me here is what the Pope is trying to say and what he means when says that the women’s souls “retire” to their “first elements.” I understood that he is separating them into some sort of different types of Gnomes, Sylphs, etc but I am confused why each type of woman becomes a different kind of spirit or thing after she dies. i am also not sure if I am supposed to already know what these different spirits are or if the Pope is explaining it in certain rules that I don’t even understand. I feel his choice of words are confusing and don’t know if he’s suggesting that these women’s spirits naturally belong to these elements.
This is for lines (59- 66), what isn’t clear to me here is why the different types of women turn into different spirits after they die. I get that Pope is saying they become different types of spirits, but I dont understand what is making each women turn into different ones.
What isn’t clear to me here is what Pope means when he describes the heart as a “moving Toyshop” like what does that even mean. He also says things like wigs, sword-knots, beaux, and coaches which i have no clue what i’m supposed to be imagining or picturing. He is just going back and forth between objects and people and especially when he just says “wigs with wigs” and “Beaux banish beaux.” Like is he trying to to say these things are literally in someone’s heart or is the “Toyshop” supposed to represent different thoughts or desires. I am also lost with what he means when he says that people call this “levity,” but that the Sylphs actually “contrive it all.” I have no clue what they are actually doing or why they would do this.
This is for lines (95 – 104) What isn’t clear to me here is what Pope means when he says they “shift the moving Toyshop of their heart.” I kind of get that he is talking about women changing their attention between different guys, but I’m not really sure what the “Toyshop” means if I had to guess maybe its like he is shoping for multiple or hes able to chose whoever he wants.
What isn’t clear to me here is the use of the terms “Box” and “Ring”. Why are they capitalized, and in what context is Pope using them? I understand it’s talking about the spirits flying around the women, but what is Pope referring to the Box and Ring as? When I hear these words together, I think of some type of jewelry.
What isn’t clear to me here is the use of “Shock”. What is Pope trying to say when stating that Shock is “licking” his mistress? It is unclear to me whether Shock is one of the men that Pope is referring to in the lines before as “dangerous”, or if Shock is a person at all.
[thy infant thought]
What isn’t clear to me is the use of “infant” in this context. I am used to this word being used as a noun that is synonymous with “baby,” but in this case, it is an adjective.
[Toilet stands display’d]
What isn’t clear to me is the use of the word “Toilet.” I’m pretty sure that it refers to the place where a woman gets dressed or gets herself ready, but as a 21st century reader, this definition is not where my brain goes automatically, so there was a moment of confusion when I read it.
What I don’t get here is why there are seemingly random words capitalized, each line has words capitalized and there doesn’t seem to be a pattern.
[ Assume what sexes and what shapes they please.]
What isn’t clear to me is why Pope says that the Sylphs can “assume what sexes and what shapes they please (lines 69-70). I understand that the Sylphs are spirits and are not limited by human rules, but I am confused about why they can change their sex and appearance. The poem does not explain this very much, so I was left wondering how this works in Pope’s version of the supernatural world.
[Th’ inferior Priestess, at her altar’s side, Leave a comment on line 127 0 ¶ 128 Trembling begins the sacred rites of Pride.]
What isn’t clear to me is what Pope means by calling Belinda’s beauty routine the “sacred rites of pride” (line 128). He describes her getting ready in front of the mirror to a religious ritual, which made me wonder if he is suggesting that Belinda treats her appearance as something worthy of worship. I’m also not sure if Pope is criticizing Belinda herself or making fun of a society that places so much importance on beauty and appearance.
What I don’t get here is the use of all the different B female names, rotating between Betty, Belinda and Belle, this made reading the poem more confusing.
What isn’t clear to me here is who Belinda is? Additionally, who Caroyl is? I am sure that we will meet them later in the poem, however, something else that is not clear to me is what the word “vouchsafe” means. I know what “vouch” and “safe” mean, but not the two words together.
Something that is not clear to me is what is meant by the use of the word “Ombre” in this line? Also, why is it capitalized?
[The light Militia of the lower sky:]
What isn’t clear to me here is what Pope means when he describes the spirits as “The light Militia of the lower sky.” I am not sure what he means by calling them a “Militia” or why he describes them as being “light.” I am having trouble understanding what this description tells me about the spirits.
[Transformed to combs]
What isn’t clear to me here is why Pope includes the tortoise and elephant in this part of the poem. I understand that they are connected to the combs Belinda uses to get ready, but I am confused about why this description is important to the poem. I am also unsure if Pope is trying to make a point about the things Belinda uses to make herself look beautiful.
What isn’t clear to me is, what are nymphs? How are they related to the Gnomes? They seem to be attracted to these Gnomes in my opinion or have certain desires about them.
What isn’t clear to me is why the Narrator says the Sylph protects women and their purity, however men call that protection “honour?” Is Pope talking about how people give a name to something that they think women can’t control?
What isn’t clear to me here is who Caryl (a muse, presumably) is, and why they are relevant to the matter at hand? Is this a reference that deepens the understanding of the point being made by the poem?
What isn’t clear to me here is how the Sylphs, who I have interpreted as very fairy-like and feminine so far, are associated with women straying off of what I assume is the accepted path for womanhood?
What isn’t clear to me here is who these two women are? (Caryl and Belinda)
What isn’t clear to me here is who Belle is? Are Belle and Belinda the same two people?
What isn’t clear to me here is the amount of names we are getting without necessarily any clarification. What do all of these women have in common/what are their differences and importance to keep bringing them up?
I believe Pope is being sarcastic here (7-12). It appears he’s referring to Arabella and her family being mad at Lord Petre, who cut Arabella’s hair. Obviously, I would be mad too if some guy cut my hair. But I also think that Pope is exaggerating the scenario between the families. He’s poking fun at the situation and saying it all blew up into a big deal. Basically saying, “How can this soft woman be so angry?” and that it’s unexpected from a woman of her status.
Pope uses imagery a lot in this poem, especially around infants and the connection between birth and women. Lines 47 through 50 remind me of birth and death. “inclos’d in Woman’s beauteous mould” resembles a womb, and “From earthly Vehicles to these of air” seems like dying and becoming a spirit. First, we abandon our mother’s womb. Then, we abandon our physical bodies to join the “air” or spirit world.
What isn’t clear to me here is the use of capitalization on the words “Prude” and Gnome” in line 63. Pope does this throughout the first canto, making me believe it could be intentional, although I can’t quite figure out why these specific words are being capitalized over others.
What isn’t clear to me here is the way that Pope structures lines 119-120. It’s almost difficult to read, as the sentence becomes inverted to fit the heroic couplet formula that is used throughout the poem. It makes it difficult to read, and I had to reread these lines to grasp what exactly Pope was saying.
What isn’t clear to me here is what a “billet-doux” is. It says Belinda’s eyes first opened on it and it immediately made her forget the scary warning she just got in her dream. I’m assuming it’s a note, but I don’t know the literal translation or why it has such a huge impact on her.
What isn’t clear to me here is why the detail about lap dogs is included. I know it’s describing the morning routine, but are the dogs just there for that reason or do pets have a bigger symbolic role here that I’m missing?
What isn’t clear to me in line 2 is why the author describe this small thing as the “mighty contest”. There is a love conflict, and the author is almost poking fun at the fact that there is this “big conflict” over something very minuscule.
(Lines 114-116) What is unclear here is “Shock”. In the first line it says “… beware of man!”. In the next line it introduces (Shock). The next line talks about waking up his “mistress” with his tongue. It makes it unclear the order in which everything is being said. Does this mean he’s waking her up by him talking to her, kissing her, or actually licking her.
What isn’t clear to me here is how Pope often uses alliteration towards the ends of the lines. An example is “hover’d o’er her head” here in line 22. It seems to interact with the mock-heroic, iambic pentameter, and heroic couplets but I’m not sure to what effect.
What isn’t clear to me is how the poem is written in a very soft cadence with subdued and gentle wording, yet the topics being discussed are fairly vulgar. Why did Pope choose to write such a soothing poem about a topic that might have been slightly shocking to an 18th century audience?
Chapter 3 (36 comments)
[beauty, behaviour, and good sense.]
His accounts of how others perceive him must always be questioned.
[beyond measure delighted]
Another likely exaggeration.
[with some rustic phrases which I had learned at the farmer’s house, and did not suit the polite style of a court.]
It seems as though he already has a sense of superiority about being in court. Just as he previously identified the farmer as having a higher position in the hierarchy than the servant who initially found him, Gulliver knows and revels a bit in graduating to an even higher position (even though he himself is very low in the hierarchy, he seems to associate himself with the position of whoever is in possession of him).
[whereby the followers of Aristotle endeavoured in vain to disguise their ignorance, have invented this wonderful solution of all difficulties, to the unspeakable advancement of human knowledge]
Apparently, Gulliver (or maybe Swift, who seems at this moment to be speaking through his usually idiotic hero) disdains both human and Brobdingnagian scholars.
[The queen became so fond of my company, that she could not dine without me.]
Is it his company or curiosities that she is fond of? It has been mentioned that she has a favorite dwarf, so I’m betting on the latter.
[“how contemptible a thing was human grandeur, which could be mimicked by such diminutive insects as I: and yet,”]
The Brobdingnagians call themselves human, and see Gulliver and his (our) kind as insects.
[Neither, indeed, could I forbear smiling at myself, when the queen used to place me upon her hand towards a looking-glass, by which both our persons appeared before me in full view together; and there could be nothing more ridiculous than the comparison; so that I really began to imagine myself dwindled many degrees below my usual size.]
He is beginning to see himself as the Brobdingnagians see him; he is becoming ridiculous to himself.
[and the queen was in such a fright, that she wanted presence of mind to assist me.]
Gulliver claims that the queen was essentially too stunned to assist him, but based on his inability to read the room, I am more inclined to believe that she either didn’t notice or didn’t care.
[The dwarf, at my entreaty, had no other punishment than a sound whipping.]
This is not the first time that he has subtly bragged about his capacity for mercy. Earlier, he also prevented the farmer from giving a more severe punishment to his son.
[It was the common practice of the dwarf, to catch a number of these insects in his hand, as schoolboys do among us, and let them out suddenly under my nose, on purpose to frighten me, and divert the queen.]
The rivalry between Gulliver and the dwarf is very juvenile. They are like two children competing for the attention of a parent.
[He, who apprehended I could not live a month, was ready enough to part with me, and demanded a thousand pieces of gold, which were ordered him on the spot, each piece being about the bigness of eight hundred moidores;]
Swift shows how the farmer, convinced Gulliver will soon die, eagerly sells him for an enormous sum. The farmer’s willingness to part with Gulliver reveals that he was really just interested in him for the economic gain.
[My late master withdrew, bidding me farewell, and saying he had left me in a good service; to which I replied not a word, only making him a slight bow.]
Swift shows Gulliver’s lack of power in this moment. The farmer sells him off casually, treating him like property rather than a person. Gulliver’s silent bow shows his helplessness as he cannot choose his fate but just abide by what is happening to him.
[But when he heard my voice, and found what I delivered to be regular and rational, he could not conceal his astonishment.]
The king is shocked to discover that Gulliver, despite his tiny size, speaks in an understandable manner and thinks like a regular person. This moment sort of marks the shift from seeing Gulliver as something that can be passed around (like a pet) to a rationale human being.
[After much debate, they concluded unanimously, that I was only relplum scalcath, which is interpreted literally lusus naturæ;]
The Brobdingnagian scholars decided Gulliver is not a supernatural being but simply a freak. This shows how even highly educated people reduced Gulliver’s worth rather than recognizing his humanity.
[A convenient apartment was provided for her at court: she had a sort of governess appointed to take care of her education, a maid to dress her, and two other servants for menial offices; but the care of me was wholly appropriated to herself. ]
Glumdalclitch is given special status at court, but Gulliver emphasizes that her main role remains caring for him. This shows his dependence on her and her importance as his protector.
[nd thus he continued on, while my colour came and went several times, with indignation, to hear our noble country, the mistress of arts and arms, the scourge of France, the arbitress of Europe, the seat of virtue, piety, honour, and truth, the pride and envy of the world, so contemptuously treated.]
Gulliver blushes with anger as the King harshly criticizes England. His shifting color shows the pride he has in his country, but also the embarrassment he is facing, highlighting the tension between Gulliver’s national loyalty and the King’s judgement of British politics.
[so that I really began to imagine myself dwindled many degrees below my usual size.]
Gulliver feels so humiliated by the King’s harsh criticism of England that he imagines himself shrinking. Swift uses this metaphor to show how deeply the King’s judgement wounds Gulliver’s pride and makes him feel small.
[as I was sitting down, not thinking any harm, and let me drop into a large silver bowl of cream, and then ran away as fast as he could]
The queen’s dwarf takes advantage of Gulliver’s size and deliberately dumps him into a giant bowl of cream. The moment shows how Gulliver’s tiny size makes him easy to bully and how this life exposes him to much humiliation.
[ I had much ado to defend myself against these detestable animals, and could not forbear starting when they came on my face. ]
Gulliver struggles to fight off the giant flies, which terrify him because of their size. His flinching shows how vulnerable he is in Brobdingnag as even small creatures become dangerous to him.
The farmer is a greedy man who only cares about the money he is getting from Gulliver. Gulliver is getting so thin that they believe he may die!
Gulliver is asked to live with the Queen and her court. The farmer receives 1,000 gold pieces from her in exchange for Gulliver’s ownership. Gulliver asks that the young girl stay with him so that he can be taught by her.
The Queen observes that Gulliver is in poor health, and his demeanor towards the farmer is cold and uncaring, unlike his demeanor toward the young girl.
The Queen brings Gulliver to the King. He seems uninterested at first, but when Gulliver speaks, he is astonished by it.
[After much debate, they concluded unanimously, that I was only relplum scalcath, which is interpreted literally lusus naturæ;
I giggled so badly at this; did they just call him a freak? I mean, I guess that’s better than being an oddity of nature or an animal.
[ Leave a comment on paragraph 10 1 The queen became so fond of my company, that she could not dine without me]
Gulliver is again speaking as though everyone around him views him in this high manner. That they couldn’t possibly be without him since her discovery. Cocky much?
The King sees that his people are human, while Gulliver’s kind is more insect than human. He continues to mock where Gulliver lives and how they act in England.
[For, after having been accustomed several months to the sight and converse of this people, and observed every object upon which I cast my eyes to be of proportionable magnitude, the horror I had at first conceived from their bulk and aspect was so far worn off]
Gulliver starts to piece together that all the attention and “care” he was receiving was all an act. The Brobdingnagians do not see him as a person, but as a spectacle. How could he be so foolish?
It’s interesting to see Gulliver again show pity for someone who has wronged him. This is the second time that he practically asks someone to show mercy to another for being cruel to him. But why? Where does this get him??
[ hide her joy.]
This is a good opportunity for Glumdalclitch because she gets to go to the royal court, but she is also happy because she does not have to leave Gulliver. Since she has taken such good care of him, she may have been upset if he was sold and taken somewhere else without her.
[They would not allow me to be a dwarf,]
This quote is funny because Gulliver is so small that they cannot even consider him a dwarf. The queen’s dwarf is supposed to be very small, but he is still almost thirty feet tall compared to Gulliver. Gulliver is used to thinking of himself as a “normal sized” person, so it is funny that he is now considered unbelievably small.
[insatiable ]
Insatiability is a common topic in Gulliver’s Travels. He speaks a lot on the negative ramifications of insatiability on both the doer and on others.
[“that I was my master’s slave: but, if I were at my own disposal, I should be proud to devote my life to her majesty’s service.”]
Gulliver has already established his place at the bottom of this society. It’s notable how his view on his “master” changed from him being kind and giving Gulliver self autonomy to severely limiting his choices and actions due to financial gain.
[so diminutive an animal]
I think it’s interesting that although Gulliver shows he’s a “rational” creature and has high cognitive functioning (at the same level of the giants), he’s viewed as less than because his size is much smaller than that of the giants.
[no otherwise defective than by a foreign accent, and an imperfect knowledge in the language, with some rustic phrases which I had learned at the farmer’s house, and did not suit the polite style of a court.]
This comment provides further insight into this society. It appears extremely similar if not the same to how our own society (or Gulliver’s) would function. It also speaks directly to language and how it relates to identity. Ex:] a farmer vs. a courtier
I was not at all surprised that Gulliver didn’t actually like his previous master – I was more surprised that he did not act on this information while still in his care.
testing, testing
Chapter 6 (33 comments)
[When they were finished, I made a present of them to her majesty; who kept them in her cabinet, and used to show them for curiosities, as indeed they were the wonder of every one that beheld them.]
He wants to perform for the queen.
[(as I had always a mechanical genius)]
He can’t help but brag.
[to the great satisfaction of both their majesties; but it was the most violent exercise I ever underwent;]
He entertains the king and queen while violently exerting himself. He seems to have an extreme need to be appreciated and looked at. I think he’s enjoying captivity for this reason.
[how often I then wished for the tongue of Demosthenes or Cicero, that might have enabled me to celebrate the praise of my own dear native country in a style equal to its merits and felicity.]
Laments his own inability to do justice to his homeland. Gulliver is very patriotic.
[the temperature of our climate.]
England isn’t exactly known for having a pleasant climate. Perhaps Gulliver is misrepresenting some aspects of his country due to his bias.
[for their great abilities and love of their country, ]
This seems like a naive view of the motivations of politicians.
[I then descended to the courts of justice; over which the judges, those venerable sages and interpreters of the law, presided, for determining the disputed rights and properties of men, as well as for the punishment of vice and protection of innocence.]
Gulliver sees England’s judicial system as an unfailingly honorable protector of people’s rights with no unjust or corrupt motivations. “Gullible” does seem to describe him.
[How it came to pass, that people were so violently bent upon getting into this assembly, which I allowed to be a great trouble and expense, often to the ruin of their families, without any salary or pension? because this appeared such an exalted strain of virtue and public spirit, that his majesty seemed to doubt it might possibly not be always sincere.”]
The king doubts that democratic forms of government are without corruption. Swift could be somehow making reference to the democracy that had briefly governed England before collapsing.
Chancery court was for very minor issues, so it is humorous that Gulliver was “almost ruined by a long suit.”
[He asked, “What time was usually spent in determining between right and wrong, and what degree of expense?]
Also, because Gulliver’s expertise lies in “chancery,” he likely doesn’t have the depth of knowledge required to answer the king’s questions.
[whether mean, vicious people, by their dexterity in that art, might not arrive at great riches,]
There is an art to viscousness that allows people to get ahead. This is true in games and in government.
[much less, that men are ennobled on account of their virtue; that priests are advanced for their piety or learning; soldiers, for their conduct or valour; judges, for their integrity; senators, for the love of their country; or counsellors for their wisdom.]
Due to corruption, those in influential offices in England do not contain the necessary qualities to carry out their duties in the way the duties were initially intended to be carried out. England’s institutions have been perverted. Gulliver convinced the king of the exact opposite of what he believed. Gulliver again proves his ignorance.
[ Leave a comment on paragraph 3 2 And this puts me in mind of an amusement, wherein I spent many of my leisure hours]
Gulliver’s “amusement” shows how he uses creativity and craftsmanship to make himself useful and admired at court. He is turning the queen and king’s discarded hair into elaborate minature furniture.
[but it was the most violent exercise I ever underwent; and yet I could not strike above sixteen keys, nor consequently play the bass and treble together, as other artists do; which was a great disadvantage to my performance.]
His attempt to play the spinet shows how determined he is to entertain the king and queen, even when the physical scale of Brobdingnag makes the task almost impossible. His struggle to strike only sixteen keys highlights the limits of his tiny body in a giant world. I sort of feel bad for him because he is genuinely trying his best to participate in something he always liked to do, which was music!
[I then wished for the tongue of Demosthenes or Cicero, that might have enabled me to celebrate the praise of my own dear native country in a style equal to its merits and felicity.]
His wish for “the tongue of Demosthenes or Cicero” shows how deeply he wants to praise England, and it shows his patriotic pride. However, I feel like it also shows his insecurities in that he doesn’t believe that his own words are grand enough to capture the greatness of his country.
[I then spoke at large upon the constitution of an English parliament; partly made up of an illustrious body called the House of Peers;]
Gulliver talks about England’s government like its perfect, especially the House of Peers. He makes it sound way more noble than it really is, which shows how biased he is.
[for their great abilities and love of their country, to represent the wisdom of the whole nation.]
Gulliver is claiming that the House of Commons is made up of super capable, patriotic people who represent “the wisdom” of everyone.
[“What arts were practised in electing those whom I called commoners: whether a stranger, with a strong purse, might not influence the vulgar voters to choose him before their own landlord, or the most considerable gentleman in the neighbourhood?]
The king questions whether elections in England are actually fair, pointing out how money can easily sway voters. This shows that he sees through Gulliver’s bias and recognizes that there is possibly some corruption in England’s political system.
[He asked, “What time was usually spent in determining between right and wrong, and what degree of expense? ]
The king basically asks how long it takes England’s courts to figure out what’s right or wrong, and how expensive this whole process is. I feel like his is actually starting to question whether Gulliver’s descriptions match the reality of England.
[ for the notes he had taken were very particular in this point, because he hoped, as he told me, that the knowledge of our conduct might be useful to him, and he could not be deceived in his calculations.]
I feel as if the king is keeping super detailed notes because he wants to understand how England actually works, not just how Gulliver describes it.
[it was only a heap of conspiracies, rebellions, murders, massacres, revolutions, banishments, the very worst effects that avarice, faction, hypocrisy, perfidiousness, cruelty, rage, madness, hatred, envy, lust, malice, and ambition, could produce.”]
The king is saying that England’s history is just nonstop violence and corruption caused by human greed and selfishness. This demonstrates to the reader how completely opposite his view is from Gulliver’s descriptions.
[ I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl upon the surface of the earth.”]
The king is rejecting Gulliver’s proud description of England and basically says English people are harmful, selfish, and corrupt. His harsh wording shows how furious he is after hearing about England’s politics and history from Gulliver.
[that the contempt he discovered towards Europe, and the rest of the world, did not seem answerable to those excellent qualities of mind that he was master of;]
The King’s views and opinions are originally clouded with the isolation his country and island experience and through discussion with Gulliver, he considers his views and opinions.
[Demosthenes or Cicero]
Background information:
Demosthenes—Born 384 BC in Athens, Greece. He was a Greek statesman and orator in Athens and focused on Athenian intellectual ideas, politics, and culture of Greece during the 4th century.
Cicero—Born 106 BC in Arpino, Italy. He was a Roman statesman, lawyer, scholar, philosopher, orator, and writer which focused on the political crises of the Roman Republic and helped establish the Roman Empire.
I’m curious if Gulliver is referring to the language of Greek or Latin.
[plantations in America]
If this is referencing slavery in the Americas perpetrated and perpetuated by the English, Gulliver only mentions it and doesn’t comment on it. It’s interesting that he would bring up slavery, and with it the subject of race and racism, and not make any comments on it.
[what questions he intended to ask me.]
Although parts of this situation and what’s being discussed have problems and moral qualms, there’s still a conversation happening between Gulliver and the King. The two are sharing, discussing, interpreting, and creating questions.
[entertainment ]
The mention of entertainment is interesting. So far we haven’t seen any form of entertainment in this society except for Gulliver himself. This society finding Gulliver so entertaining and how they treated him reveals a lot about Brobdingnag.
[as I had always a mechanical genius)]
Here he goes again with the cocky attitude. Why can’t you be humble for once?
[but it was the most violent exercise I ever underwent]
To Gulliver, this event is considered violent due to his size and physical abilities. To the Brobdingagians this was probably something amusing and light work. Size is key.
[beside our plantations in America.]
Reference to the British Colonists and African slavery??
This honestly seems difficult to do, especially to people who don’t necessarily speak your language, know your history, and what it truly is like during that time.
A good point is made here. Are elections always fair? Are some rigged? The King isn’t on board with the democratic system because it sounds like the government may be corrupt. (Spoiler alert: The government is corrupt!)
After listening to Gulliver’s proud and idealized account of English history, politics, and institutions, the King concludes that ignorance seems to be the primary qualifications for English legislators. He dismisses the majority of Englishmen as vermin.
Chapter 5 (32 comments)
[I must needs show my wit, by a silly allusion between him and the trees, which happens to hold in their language as it does in ours.]
Gulliver often feels compelled to display (what he believes to be) his talents.
[and the dwarf was pardoned at my desire,]
For a third time, Gulliver notes his merciful nature.
[the dog, following the scent, came directly up, and taking me in his mouth, ran straight to his master wagging his tail, and set me gently on the ground.]
I don’t read a lot of travel literature, but I imagine that Swift is satirizing the genre by replacing tiger attacks and narrow escapes from vicious lions with similarly dramatic accounts of Gulliver fending off pests like rats and flies, or common household pets like cats and dogs.
[This accident absolutely determined Glumdalclitch never to trust me abroad for the future out of her sight.]
Their relationship is an odd reversal of responsibility. Glumdalclitch is Gulliver’s guardian even though she is a child and he is an adult.
[I cannot tell whether I were more pleased or mortified to observe, in those solitary walks, that the smaller birds did not appear to be at all afraid of me, but would hop about within a yard’s distance, looking for worms and other food, with as much indifference and security as if no creature at all were near them.]
This is also a reversal of the relationship between birds and humans. Birds typically fly away when people approach, but the Brobdingnagian birds do not see Gulliver as a threat and will even go as far as to steal from of attack him.
[an intimate friend of mine in Lilliput]
This is not the first time that he had reported what may be an exaggerated closeness with someone from Lilliput. If Gulliver is to the Lilliputians as the Brobdingnagians are to Gulliver, then the power that Gulliver has over the Lilliputians due to his size might prevent “intimate” friendships. Equality is necessary for such things.
[although I abhorred such kind of spectacles, yet my curiosity tempted me to see something that I thought must be extraordinary.]
Claims to “abhor” such things, but his actions give a different account of him.
[that the great jet d’eau at Versailles was not equal to it for the time it lasted:]
Jet d’eau translates to “water-jet.” This both grotesque and tongue-in-cheek reference to the French Revolution does not read like an “abhorrence” of such “spectacles.”
[Sometimes I would put up my sail, and then my business was only to steer, while the ladies gave me a gale with their fans; and, when they were weary, some of their pages would blow my sail forward with their breath, while I showed my art by steering starboard or larboard as I pleased.]
It is like they are entertaining a child.
[I have good reason to believe, that he took me for a young one of his own species,]
Gulliver is infantilized again.
[This made me reflect, how vain an attempt it is for a man to endeavour to do himself honour among those who are out of all degree of equality or comparison with him.]
Children may take themselves seriously, but the adults around them are amused when they do.
[by which a dozen apples, each of them near as large as a Bristol barrel, came tumbling about my ears; ]
Gulliver’s tiny size turns a harmless prank into a dangerous situation. The giant apples show how everyday objects become life-threatening in Brobdingnag. Again, this highlights Gulliver’s vulnerability.
[But the thing was hushed up, and never known at court, for the girl was afraid of the queen’s anger; and truly, as to myself, I thought it would not be for my reputation, that such a story should go about.]
Gulliver hides the incident to protect his pride, showing how concerned he is with his social image.
[ Leave a comment on paragraph 5 1 This accident absolutely determined Glumdalclitch never to trust me abroad for the future out of her sight. I had been long afraid of this resolution, and therefore concealed from her some little unlucky adventures, that happened in those times when I was left by myself.]
Gulliver hides his past accidents from Glumdalclitch, showing both his dependence on her and his embarrassment about how vulnerable he is. I can also see this as how he hid these incidents to keep his independence because she began letting him out of her sight, before things went wrong.
[They would often strip me naked from top to toe, and lay me at full length in their bosoms; wherewith I was much disgusted because, to say the truth, a very offensive smell came from their skins;]
I feel as if this whole scenario is just strange and concerning. However, at the same time, these sentences have some significance in that Gulliver complains about the giant women’s smell, showing how Brobdingnag magnifies physical flaws of individuals.
[while I was placed on their toilet, directly before their naked bodies, which I am sure to me was very far from being a tempting sight, or from giving me any other emotions than those of horror and disgust:]
Again, this situation is very weird, but it shows how Gulliver is horrified by the giant women’s naked bodies, showing how Brobdingnag magnifies human physical flaws.
[Versailles was not equal to it for the time it lasted: and the head, when it fell on the scaffold floor, gave such a bounce as made me start, although I was at least half an English mile distant.]
Gulliver’s tiny size makes the execution feel even more violent than it already was. The exaggerated “bounce” shows Swift’s interesting approach to this and how Brobdingnag magnifies the brutality of ordinary events (ordinary during this time period at least).
[Sometimes I would put up my sail, and then my business was only to steer, while the ladies gave me a gale with their fans; and, when they were weary, some of their pages would blow my sail forward with their breath, while I showed my art by steering starboard or larboard as I pleased.]
Swift uses the image of women fanning him like a toy boat to highlight how powerless and small Gulliver is in Brobdingnag. It’s almost like they’re playing with a small child.
[However, I desired Glumdalclitch to let me deal with it alone. I banged it a good while with one of my sculls, and at last forced it to leap out of the boat.]
Gulliver insists on handling the threat himself, showing his stubborn pride and desire to appear capable despite his tiny size. Swift uses the exaggerated struggle to highlight his desire to prove his bravery to everyone!
[Some of the people threw up stones, hoping to drive the monkey down; but this was strictly forbidden, or else, very probably, my brains had been dashed out.]
The crowd tries to rescue Gulliver by throwing stones to scare the monkey into dropping him. Even though this method is dangerous, Swift shows that the Brobdingnagians genuinely care about Gulliver’s safety occasionally, and act quickly to help him.
[He desired to know, “what I would have done upon such an occasion in my own country.”]
I feel like this is sort of sweet as the king is genuinely showing interest in Gulliver’s perspective. However, this also highlights the cultural gap between Brobdingnag and England.
Can you live happily without ever seeing your wife and children again?
[I had been long afraid of this resolution, and therefore concealed from her some little unlucky adventures, that happened in those times when I was left by myself.]
It’s kind of sad that Gulliver hides that he has had many accidents from Glumdalclitch because he knows that she worries about him because of his size.
Hmm, interesting take, Gulliver. Especially after giving praise to the women and their size earlier. He is trying not to be offensive because he does respect the women; however, he is uncomfortable with how they treat him due to his size.
Though his size is small, he is determined to show everyone that his stature is nothing that will deter him. Let the big boy do big boy things!
[I have good reason to believe, that he took me for a young one of his own species]
Gulliver is being infantilized due to his height. This isn’t the first time that he has been coddled, and this time it isn’t by another human-like creature. Even animals think of him like a child.
[ trust me abroad for the future out of her sight]
After all the accidents Gulliver has experienced, Glumdalclitch wants to protect him by keeping him in her sight. While this keeps Gulliver safer, it also means he has less freedom to go anywhere by himself. He may feel like he is constantly being watched and cannot have time alone.
[while I showed my art by steering starboard or larboard as I pleased. ]
This quote shows that Gulliver is glad to finally do something he enjoys and show off his skills. Even though the queen is still treating him like a spectacle, Gulliver seems happy to have the chance to do something he loves. Steering the boat gives him something he can do for himself instead of always being carried around or watched.
[I should have lived happy enough in that country, if my littleness had not exposed me to several ridiculous and troublesome accidents; some of which I shall venture to relate. ]
This statement and the resulting events line up with disabilities. What Gulliver experiences and the trouble/barriers he faces due to his size in a society that’s not focused towards people like him puts him at a disadvantage. There’s a lack of accommodations and thought put towards people who don’t fit into the typical identity in this society.
[I cannot forget, that an intimate friend of mine in Lilliput, took the freedom in a warm day, when I had used a good deal of exercise, to complain of a strong smell about me, although I am as little faulty that way, as most of my sex: but I suppose his faculty of smelling was as nice with regard to me, as mine was to that of this people.]
This shows a nice thought towards different viewpoints and attempting to understand something that Gulliver initially didn’t.
[One day, a young gentleman, who was nephew to my nurse’s governess, came and pressed them both to see an execution.]
This gives further insight into the laws and rules of Brobdingnag. There’s punishment such as execution for the act of murder, like in England.
[I have good reason to believe, that he took me for a young one of his own species, by his often stroking my face very gently with his other paw. ]
This comments on identity. Here, Gulliver says the monkey may have mistaken him for another monkey, possibly a baby as it’s attempting to feed and take care of him.
Canto III (28 comments)
I like how Pope says “At ev’ry word a reputation dies.” It shows how much gossip matters to these people, and he makes it sound way more serious than it actually is.
This comparison is pretty funny because Belinda’s reaction to losing her hair is compared to people losing their husbands or even lapdogs. Pope is making fun of how dramatic everyone is acting over the lock of hair.
In reference to Queen Anne and her power over England, Ireland and Scotland, she is not free from trivial activities such as gossip, courtly judgements, and pettiness. By referencing the Queen, he asserts these follies to women, only excused by their beauty.
Despite reflecting on the story of Scylla and her fate, the baron ignores this revealing how unalike their stories truly are, except for the untimely fate of the woman. Scylla sacrificed herself for her love while the baron feels it is within his power to sacrifice a part of Belinda for his own desires, not love. While love is resourceful, so is evil and narcissism.
[Too soon dejected, and too soon elate. Leave a comment on line 102 0 ¶ 103 Sudden, these honours shall be snatch’d away, Leave a comment on line 103 0 ¶ 104 And curs’d for ever this victorious day. Leave a comment on line 104 0 ¶ 105 For lo! the board with cups and spoons is crown’d,]
Pope pauses the action to comment on how quickly people move from happiness to disappointment. This foreshadows Belinda’s success and happiness will not last, suggesting that something bad is about to happen!
[(The victory cry’d) the glorious Prize is mine!]
After cutting the lock, the Baron talks about his “glorious prize” as if he has accomplished something historically important. He even compares the lasting effects of the lock to monuments and the destruction of Troy. This makes the cutting of a lock of hair seem like a major heroic achievment.
Annotation for lines 66-68
What’s interesting to me is that Pope seems to personify ‘fate’ in this part of the stanza. Instead of fate being a force, it’s framed as a person who has the ability to shift the direction of a battle. I think it’s most notable that fate is more of a person than a force of power and intention, with the action “inclines the field” shifting power in Baron’s favor.
Again, I believe that this line shows how Pope is mocking classic (I don’t think they were called classics at this time) literature such as The Illiad with these overly exaggerated scenes and moments.
Annotation for lines 155-158
The first couple of lines try to make the situation (Belinda losing some strands of hair) seem serious and horrifying. There are “screams” and “shrieks,” and Pope is trying to show the audience that this is so severe that it can cause a beautiful, reasonable woman to become angry and frightening in a split moment. However, this seriousness is suddenly undercut by the sheer audacity of comparing someone losing a lock of hair to people or animals dying.
Pope here is saying that the fairy queens’ powers are “soft like flowers”, implying that even though they do have powers, they are not as strong as the fairy kings’.
Wait not this line sorry I don’t know how this comment ended up here.
Pope here is saying that the fairy queens’ powers are “soft like flowers”, implying that even though they do have powers, they are not as strong as the fairy kings’. (This is where this comment is supposed to go, I don’t know why it went to line 8 and I couldn’t delete it, I’m sorry for the confusion)
Pope is referencing playing cards here, to show how disorderly the troops are in that moment, by comparing them to shuffled playing cards, he is giving the reader a clear vision of the chaos.
I like how in this paragraph all of the cards are being treated like real people, giving it the feel of a battle scene.
this paradox sticks out to me because the scissors have to join together, to divide the piece of hair, two contrasting phrases.
[Oh thoughtless mortals! ever blind to fate, Too soon dejected, and too soon elate.]
This interjection reminds me of the chorus in a Greek tragedy, and the inability of mortals to escape fate is a common theme in these plays as well. For example, in attempting to avoid a prophecy that says that he will kill his father and marry his mother, Oedipus acts in a way that causes these terrible things to happen. In his mock epic, Pope’s juxtaposition of classical references with this ridiculous story creates the satire.
[Or when rich China vessels fall’n from high,]
Pope repeatedly refers to China, as well as Japan, India, and Africa. The effect of this is that the implication of the far-reaching British Empire hovers over the poem.
Lines 5-8
Within in lines 5-8, Pope is trying to connect two completely different worlds. Queen Anne holds enough power to be able to have 3 different kingdoms she’s in charge of, but is also kicking her feet back and relaxing talking about things that are going on socially. The intensity of the topic of politics hold and the way they are being talked about is a little strange and almost too normal. It makes it seem the political world is equivalent to what’s going on in Belinda’s world.
Lines 155-156
These lines help to continue Pope’s satire. He is overdramatizing Belinda’s reaction. Pope is comparing Belinda’s scream when she gets her hair cut off to how people would scream if their husband died or if their dog died. It just seems very dramatic because these situations are so wildly different. It makes Belinda’s reaction seem so ridiculous that you can’t take her seriously. It also comes back to how much value beauty is placed on the characters.
[A two-edg’d weapon from her shining case:]
Pope compares Clarissa giving the Baron the scissors to a lady giving a knight a weapon. This makes the scene sound like they are preparing for a battle, even though the weapon is only a pair of scissors. The language surrounding the scissors makes this moment feel like an important part of the conflict between the characters. Pope uses this comparison to build tension before the Baron cuts Belinda’s lock of hair.
[So long my honour, name, and praise shall live!]
After taking the lock, the Baron starts thinking about how people will remember him. He says that his “honour, name, and praise” will live on because of what he has done. The Baron’s focus on his reputation which is similar to how Belinda’s focus on her appearance because both characters care about how others see them. Belinda sees the lock as an important part of her beauty, while the Baron sees taking the lock as something that will make him famous. I think Pope uses this similarity to show that both characters are very concerned with their public image, even though they care about different things.
I’m evaluating Pope’s mock‑epic strategy by showing how he transforms a fashionable card game into a heroic conflict. The exaggerated martial language forces readers to judge the absurdity of aristocratic priorities: Belinda’s “victory” in ombre is treated with the same gravity as a military triumph. Evaluating this moment reveals Pope’s critique of a community whose institutions (courtship, leisure, social display) inflate trivial amusements into matters of honor and prestige.
Using connection, you link Pope’s depiction of the Baron’s act to contemporary conversations about bodily autonomy and consent. In Pope’s context, the theft of the lock is framed as flirtation, but modern readers may connect it to broader cultural discussions about entitlement and gendered power. This annotation bridges the poem’s social world with your own lived experience and current discourse, showing how satire can expose enduring patterns of behavior.
Pope writes the card game as a war, which could be a metaphor for Belinda “fighting” these two men.
Pope writes this evil gloating monologue. It really helps develop this character into an antagonist. He’s selfish and cheers when he gets what he wants, even at the expense of others. He only looks after the prize and what it says about his ego, and this last stanza really reinforces that icky feeling the audience has when reading it.
I feel like it’s interesting that Pope puts the Queen taking political “counsel” and drinking tea right next to each other, almost making them sound just as important as each other. This is adding to the pattern of Pope placing serious topics next to ordinary social activities.
Pope describes a simple card game using the language of war with the players preparing “in arms” and later saying the cards as troops. I think it’s quite interesting how he keeps making ordinary social activities seem like huge, amazing events, which adds to his type of hero-style story.
Pope displays a pattern throughout the cantos of this theme of mockery of high society. The mock-epic itself, and then also the way he speaks about high society is satirical and critical. In this line, he refers to how gossip is so serious to the people of high society that it would cause the reputation of another to completely die in seconds. It creates a link to his personal life, as Pope details these well-off people gossiping and concerning themselves with the lives of others. Which, he dealt with himself throughout his life. Being catholic in a Protestant-ruled kingdom, and also living with a disability that changed his appearance.
This line establishes a pattern from canto II, where Belinda is talked about in an almost predatory way. She is referred to as “The Virgin”, making her “purity” the subject in this line rather than her name or another way to refer to her. Pope chooses the words he uses in lines with intention, as using any other word to allude to Belinda in this line would not have put this almost lustful image that the Baron sees of her into the reader’s attention.
Chapter 7 (28 comments)
[The king’s great ignorance in politics.]
This is Gulliver’s perception, and it doesn’t seem accurate.
[Yet thus much I may be allowed to say in my own vindication, that I artfully eluded many of his questions, and gave to every point a more favourable turn, by many degrees, than the strictness of truth would allow.]
I imagine that this is an inaccurate account of Gulliver’s abilities in complex discourses, as we know from the previous chapter that he was completely unsuccessful in convincing the king of England’s greatness. He often puts on the airs of an intellectual.
[Dionysius Halicarnassensis, with so much justice, recommends to an historian: I would hide the frailties and deformities of my political mother, and place her virtues and beauties in the most advantageous light. ]
This seems like a counterintuitive philosophy to the role of historians. A historian who is ruled by their biases produces a biased history that might, in the case of England, end up ignoring or finding justifications for all kinds of atrocities. Swift knows that this is a bad philosophy.
[But great allowances should be given to a king, who lives wholly secluded from the rest of the world, and must therefore be altogether unacquainted with the manners and customs that most prevail in other nations:]
In a condescending manner, Gulliver claims that due to the king’s seclusion, he can’t be expected to have as complete an understanding of political customs as Europeans or Gulliver himself. I think Swift means this to be ironic, as we know Gulliver to be the ignorant one and the king to be a man of learning, as I believe Gulliver called him in a later chapter. Gulliver’s presentation of the king’s degree of education changes depending on what is convenient for Gulliver’s skewed understanding of himself.
[This I humbly offered to his majesty, as a small tribute of acknowledgment, in turn for so many marks that I had received, of his royal favour and protection.]
He “humbly” offers the king the ability to destroy his enemies. It is crazy that Gulliver considers this a trifle, or a repayment of a kindness. Gulliver’s actions continue to paint him as someone who is ignorant and out-of-touch, contrasting with his own account of himself.
[“could entertain such inhuman ideas, and in so familiar a manner, as to appear wholly unmoved at all the scenes of blood and desolation]
Gulliver has been conditioned by the society that he belongs to believe violent warfare to be normal and necessary. When faced with people who have not been conditioned by their society to see things in such a way, he is confronted with the inhumanity of warfare and his detached comfort with discussing it, but despite this confrontation, it does not seem that he is capable of seeing fault within himself and changing as a result.
[from a nice, unnecessary scruple, whereof in Europe we can have no conception, let slip an opportunity put into his hands that would have made him absolute master of the lives, the liberties, and the fortunes of his people!]
Gulliver does not understand why the king does not seize more power at the expense of his people. Demonstrating how effectively brainwashed Gulliver has been by European warfare and kingship, Gulliver finds the king to be unreasonable.
[As to the decision of civil causes, or proceedings against criminals, their precedents are so few, that they have little reason to boast of any extraordinary skill in either.]
Gulliver presents this as a negative, but it might be because there is simply less crime and injustice in Brobdingnag.
[He added, “that nature was degenerated in these latter declining ages of the world, and could now produce only small abortive births, in comparison of those in ancient times.”]
This implies that Gulliver’s mankind is a “degenerated” successor to the Brobdingnagians, and that the Brobdingnagians themselves are the successors of an extinct lineage of even larger giants. Swift is calling mankind degenerates, fallen from a previous moral and intellectual height, as is demonstrated by the differing values held by Gulliver and the king.
[they have been troubled with the same disease to which the whole race of mankind is subject; the nobility often contending for power, the people for liberty, and the king for absolute dominion.]
Despite the king’s disgust with the kind of weaponry and warfare proposed by Gulliver, Brobdingnag is not without conflict or struggles for power. This suggests that, despite their size, the Brobdingnagians also represent a degenerated version of mankind (according to what Gulliver reads about morality).
[The author’s love of his country. He makes a proposal of much advantage to the king, which is rejected. ]
This line shows that Gulliver thinks he is helping the king with a brilliant idea, but Swift hints that Gulliver’s “love of his country” blinds him to how misguided his proposal is.
[Yet thus much I may be allowed to say in my own vindication, that I artfully eluded many of his questions, and gave to every point a more favourable turn, by many degrees, than the strictness of truth would allow. ]
Gulliver is admitting that he twisted the truth to make England look better to the king. Here, he’s pretty much admitting that he was biased and trying to protect his country’s representation.
[3 1 But great allowances should be given to a king, who lives wholly secluded from the rest of the world, and must therefore be altogether unacquainted with the manners and customs that most prevail in other nations:]
He argues that the king’s harsh judgement should be excused because, living in total isolation from other nations, he cannot understand the political norms or social practices common to the rest of the world.
[ This I humbly offered to his majesty, as a small tribute of acknowledgment, in turn for so many marks that I had received, of his royal favour and protection.]
Gulliver is offering the king gunpowder as a humble gesture of gratitude for the king’s protection and generosity, even though the kind gesture is destructive technology that could kill many people!
[ yet he would rather lose half his kingdom, than be privy to such a secret; which he commanded me, as I valued any life, never to mention any more.”]
The king insists that he doesn’t want anyone to know that he possesses knowledge of an incredibly destructive technology, so he tells Gulliver never to speak of this again. He is refusing to rule through terror pretty much.
[ And as to ideas, entities, abstractions, and transcendentals, I could never drive the least conception into their heads.]
Gulliver is saying that the Borbdingnagians cannot grasp abstract concepts. This shows how strict and materially grounded their culture is.
[As to the decision of civil causes, or proceedings against criminals, their precedents are so few, that they have little reason to boast of any extraordinary skill in either.]
Gulliver says their legal system isn’t very advanced because they barely have any past cases to learn from, so they don’t have much experience with criminal matters. He frames this as a negative thing; however, it’s probably good that they’re not having many criminal activities happen here.
[Their style is clear, masculine, and smooth, but not florid; for they avoid nothing more than multiplying unnecessary words, or using various expressions. ]
He keeps criticizing them by implying their writing is too plain. He is suggesting that they lack creativity that is found in other cultures.
[ the nobility often contending for power, the people for liberty, and the king for absolute dominion. ]
Gulliver explains to the reader that even this kingdom, that presents itself as isolated, struggles as all human societies, showing that conflict is usually universal.
[It was in vain to discover my resentments, which were always turned into ridicule; and I was forced to rest with patience, while my noble and beloved country was so injuriously treated.]
This is ironic as Swift’s whole reason for this book is to get audiences to look beyond the surface, beyond what’s being explicitly said. Perhaps this is part of the satire. Gulliver is saying he detests his country being questioned yet that is the whole point.
[that most prevail in other nations: the want of which knowledge will ever produce many prejudices, and a certain narrowness of thinking, from which we, and the politer countries of Europe, are wholly exempted]
This is painfully ironic and comes from a place of ignorance on behalf of Gulliver. Gulliver rejecting the King’s inquiries (regardless of the moral rights or wrongs of their thinking) is showing the prejudice and narrow thinking that he’s accusing the King and other non-European countries of having.
[whereof in Europe we can have no conception, let slip an opportunity put into his hands that would have made him absolute master of the lives, the liberties, and the fortunes of his people!]
Gulliver is expressing the colonization mindset Europe had during that time—using force and violence to conquer and control groups of people. I don’t think this ideology fits within Swift so the effect here might be satire.
Regarding the entire paragraph:
Swift is being satirical. Aspects of a well rounded society are being mentioned with arts, histories, sciences, mathematics, etc. being named. These different studies allow for a complex, nuanced, and empathetic understanding of life and society when put together. Gulliver is claiming the only important area of study is math, completely contrasting this fact and supporting his concerning view of England and Europe he’s been describing this chapter.
[the nobility often contending for power, the people for liberty, and the king for absolute dominion.]
This mirrors a common source of strife and violence in England.
Ha! White man thinks he isn’t ignorant too
Mirrors the British Colonies giving “gifts” to the Native Americans. They are offering advanced technology under the guise of protection.
“Oh wow, a civilized country that doesn’t need strict laws and punishments? That must be bad! I don’t understand you, people.” Type of mentality.
Honestly, a lot of this chapter parallels the events that happened between the British Colonies and the Native Americans.
A foreigner comes in with a ‘better-than-you’ attitude, and suddenly the way you’ve been living isn’t ‘the right way’ according to them. So they give you new technology while simultaneously judging your government and justice system.
Chapter 8 (28 comments)
[I was indeed treated with much kindness: I was the favourite of a great king and queen, and the delight of the whole court; but it was upon such a foot as ill became the dignity of humankind.]
Gulliver seems to have a clear idea of his place. He is in an odd situation where despite being treated well, he is not treated like a human.
[And I may say with truth, that in the midst of my own misfortunes I could not forbear lamenting my poor nurse, the grief she would suffer for my loss, the displeasure of the queen, and the ruin of her fortune.]
The complexity of longing for freedom and wanting the best for someone who was essentially his jailer.
[Some of them, upon hearing me talk so wildly, thought I was mad: others laughed; for indeed it never came into my head, that I was now got among people of my own stature and strength.]
Just as he had to adjust to Brobdingnag, Gulliver must readjust to seeing things in the way of his own kind.
[immediately]
I suspect Gulliver of exaggerating.
[I showed him a corn that I had cut off with my own hand, from a maid of honour’s toe; it was about the bigness of Kentish pippin, and grown so hard, that when I returned to England, I got it hollowed into a cup, and set in silver.]
Gulliver doesn’t seem to be at all concerned with how disgusting and weird this is.
[I could force nothing on him but a footman’s tooth, ]
Gulliver has so many grotesque, bodily souvenirs. He has the corn, various things made from the king and queen’s hair and nails, and now this tooth.
[or of the barbarous customs and idolatry of savage people, with which most writers abound.]
The Brobdingnagians are not barbarous, idolatrous, or savage.
[As I was on the road, observing the littleness of the houses, the trees, the cattle, and the people, I began to think myself in Lilliput.]
He now thinks of himself in relation to his world as he was to Lilliput.
[I was the favourite of a great king and queen, and the delight of the whole court; but it was upon such a foot as ill became the dignity of humankind. I could never forget those domestic pledges I had left behind me. ]
Gulliver says that even though the king and queen adored him, it felt humiliating because he was treated more like a pet than a person and kept missing his family back home.
[“I should never go to sea any more;” although my evil destiny so ordered, that she had not power to hinder me, as the reader may know hereafter.]
He seems to be compelled to voyage by a force beyond himself, or at least he presents things in this way. I think it is possible that he has adopted this idea of destiny to make himself seem more heroic.
[“I was an Englishman, drawn by ill fortune into the greatest calamity that ever any creature underwent, and begged, by all that was moving, to be delivered out of the dungeon I was in.”]
Gulliver tells the sailor that he’s an Englishman who’s been hit with terrible luck and misfortune and trapped in a horrible situation.
[And, indeed, I was glad not to have been a spectator of the havoc they made, because I am confident it would have sensibly touched me, by bringing former passages into my mind, which I would rather have forgot.]
Gulliver is relieved that he didn’t have to watch the sailors wreck his things, because seeing that destruction would have reminded him of painful memories from Brobdingnag that he’d rather forget.
[“that his suspicions were much increased by some very absurd speeches I had delivered at first to his sailors, and afterwards to himself, in relation to my closet or chest, as well as by my odd looks and behaviour while I was at supper.”]
The captain says he became even more suspicious of Gulliver because Gulliver kept saying strange things about his box and acted weird at dinner, so his behavior made him seem confused or dangerous.
[I opened it in his own presence, and showed him the small collection of rarities I made in the country from which I had been so strangely delivered.]
This moment is the turning point of the paragraph as Gulliver proves his story to be true by revealing the bizarre objects he collected in Brobdingnag. I feel like this is also important because it’s the moment where his identity and the reality of his travels finally become visible to another human being, something that didn’t happen in Brobdingnag.
[ Leave a comment on paragraph 12 1 I could force nothing on him but a footman’s tooth, which I observed him to examine with great curiosity, and found he had a fancy for it.]
Gulliver’s souvenirs are absolutely ridiculous outside Brobdingnag and they show how crazy his sense of “normal” became after living among giant creatures.
[or of the barbarous customs and idolatry of savage people, with which most writers abound]
Gulliver criticizes travel writing for inventing “barbarous customs and idolatry”, yet he himself has spent the entire Brobdingnag voyage describing the giants as strange.
[ Leave a comment on paragraph 16 0 As I was on the road, observing the littleness of the houses, the trees, the cattle, and the people,]
Gulliver is so used to the gigantic scale of Brobdingnag that normal-sized English life now looks tiny and almost unreal to him!
[In the mean time, I here conclude the second part of my unfortunate voyages.]
Gulliver ends the Brobdingnag section by calling his time there “unfortunate” showing how shocked he is still about living among giants for a while. Even though he ended up surviving, this experience left him feeling as if he just wanted to move on.
[evil destiny ]
Gulliver describes his return to the sea as something controlled by his “evil destiny,” making it seem like he cannot escape his desire for travel even when his family disagrees. This shows the conflict between Gulliver’s love of traveling and his responsibilities to his family.
[littleness]
Gulliver’s description of everything as “little” shows how his experience in Lilliput has changed his sense of what is normal. His fear of “trampling” people are humorous because he treats people as if they are as small as the Lilliputians.
Test
[pleasure ]
I find it interesting how Gulliver began the book discussing his situation and treatment with disgust and disdain. Now he’s found comfort, making ‘orders,’ and has pleasure in his nearly three year venture. Perhaps this shows how people without a choice, don’t know any other perspective, or have learned to agree will persist in even the worst conditions and experiences.
[“If there be any body below, let them speak.” I answered, “I was an Englishman, drawn by ill fortune into the greatest calamity that ever any creature underwent, and begged, by all that was moving, to be delivered out of the dungeon I was in.” ]
Again, Gulliver appears to be confused as to how he feels about both Brobdingnag and humans. At the beginning of the chapter, he was enjoying his box and worrying about Glumdalclitch and the royals missing him. Yet, now he’s calling out to Englishmen in a panic talking about “ill fortune,” “calamity,” and “dungeons.” Gulliver has been dealing with an inner struggle with rationalizing his situation, the new society he found himself in, and his self-preservation.
[I was equally confounded]
Here, Gulliver is struggling with his identity. Is he a human or a giant? What is a human? How should they be regarded?
[thought I was mad]
This relates to madness and irrationality. Gulliver’s strange behavior is being looked at by two perspectives at once: the English/European human and the Brobdingnag giant. Through an English/European human lens, his behavior is distorted—however, his behavior is still distorted when viewing with a Brobdingnag giant lens. Gulliver is shouting (seemingly without reason), saying things that only make sense to him, is unable to understand his spatial awareness, and his extended experience with a different reality has made his conditional present behavior ‘mad’ (as compared to the idea of being clinically or biologically insane).
[The captain was very well satisfied with this plain relation I had given him]
Was the captain truly trusting of Gulliver’s story? Or was Gulliver just convinced he was believed as this is his own perspective? If the captain did believe him, was it because of Gulliver’s physical evidence?
[In short, I behaved myself so unaccountably, that they were all of the captain’s opinion when he first saw me, and concluded I had lost my wits]
Again, a mention of madness and irrationality. Along with the following, “This I mention as an instance of the great power of habit and prejudice,” Gulliver describes the entirety of his adventure and interactions between himself and the giants.
In this paragraph the author returns to England.
Canto II (26 comments)
I think the is making Belinda’s hair seem way more powerful than it really is. He compares it to chains that can trap people, which shows how much power her beauty has over the people around her.
I noticed how Pope puts little problems like breaking a China jar or missing a masquerade next to bigger problems. It makes their world seem kind of funny because they treat small things like they are huge disasters.
The idea of love is so great, that he who wishes it is perceived as the protagonist, fighting to gain the beauty and power of love. However, in this case, it is prefaced by aggressive terms such as force, ravish, fraud and betray revealing his love is more attune to lust and obsession. This concepts reminds me of the song, Baby, It’s Cold Outside, a song that can be considered loving or rapey depending on who you ask (typically divided by genders). From a male standpoint, while his intentions are sex, could view the male singer’s actions as wooing while from a female standpoint, she would just simply like to leave and her first no should have been respected. Despite the controlling undertones of the song, it is still a holiday classic under the patriarchy.
Trembling is a reoccurring term throughout the epic poem (I: 48, 128, II: 48, 142, III: 114, IV: 162). While Pope is using the format of an epic poem, his repetitive use of the term could be satirical, exaggerating the term to refer to the aristocratic war field versus a true warrior’s field as seen in class epic poems such as The Odyssey The Aeneid. Since Belinda is referred to as a prize, much like Helen of Troy, the excessive trembling surrounds engagement of the political and social militia of people.
[Might hide her faults, if Belles had faults to hide:]
Pope uses Belinda’s appearance to suggest that her beauty can excuse any mistakes or “faults” she might have. The phrase “if Belles had faults to hide” makes it sound like beautiful women are not supposed to have flaws in the first place. I think this shows how much importance is placed on beauty and appearance in Belinda’s world.
[ To steal from rainbows e’er they drop in show’rs]
Pope exaggerates how much effort goes into being beautiful. The Sylphs do ordinary things like curling hair and helping with makeup, but Pope describes their work in extreme ways. For example, it says “steal from rainbows” as a way to make Belinda’s appearance brighter. This makes getting ready seem like a much bigger and more difficult process than it really is. I think Pope is making fun of how much time and effort people put into looking pretty.
[Love in these labyrinths his slaves detains, Leave a comment on line 23 0 ¶ 24 And mighty hearts are held in slender chains. Leave a comment on line 24 1 ¶ 25 With hairy springes we the birds betray, Leave a comment on line 25 0 ¶ 26 Slight lines of hair surprise the finny prey, Leave a comment on line 26 0 ¶ 27 Fair tresses man’s imperial race ensnare, Leave a comment on line 27 0 ¶ 28 And beauty draws us with a single hair.]
Pope uses a lot of words that make love and beauty seem like a trap, such as “labyrinths,” “slaves,” “chains,” and “ensnare.” He makes it seem like Belinda’s hair has the power to trap men even though we know that hair is small and delicate. I think this is interesting because Pope makes one single hair seem powerful enough to control all of “man’s imperial race.”
[To fifty chosen Sylphs, of special note, Leave a comment on line 117 0 ¶ 118 We trust th’ important charge, the Petticoat: Leave a comment on line 118 0 ¶ 119 Oft have we known that seven-fold fence to fail,]
Pope uses very serious language when he describes the Sylphs protecting Belinda’s clothes. Calling the petticoat an “important charge” makes it sound like something extremely important needs to be protected. Pope is using the kind of language we might expect for something serious, but he is actually talking about an article of clothing.
I had to google what Billet-doux means, its the French word for love letter , I’m thinking this may be Pope showing his world knowledge of other languages.
Annotation for lines 5-12
The tone seems quite playful here. The descriptions of Belinda seem overly exaggerated. This makes her attributes seem much more ‘great’ than what aristocrats are like. Pope then describes Belinda as being uninterested in the attention that she is receiving; however, she isn’t being rude or distasteful about it. It makes me think that this grand description of Belinda and the attention she is getting is just satirical. Is this Pope’s way of mocking how people gawk at and admire aristocrats?
Annotation for lines 23-24
It’s quite interesting to see Pope compare love to a labyrinth with slaves and chains, almost making love a physical thing. Labyrinths are often associated with traps, twists, and danger, making it harder to navigate. Love isn’t always easy, so this comparison doesn’t feel too far off. The second line about mighty hearts in chains is also quite interesting. Usually, when in love, someone’s heart isn’t being held back; they let loose.
Pope is turning the concept of love into a maze (the labyrinth) where you lose control and begin to feel powerless (hearts held in chains). It’s almost like love is a prison sentence.
In this line and the next one, the author is establishing that the woman that he is describing is beloved, and worshipped, by the people around her. However, she is still a devout Christian (the cross on her neck tells us that), and even though she is beautiful and well loved, she is still very faithful.
In this whole stanza, Pope is describing Belinda’s beauty, but also comparing her to a trap. Like what Maggie said a couple lines up, he is comparing love to a Labyrinth, which is full of traps, but I think that he is also saying that while Belinda is beautiful, she has some tricks up her sleeve, for lack of a better term.
[Fair Nymphs, and well-drest Youths around her shone.]
The words “nymph” and “youth” continue to be used by Pope to refer to young women and young men respectively, with “nymph” implying that young women are something more, or maybe less, than human, and “youth” allowing young men to remain exactly what they are.
[In equal curls, and well conspir’d to deck Leave a comment on line 21 0 ¶ 22 With shining ringlets the smooth iv’ry neck.]
Pope personifies the locks by saying that they “conspir’d.” Not only does this word give the locks their own life, but it attributes to them a nefarious scheme. It also seems to detach some of the blame for the impending incident from the “Belle.”
Pope compares Belinda to sun. From what I am understanding, Pope is making Belinda seem “powerful and important” just like how the sun important for nature. Him comparing her to the sun is a large exaggeration. Belinda is just a person and the way he is depicting and describing her beauty is very extreme almost to the point where it is a little bit to dramatic. There is this pattern throughout the poem where she is being treating incredibly important when she in the grand scope of things isn’t the most important person ever.
its interesting that the spirits can be stopped by basic beauty products like vials and pins, this adds to the satire theme.
Lines 137-142
Something I found interesting was when the Sylphs were describing the things that were going to happen, they describe it as a “dire event” while also saying they were “anxious” and were “trembling”. As a reader it makes the impression that something extremely terrible and dangerous is going to be taking place soon. Although the actual main problem is Belinda potentially loosing a lock of hair. A consistent theme I am finding with Pope’s writing is how he tends to make small problems into really big overwhelming problems that feel like disasters.
This moment unpacks Pope’s mock‑epic technique by showing how he exaggerates the stakes of aristocratic life. Ariel’s speech mimics the tone of a military commander preparing troops for battle, but the “dangers” he lists flirtation, vanity, minor social missteps reveal how trivial the actual threats are. The annotation highlights how Pope uses epic language to expose the fragility and superficiality of the social world Belinda inhabits. The sylphs’ vigilance becomes a satire of a community obsessed with appearances and reputation.
Contextualizing this moment means situating Pope’s imagery within early‑18th‑century London culture, where aristocratic women were both admired and scrutinized in public spaces. Pope’s comparison of Belinda to the sun reflects the period’s fascination with spectacle and display, but it also reveals his own positionality as a satirist critiquing the rituals of polite society. For a modern reader (including me), this scene resonates with contemporary conversations about performance, visibility, and the pressures placed on women in public life — showing how the poem’s social commentary extends beyond its historical moment.
Pope seems like he’s trying to create progression from the Baron seeing the lock and wanting it, and then deciding he is going to win it. I noticed that he calls the lock a “prize,” which seems to turn Belinda into something that can be won rather than someone who has a choice. I am just wondering if Pope is criticizing the way the Baron views his desire as more important than how he actually get when he wants. This section is really for beauty and how he moves from birds caught with hair, to fish being caught with lines, to men being “ensnared” by women’s hair.
Pope is talking about serious concerns like reputation while also writing about damaged clothing and missed parties. I feel like these comparisons highlight this high society life that seems to consider appearances and entertainment just as important as morality.
Pope describes in these lines how having Belinda’s petticoat is like guarding it on a important military mission. I feel like this creates some sort of humor as if guarding this coat with your life is being described here.
I feel Pope is creating a big contrast between spirits who protect entire nations and the Sylphs who protect women’s beauty and looks. It’s kind of interesting that he describes both jobs so seriously, even though their roles are so different in importance.
There are very specific word choices from Pope in this line, as the line itself is referring to taking a lock of Belinda’s hair. The words “force”, “ravish”, and “fraud” are words that we would normally associate with intensity, aggression, or lust. Having them in a row, with a double f from the words “force” and “fraud” implies something underneath the surface of just taking a lock of hair. To me, this feels like a metaphor for sexual assault.
Belinda is now protected by fifty Sylphs who see the harm that the Baron is trying to cause her, and immediately take action. However, while this is a mock-epic from Pope, it still feels overkill in a way. It plays to this idea of the story being an allegory for SA, as the Sylphs, who are magical beings, rush to protect Belinda from the Baron. They consider him dangerous enough to protect her from, as he plans to take her “lock of hair”. Pope continues to write about the theft as something forceful, which, I feel further supports this allegory.
Canto IV (23 comments)
I think Pope is making fun of how people can turn normal things into a big problem. The line about getting a new disease from every new night-dress makes the people in this world seem really dramatic.
This shows how important reputation is to Belinda and the people around her. Losing her hair is treated like it could ruin her whole reputation, which shows how much they care about appearance and what other people think.
Pope frames this aspect of the Cave of Spleen with women who are so afflicted with leisure, that it has made them sick. While they are not revered as having a true medical disorder, terms such as vapor eludes to hypochondria, false hysteria that they are helpless. By framing women in such a submissive state, even to themselves, the baron is able to objectify Belinda as less than human much like classical Southern women, too weak to move a muscle except to appear pretty.
Pope is criticizing how far people can reduce themselves when in dismay or chaos. Those who pray most are those who are in crisis, even if they are not religious. Pope is revealing the power mischief can create and sway in a person’s life. However, it does not seem genuine as those who are “pet to pray” are oppressed in a way to make them desperate.
[Not youthful kings in battle seiz’d alive, Leave a comment on line 3 0 ¶ 4 Not scornful virgins who their charms survive, Leave a comment on line 4 0 ¶ 5 Not ardent lovers robb’d of all their bliss, Leave a comment on line 5 0 ¶ 6 Not ancient ladies when refus’d a kiss, Leave a comment on line 6 0 ¶ 7 Not tyrants fierce that unrepenting die, Leave a comment on line 7 0 ¶ 8 Not Cynthia when her manteau’s pinn’d awry,]
The repeated phrase “Not…” creates a long list of people who supposedly suffer less than Belinda. The exaggeration makes her reaction seem dramatic and sort of humorous at the same time.
[And bids her Beau demand the precious hairs; Leave a comment on line 122 0 ¶ 123 (Sir Plume of amber snuff-box justly vain, Leave a comment on line 123 0 ¶ 124 And the nice conduct of a clouded cane) Leave a comment on line 124 0 ¶ 125 With earnest eyes, and round unthinking face,]
Sir Plume is introduced through his fashion accessories rather than his intelligence or achievements. This characterization suggests that appearance is valued more highly than substance in this social world.
[Soft sorrows, melting griefs, and flowing tears.]
Pope shows emotions as physical things that can be collected. The Gnome gathers “sighs, sobs, and passions” and puts “fainting fears” and “tears” into a vial as if they were real objects. This makes the characters’ emotions seem like things that can be saved and used. I think Pope uses this imagery to make the characters’ emotions seem like objects instead of real feelings.
Annotating lines 1-10
Pope again uses a mocking tone when talking about Belinda’s incident. The exaggerated language about Belinda’s response to losing some hair makes fun of the situation as a whole. Pope lists “not…” such and such to make it seem like there is no other situation or tragedy that could surpass Belinda’s loss of a curl. This action is deliberate because it makes Belinda look like she is overreacting and taking this a little too hard.
[Which snatch’d my best, my fav’rite curl away!]
Pope uses exaggerated language to show how strongly Belinda regrets losing her favorite curl. She calls the day “detested” and says she would have been “ten times happy” if she had never gone to Hampton Court. Her reaction makes losing one curl sound like a life-changing event. I think Pope is making fun of how important the lock has become to Belinda and how much she connects it to her happiness.
Annotation for lines 107-110
Reputation is at the forefront of every aristocrat’s mind; if they have a bad reputation, they are tainted. Pope here is comparing Belinda losing a lock of her hair to someone’s reputation being tainted. I love that Pope includes this because he is both pointing out and making fun of the notion that (a woman) is only good for (her) appearance and sex appeal.
In lines 3-8, alongside the Iambic Pentameter that Pope is writing in, he also repeated the word “not” at the beginning of each line, to really emphasize Belinda’s rage.
In this line Pope is making fun of what he deems “superficial” women by saying that to them a pimple is the worst thing that can happen to them.
usually air is seen as something good and needed for health, but in this case the grotto is keeping air out, which adds to the dark and gloomy tone
I think the name Sir Plume adds to the ridiculous and satire tone of the story, and maybe pokes fun at fancy people who have titles like sir.
Lines 1-10
In lines 1-10 Pope gives a list of serious suffering people have experienced, including people that were captured in battle and dying tyrants. Again Pope is comparing Belinda’s reaction to her hair to serious extreme situations that makes her reaction not seem as valid is it is to heard. Exaggerating her “smaller” problem to serious life situations it makes the readers really realize how much Belinda’s problem is so small.
Something I noticed about these two lines is how Belinda is upset about two things. Her hair being taken and how it was “in sight” meaning in front of other people. This ties back to how much beauty and appearance had an impact on her confidence. It really connects to the poem and its repeated emphasis on beauty. One of Belinda’s concerns is that the public saw her lose her hair father than the actually physical loss of her hair.
Musing lets you speculate on the symbolic meaning of the Cave of Spleen. Pope’s grotesque imagery suggests that emotional turmoil—especially for women in polite society—is treated as both spectacle and pathology. You can muse on how the Cave externalizes internal states, turning anxiety, frustration, and melancholy into physical monsters. This moment invites reflection on how communities police emotional expression, especially among women.
Creativity encourages you to visualize Umbriel’s descent as a parody of classical katabasis (heroic journeys into the underworld). You might sketch or describe the scene as if it were a comic panel: Umbriel as a tiny, fussy spirit navigating a melodramatic, over‑decorated “underworld” of fashionable ailments. This creative response highlights Pope’s playful exaggeration and helps you engage with the text as an imaginative space rather than just a satirical argument.
This line makes me think that Pope intended for the Sylphs and other fantastical creatures to be more than spirits that help Belinda, but also to represent her inner emotions, her feelings, and the inner workings of her mind. The Gnome brings her more sadness over her hair. It reminds me of the personification of the emotions in the movie “Inside Out”.
Again, Belinda is referred to in a way that has a sexual connotation. Being referred to as a “prude” typically refers to someone overly modest or proper. However, there is also the aspect of Pope mocking Belinda’s sorrow and anger at losing this lock of hair, as he sees it as something superficial. I feel like it is superficial, but not when looked through the lens of a loss of identity. Belinda feels as though something she holds so much value to was stripped from her by force, even if it was only one lock of hair.
In lines 83-84, the Goddess of Spleen collects the force of “female lungs” which turn out to be sighs, sobs, passions, and the war of tongues. This reinforces a stereotype of the time period where women were viewed as emotional, unstable, and almost prone to tantrums. Pope writes this to mock and satirize the social norms of the period, by treating high society women’s emotions as something dramatized and blown out of proportion.
In humoral theory, the spleen was thought to be the organ that produced black bile, which made a person melancholic. Here, Pope creates the Cave of Spleen, which is probably a place of melancholy.
In lines 77 and 78, the words that complete the heroic couplet, chagrin and spleen, at least with my American accent, don’t rhyme perfectly. The poem up until this point is almost perfectly sing-songy, so this moment stands out as a slightly jarring departure.
Canto V (21 comments)
I think this is funny because Pope makes it sound like the guys are actually dying in battle, but they are really just getting embarrassed by words and flirting. It makes the whole fight seem way more dramatic than it actually is.
I noticed how Pope literally compares the men’s intelligence to Belinda’s hair. It makes the whole situation seem ridiculous because something as small as a lock of hair is being treated like it has more importance than people’s actual intelligence.
Pope continuously criticizes the superficiality and objective value of people, urging people to look deeper beyond the surface value of a person. In line 16, he states, “Unless good sense preserve what beauty gains” (16), stating beauty is only valuable if it inspires good nature between people. While violence breaks out over something as volatile as beauty, Pope asks why, what is the real gain other than possession of pretty objects.
This epic poem appears almost as a war against sexes. While women are groomed to be beautiful invalids, men are posed as endowed and manly. While this epic fight is using trinkets, snuff and bodkins, unlikely weapons, it appears more of a domestic dispute between Venus and Jupiter.
[How vain are all these glories, all our pains, Leave a comment on line 15 0 ¶ 16 Unless good sense preserve what beauty gains:]
Clarissa argues that beauty means very little without good sense and character. This seems like Pope’s main message because she focuses on inner qualities instead of appearance. Nobody listens to this advice, which suggests that people in this society care more about beauty and reputation than wisdom, which is something that still continues today unfortunately.
[Which adds new glory to the shining sphere! Leave a comment on line 142 0 ¶ 143 Not all the tresses that fair head can boast, Leave a comment on line 143 0 ¶ 144 Shall draw such envy as the Lock you lost. Leave a comment on line 144 0 ¶ 145 For, after all the murders of your eye,]
The poem tells Belinda that losing the lock will actually make it more famous than the hair she still has. This is ironic because her loss (that she was devastated over) ends up bringing her attention and recognition. Pope turns the cutting of the lock into something that people will remember.
In this line, Pope is sarcastically saying that all of what just happened throughout the story occurred over a lock of hair, and this story will now be told over and over again.
In lines 15 and 16, Pope is arguing that while beauty can gain power (like what Montagu was talking about), it is not enough to hold on to it. One might be beautiful, but in order to really do something with their influence, they need to play their cards right, and be smart about their choices.
I like how here it shows that this woman’s expressions hold so much power, she is not actually killing and reviving him, but she holds power over him with what facial expressions she makes.
[ Fans clap, silks rustle, and tough whalebones crack;]
Pope uses sound and movement to make the fight feel chaotic. Words like “clap,” “rustle,” and “crack” create different sounds happening at the same time, while the different voices add to the confusion. The description makes it easy to imagine everyone fighting and shouting at once. I think Pope uses these sounds to show how quickly the argument has turned into chaos.
I think this whole paragraph is just very melodramatic, him saying that he’d rather die than be without her and then changing his mins and saying he’d rather stay alive and suffer forever.
[ And trust me, dear! good-humour can prevail,]
Clarissa points out that physical beauty does not last forever, even when someone changes their hair or wears makeup. She then changes the focus from appearance to how a person chooses to act. Her advice to “keep good-humour” shows that a positive attitude can remain even after beauty fades. Pope is showing that being kind and good-humored is more important than trying to keep up a perfect appearance.
Lines 15-18
Clarissa in lines 15-18 is questioning beauty being the most important thing. She says “good sense” and “virtue” should also be something that matters. Her points really contradicts how everyone in the poem how been acting. Almost the entirety of the poem has surround this focal point of Belinda’s appearance and her hair. This is a focal point that made me question a lot that has happened and making me think that everyone in the poem has been thinking about the wrong things.
Lines 141-150
These ending lines are explaining how Belinda should stop being so upset over her hair. At this point she is coming “famous” for lack of a better word because of this situation. Her hair has made her gain a lot of traction in the public eye, this is almost funny because there was so much drama surrounding her small amount of hair thats lost. I am also understanding this in a very literal sense which is why this might seem super blunt.
Linking connects this mock‑battle to earlier epic parodies in the poem, that being the the ombre game and the sylphs’ military organization. By linking these scenes, you show how Pope builds a pattern: every “conflict” in the poem is inflated to epic scale, revealing the emptiness of aristocratic drama. This annotation demonstrates how the poem’s structure reinforces its satire of social institutions that treat trivial disputes as monumental.
Contemplation asks you to sit with Pope’s final gesture: transforming the stolen lock into a celestial object. This moment invites serious reflection on art, immortality, and reputation. Pope suggests that poetry—not social status—grants lasting significance. Contemplating this ending encourages you to consider how communities preserve memory, how institutions (like literature itself) confer power, and how satire can ultimately elevate what it mocks.
This sounds similar to Pope saying, “time must go on”. That even though this whole quarrel will be memorialized, people will come and go, and the sun will always set, and that it doesn’t really matter in the grand scheme of things. This could be part of his humorous portrayal of the real event, but he also downplays a woman’s emotions throughout the poem, so I lean towards the latter.
Here, Pope reinforces his mockery of the obsession and superficiality of beauty in high society. In this line, Pope explains that what truly matters is good sense, as beauty may gain these women a lot temporarily, but it won’t keep around what good character can. It also feels like a commentary on women’s youth and how that is perceived in society. Once a woman “loses” her beauty when she ages, all she will have is good character. One could argue that Pope saying this is also a way to reinforce society’s obsession with looks, as he comments on the concept of beauty himself several times.
In lines 45-52, Pope utilizes the mock-epic style to its fullest extent. In these lines, Pope compares the perceivably petty battle between high society individuals of the time period as something comparable to the wars in Homer’s The Iliad, where Greek and Roman gods engage in a war. Pope makes sure to use something so extreme to ensure the mockery he is making of these high society people is perceived as even more ridiculous to the average reader.
[Not fierce Othello in so loud a strain Roar’d for the handkerchief that caus’d his pain.]
In Othello, the titular character is convinced that his wife Desdemona is cheating on him when a handkerchief that he gave her winds up in the possession of Cassio. Iago manipulates him into thinking this, and Othello falls for the deception. This reference has the effect of implying that Belinda’s focus on the lock is like Othello’s focus on the handkerchief, and that she is allowing something trivial to occupy her mind.
[But trust the Muse — she saw it upward rise]
Referencing the muse is another epic convention, and it lends some ironic gravitas to the conclusion of this ridiculous battle.
Chapter 4 (15 comments)
[and therefore they ought to correct their maps and charts, by joining this vast tract of land to the north-west parts of America, wherein I shall be ready to lend them my assistance.]
He is very quick to question the expertise of others and offer his own.
[and gave me the most horrible spectacle that ever a European eye beheld. ]
The Brobdingnagians are basically just larger humans, and Gulliver’s physical and social separation from them (more of a pet than a participant in society) allows him to view them (humans) as an outsider to the species might.
[I may truly say I came back disappointed; for the height is not above three thousand feet, reckoning from the ground to the highest pinnacle top;]
He has become accustomed to the scale of things in Brobdingnag and is beginning to (figuratively) look down on their society, deeming Europe to be superior.
[perhaps I should be hardly believed; at least a severe critic would be apt to think I enlarged a little, as travellers are often suspected to do.]
Gulliver anticipates criticism and demonstrates a familiarity with the genre of literature he considers himself a writer of. Gulliver’s self-awareness is inconsistent and is absent when the exaggerations he makes concern himself and his virtues.
[I cannot but conclude, that our geographers of Europe are in a great error, by supposing nothing but sea between Japan and California;]
Gulliver confidently claims European mapmakers are wrong about the Pacific, even though he has only seen a small part of Brobdingnag.
[They were the first I had ever beheld, and I should have been curious enough to dissect one of them, if I had had proper instruments, which I unluckily left behind me in the ship, although, indeed, the sight was so nauseous, that it perfectly turned my stomach.]
Gulliver is disgusted by the giant insects of Brobdingnag, which appear enormous. His reaction highlight’s Swift’s theme that familiar creatures become frightening when magnified, similar to what happened with Gulliver.
[I came back disappointed; for the height is not above three thousand feet, reckoning from the ground to the highest pinnacle top; which, allowing for the difference between the size of those people and us in Europe, is no great matter for admiration, nor at all equal in proportion (if I rightly remember) to Salisbury steeple.]
Gulliver judges the Brobdingnagian temple tower by comparing it to European buildings, showing his bias towards Europe. Even in a land of giants, he insists on measuring everything against English standards.
[To avoid which censure I fear I have run too much into the other extreme; and that if this treatise should happen to be translated into the language of Brobdingnag (which is the general name of that kingdom,) and transmitted thither, the king and his people would have reason to complain that I had done them an injury, by a false and diminutive representation.
Gulliver worries he has understated Brobdingnag and that the people of Brobdingnag would think he misrepresented them.
It’s quite interesting to see how Gulliver is quick to say that European mapmakers are wrong, even though he is unsure if they have explored everywhere that needs exploring. Yet he questions others’ expertise on this and other matters.
This paragraph just talks about the geography of the island.
This is a little sad. Gulliver is becoming so accustomed to Brobdingnag that he believes that the sizes of things in Europe will disappoint him when he returns home.
[and therefore they ought to correct their maps and charts]
I find this statement very interesting. Maps today are still incorrect in their size ratios and this has an origin in racism and colonization. On most maps, the size of Africa is disproportionally smaller in comparison to Europe and the Americas than it truly is. This can be caused by stretching the globe to fit on a flat map, but not making corrections stems from racism and white superiority issues.
[There is not one seaport in the whole kingdom]
This provides the information that Brobdingnag is isolated from any other part of the world. They appear to have no knowledge of anything other than themselves and no one other than Gulliver has come into contact with them. I wonder how this affects their ideologies and way of life.
[ Leave a comment on paragraph 4 0 The country is well inhabited, for it contains fifty-one cities, near a hundred walled towns, and a great number of villages.]
Gulliver’s description of this country sounds similar to any other European country with the flat land, rolling hills, mountains, seas, rivers, etc.
[One day the governess ordered our coachman to stop at several shops, where the beggars, watching their opportunity, crowded to the sides of the coach, and gave me the most horrible spectacle that ever a European eye beheld.]
As this country and society seems to mirror the English and European ones, this description of the poor is interesting. Gulliver appears to describe the poor health and conditions in which these “beggars” are being forced to live in. His reaction to this sight is disgust and negative feelings which are also influenced within readers. Gulliver makes social commentary on social class through the comparison of how the higher class vs. the lower class live.
Chapter 1 (6 comments)
my good master Bates
testing; just a random phrase
[ I having few friends]
still testing
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To Mrs. Arabella Fermor (1 comment)
The Rape of the Lock, by Alexander Pope. Source: Project Gutenberg.
The Woman's Labour: To Mr. Stephen Duck (1 comment)
“The Woman’s Labour: To Mr. Stephen Duck,” by Mary Collier. Source: Eighteenth-Century Poetry Archive.
The Thresher's Labour (1 comment)
“The Thresher’s Labor,” by Stephen Duck. Source: Eighteenth-Century Poetry Archive.
Chapter 2 (1 comment)
Test
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