Paper 102: Parody and Allegory in 'A Tale of a Tub:' Swift’s Subversion of Religious and Philosophical Narratives

Paper 102: Parody and Allegory in 'A Tale of a Tub:' Swift’s Subversion of Religious and Philosophical Narratives

This blog is a part of the assignment of Paper 102: Literature of the Neo-classical Period

Parody and Allegory in 'A Tale of a Tub:' Swift’s Subversion of Religious and Philosophical Narratives

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Academic Details

• Name: Rajdeep A. Bavaliya
• Roll No.: 22
• Enrollment No.: 5108240006
• Sem.: 1
• Batch: 2024 - 2026
• E-mail: rajdeepbavaliya2@gmail.com

Assignment Details

• Paper Name: Literature of the Neo-classical Period
• Paper No.: 102
• Paper Code: 22393
• Unit: 1 - Jonathan Swift’s A Tale of a Tub
• Topic: Parody and Allegory in 'A Tale of a Tub:' Swift’s Subversion of Religious and Philosophical Narratives
• Submitted To: Smt. Sujata Binoy Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University
• Submitted Date: November 20, 2024

The following information—numbers are counted using QuillBot.

• Images: 2
• Words: 2976
• Characters: 21056
• Characters without spaces: 18177
• Paragraphs: 100
• Sentences: 228
• Reading time: 11m 54s

Abstract:

This assignment examines Jonathan Swift’s 'A Tale of a Tub' as a masterful work of parody and allegory, critiquing religious doctrines, philosophical systems, and literary criticism of the early 18th century. Through the allegory of the three brothers—Peter, Martin, and Jack, representing Catholicism, Anglicanism, and Puritanism respectively—Swift exposes the theological excesses and intellectual shortcomings of these religious factions. His satire extends to Cartesianism and empiricism, ridiculing their abstract reasoning and detachment from reality. The digressions, often viewed as disruptions, are revealed to be central to Swift’s critique, embodying the incoherence of modern rhetoric and intellectual hubris. By using irony, ambiguity, and structural chaos, Swift engages readers as active participants, urging them to reflect on their complicity in sustaining flawed systems of authority. Situated within the religious and intellectual tensions of post-Revolutionary England, this analysis highlights Swift’s skepticism toward human institutions and his enduring challenge to reason and authority.

Keywords:

Assignment, Jonathan Swift, A Tale of a Tub, satire, parody, allegory, religious critique, Cartesianism, literary criticism, Neo-classical period, reason and authority.

1. Introduction

Portrait by Charles Jervas, 1710

Cover, 1704.

Jonathan Swift’s 'A Tale of a Tub' (1704) stands as a cornerstone of satirical literature, melding parody and allegory to critique the religious and philosophical dogmas of its time. Swift’s central narrative—an allegory of the three brothers, Peter, Martin, and Jack, representing Catholicism, Anglicanism, and Puritanism respectively—dissects religious orthodoxy while the digressions skewer contemporary intellectual trends. This assignment will explore how Swift uses these techniques to undermine the authority of religious doctrines, Cartesianism, and modern literary criticism, contextualizing his work within the religious and intellectual tensions of the early 18th century.

2. Religious Critique

Swift’s allegorical treatment of the three brothers epitomizes his satire on religious orthodoxy. The brothers’ inheritance of their father’s will—symbolizing the Bible—parodies the theological schisms and deviations within Christianity. Peter, representing Catholicism, exemplifies excess and corruption, claiming absurd doctrines such as transubstantiation. Martin, as Anglicanism, seeks moderation, while Jack, the Puritan, embodies chaotic dissent and fanaticism.

In one vivid episode, Peter insists that bread contains the essence of beef, mutton, and plum pudding, symbolizing Catholic ritualistic overreach (Swift). Harold D. Kelling notes that this absurdity reflects the tendency of religious dogmatists to distort reason through—

“self-love” and “persuasive or delusive rhetoric.”

(Kelling)

Similarly, Jack’s rejection of all ornamentation in his coat—a metaphor for scriptural interpretation—reflects the Puritans’ austere approach to worship and its resulting doctrinal fragmentation. The brothers' exaggerated behaviors parody the doctrinal disputes that fractured Christianity, illustrating Swift’s disdain for theological rigidity.

Swift’s critique extends beyond theological disputes to the broader impact of religious orthodoxy on rational discourse. By portraying all three brothers as deluded and self-serving, Swift undermines the legitimacy of institutional religion, presenting it as a source of division rather than moral guidance. Gardner D. Stout asserts that Swift’s self-awareness as a satirist heightens the irony, inviting readers to question their complicity in these ideological conflicts (Stout).

3. Philosophical Critique

Swift’s satire also targets the intellectual arrogance of philosophical systems, particularly Cartesianism. In the digressions, he parodies the moderns’ obsession with abstract reason and speculative theories. Swift likens Cartesianism to a form of delusive rhetoric, emphasizing its detachment from practical realities. For example, in his 'Digression in Praise of Digressions,' the modern author extols abstract reasoning, which Swift lampoons as a ladder leading nowhere—a futile exercise in intellectual self-gratification (Swift).

Jay Arnold Levine identifies this mockery as a critique of the—

“encyclopedia of useless speculation”

 (Levine)

—that characterized contemporary intellectual trends. By exposing the absurdities of Cartesian dualism and similar systems, Swift questions the capacity of human reason to grasp ultimate truths. His satire extends to empiricism and rationalism, criticizing their reductionist tendencies and failure to account for human complexity.

Swift’s disdain for philosophical hubris aligns with his broader critique of modernity. He equates philosophical systems with madness, depicting their proponents as mad orators who deceive both themselves and others (Swift). Harold Kelling elaborates that Swift’s portrayal of madness underscores the perversion of reason, a recurring theme in his satire (Kelling). This perspective aligns with the Neo-classical emphasis on moderation and skepticism, opposing the excessive confidence of Enlightenment thinkers.

4. Critique of Modern Literary Criticism

Swift’s digressions serve as a scathing critique of contemporary literary criticism, particularly the Bentleyan critic. Richard Bentley, a prominent target, epitomizes the pedantic and self-serving critic who distorts texts for personal gain. Swift’s modern author mimics Bentley’s style, filling his digressions with nonsensical arguments and unwarranted digressions to highlight the absurdity of his methods.

In 'To the Right Honourable John Lord Somers,' Swift parodies the sycophantic tendencies of critics who seek patronage, using exaggerated flattery to mock the hollowness of such gestures (Swift). Jay Arnold Levine observes that this parody underscores the mercenary motives that compromise the integrity of literary criticism (Levine). By exposing the critics’ egomania, Swift critiques their role in perpetuating intellectual delusion.

Furthermore, Swift’s portrayal of the critic reflects his broader concerns about the degradation of literature. The critic’s obsession with trivial details and disregard for the text’s essence parallels the philosophical and religious distortions Swift satirizes. Gardner D. Stout argues that Swift’s satire invites readers to recognize their complicity in enabling such distortions, challenging them to adopt a more discerning approach to knowledge and authority (Stout).

5. Rhetoric, Irony, and the Speaker

Swift’s mastery of irony and self-mockery is central to his satirical technique. The modern author, a fictionalized persona, epitomizes the absurdities Swift seeks to expose. By adopting the voice of his satirical targets, Swift blurs the line between speaker and subject, creating a complex interplay of perspectives. Stout asserts that this technique allows Swift to critique both his targets and himself, enhancing the depth of his satire (Stout).

The shifts in tone, from solemnity to sarcasm, mirror the contradictions inherent in the systems Swift critiques. For instance, in the 'Preface,' the modern author claims that his work contains no satire, only to proceed with a scathing critique of contemporary intellectual trends (Swift). This irony reflects the Neo-classical skepticism toward grandiose claims of truth, emphasizing the limitations of human understanding.

Swift’s use of rhetorical devices, such as parody and hyperbole, further enhances his critique. The digressions, with their elaborate yet nonsensical arguments, mimic the style of his targets, highlighting their intellectual pretensions. Harold Kelling notes that Swift’s ability to embody the rhetorical flaws he critiques demonstrates his command of satire as a literary form (Kelling).

6. The Structure of 'A Tale of a Tub'

One of the most striking aspects of 'A Tale of a Tub' is its fragmented and chaotic structure, which serves as a deliberate satire of intellectual and rhetorical incoherence. Swift juxtaposes the allegory of the three brothers with digressions that seem to disrupt the narrative flow, reflecting the disjointedness of the intellectual systems he critiques. Jay Arnold Levine emphasizes that this design, while seemingly chaotic, mirrors the thematic unity of the text, exposing the perverted reason of the moderns (Levine).

6.1. The Allegory and Its Symbolism

The allegory of the three brothers serves as the backbone of Swift’s critique of religious orthodoxy. Their inheritance of the coats, representing divine doctrine, and their subsequent manipulation of these garments symbolize the distortion of religious truths. Peter’s (Catholicism) elaborate embellishments reflect the excesses of ritual and dogma, while Jack’s (Puritanism) mutilation of the coat signifies the destruction of tradition under the guise of reform. Martin (Anglicanism) represents a tenuous middle ground, attempting to balance tradition and reason but ultimately succumbing to the imperfections of human judgment.

Swift uses irony to expose the absurdities of these religious factions. For instance, Peter’s insistence that his coat is the most splendid despite its gaudy alterations illustrates the Catholic Church’s reliance on ostentation to assert authority (Swift). Jack’s frenzied rejection of embellishments, meanwhile, parodies the Puritan zeal for simplicity, which often leads to doctrinal chaos. Harold Kelling identifies this interplay as a critique of the instability inherent in extreme positions, highlighting the dangers of both excessive rigidity and unchecked reform (Kelling).

6.2. The Role of Digressions

The digressions, often dismissed as distractions, are central to Swift’s satirical strategy. They parody the rhetorical practices of his time, particularly the penchant for verbosity and irrelevant elaboration. For example, in the 'Digression in the Modern Kind,' the modern author praises his ability to entertain rather than instruct, mocking the superficiality of contemporary writing (Swift). This parody extends to literary criticism, with Swift’s depiction of critics as pedants who value style over substance.

Gardner D. Stout argues that the digressions reflect Swift’s critique of the audience’s complicity in fostering intellectual triviality. By disrupting the narrative, Swift forces readers to confront their own expectations of coherence and meaning, challenging them to question the value of the intellectual systems they uphold (Stout). The digressions also serve as a meta-commentary on the text itself, embodying the very faults Swift satirizes.

6.3. Thematic Unity Through Disorder

Despite its apparent disarray, 'A Tale of a Tub' achieves thematic unity by aligning its form with its critique. The chaotic structure mirrors the intellectual fragmentation Swift decries, with each digression and narrative thread contributing to the overarching satire. Jay Arnold Levine observes that this interplay between form and content underscores the “madness” of the moderns, whose intellectual systems prioritize complexity over clarity (Levine).

The final section, epitomizes this thematic unity. Here, Swift equates the moderns’ intellectual pursuits with madness, portraying them as deluded individuals who mistake their convoluted theories for profound truths. Harold Kelling interprets this digression as a culmination of Swift’s critique, where the breakdown of coherence symbolizes the failure of both religious and philosophical systems to provide genuine understanding (Kelling).

7. Historical and Political Context

Swift’s satire is deeply rooted in the religious and intellectual climate of early 18th-century England. The aftermath of the English Civil War and the Glorious Revolution had left the nation divided along religious lines, with tensions between Catholics, Anglicans, and Dissenters shaping political and social discourse. Swift, an Anglican clergyman, navigated these tensions with a critical eye, using 'A Tale of a Tub' to critique the excesses of all factions.

7.1. Religious and Intellectual Tensions

The allegory of the three brothers reflects the fractious state of Christianity in England. Peter’s authoritarianism parallels the Catholic Church’s perceived threat to Protestant England, while Jack’s chaos mirrors the Dissenters’ destabilizing influence. Martin’s struggle to maintain balance represents the Anglican Church’s precarious position as a state religion attempting to reconcile tradition and reform.

Swift’s critique extends beyond religious institutions to the broader intellectual trends of his time. The Enlightenment’s emphasis on reason and empirical inquiry often clashed with traditional religious beliefs, leading to debates about the role of faith and reason in society. Swift’s satire targets both extremes, exposing the limitations of human understanding. Gardner D. Stout highlights this dual critique, noting that Swift’s work challenges readers to reflect on their own ideological biases (Stout).

7.2. The Role of Authority

Swift’s disdain for authority, whether religious, philosophical, or literary, is a recurring theme in 'A Tale of a Tub.' He portrays authority figures as self-serving and deluded, using their positions to propagate their own agendas. This critique resonates with the political climate of Swift’s time, marked by struggles for power between the monarchy, Parliament, and religious factions.

Jay Arnold Levine observes that Swift’s satire of authority reflects his broader skepticism toward human institutions. By exposing the flaws of those in power, Swift invites readers to question the legitimacy of authority itself, emphasizing the need for individual discernment (Levine). This perspective aligns with the Neo-classical emphasis on reason and moderation, challenging the excesses of both absolutism and radical reform.

8. Literary Tradition and Influence

Swift’s use of parody and allegory places 'A Tale of a Tub' within the broader tradition of classical satire. Drawing on the works of Horace and Juvenal, Swift employs irony and hyperbole to critique the moral and intellectual failings of his time. However, his satire also subverts these classical models, incorporating elements of absurdity and chaos to reflect the complexities of modernity.

8.1. Engagement with Classical Satire

Swift’s engagement with classical satire is evident in his use of rhetorical devices and moral commentary. Like Horace, he adopts a conversational tone, using humor to expose human folly. However, his satire is more biting, akin to Juvenal’s, reflecting the heightened tensions of his era. Harold Kelling notes that Swift’s ability to combine these influences while addressing contemporary issues demonstrates his mastery of the satirical form (Kelling).

8.2. Innovations in Satirical Technique

Swift’s innovations lie in his use of parody and allegory to critique not only his targets but also the mechanisms of satire itself. By adopting the voice of the modern author, Swift blurs the line between satirist and subject, creating a self-reflexive critique of intellectual authority. Gardner D. Stout argues that this technique invites readers to engage with the text on multiple levels, challenging their assumptions about knowledge and truth (Stout).

9. Reader Engagement and the Satirical Glass

Swift’s 'A Tale of a Tub' actively engages its readers, forcing them to grapple with the satirical glass he holds up to human follies. Swift's dedication to irony and layered critique requires an attentive and discerning audience. His readers are not merely passive consumers but participants who must decode his intricate narrative to uncover its deeper meanings.

9.1. Inviting Critical Reflection

Swift’s satire invites readers to reflect on their intellectual and ideological assumptions. In the 'Preface,' the modern author insists that his work is devoid of satire, an ironic declaration that sets the stage for the biting critique that follows (Swift). This false assurance encourages readers to question the reliability of the narrator and, by extension, their own interpretative frameworks. Gardner D. Stout observes that this technique transforms the reader into a critical participant, complicit in both the creation and deconstruction of meaning (Stout).

The allegory of the three brothers challenges readers to examine their religious affiliations and the doctrines they accept. By presenting Peter, Martin, and Jack as equally flawed, Swift undermines the moral authority of all three factions, leaving readers to draw their own conclusions about the merits of religious orthodoxy versus reform. Harold Kelling notes that this strategy highlights the dangers of blind adherence to authority, urging readers to approach faith and reason with skepticism and moderation (Kelling).

9.2. The Role of Ambiguity and Complexity

Swift’s use of ambiguity complicates the reader’s engagement with the text. The digressions, in particular, confound expectations, offering seemingly unrelated commentary that ultimately reinforces the satire, and blurs the line between critique and self-parody, leaving readers uncertain whether Swift is mocking his targets, himself, or both. Jay Arnold Levine argues that this ambiguity is central to Swift’s satirical method, reflecting the complexity of human folly and the limits of reason (Levine).

9.3. The Satirical Glass

Swift’s metaphor of satire as a glass through which beholders see everybody's face but their own encapsulates his challenge to the reader (Swift). The modern author’s absurd self-importance serves as a mirror for the intellectual hubris of Swift’s audience, inviting them to recognize their own vulnerabilities. By exposing the flaws of his characters, Swift implicates his readers in the same failings, forcing them to confront their complicity in perpetuating the systems he critiques.

10.Conclusion

In 'A Tale of a Tub,' Jonathan Swift combines parody and allegory to deliver a scathing critique of religious, philosophical, and intellectual authority. Through the allegory of the three brothers, Swift exposes the absurdities of religious orthodoxy and the schisms that divide Christianity. His satirical treatment of Cartesianism and literary criticism underscores the intellectual arrogance of his time, while the digressions parody the incoherence of modern rhetoric.

Swift’s chaotic structure and shifting ironies reflect the fragmentation and delusion he critiques, creating a text that challenges readers to engage critically with its meaning. Harold Kelling aptly describes the work as a satire on the “perversion of reason,” illustrating Swift’s belief in the fallibility of human understanding (Kelling). By holding up a satirical glass to his audience, Swift invites them to confront their own intellectual and moral failings, making 'A Tale of a Tub' a timeless exploration of authority, knowledge, and folly.

References

1. Britannica, The Editors of Encyclopaedia. “A Tale of a Tub.” Encyclopedia Britannica, 2 Nov. 2022, www.britannica.com/topic/A-Tale-of-a-Tub-prose-satire-by-Swift. Accessed 16 Nov. 2024.

2. Kelling, Harold D. “Reason in Madness: A Tale of a Tub.” PMLA, vol. 69, no. 1, 1954, pp. 198–222. JSTOR, doi.org/10.2307/460138.

3. Levine, Jay Arnold. “The Design of A Tale of a Tub (with a Digression on a Mad Modern Critic).” ELH, vol. 33, no. 2, 1966, pp. 198–227. JSTOR, doi.org/10.2307/2872390.

4. Quintana, Ricardo and Luebering, J.E. “Jonathan Swift.” Encyclopedia Britannica, 15 Oct. 2024, www.britannica.com/biography/Jonathan-Swift. Accessed 16 Nov. 2024.

5. Stout, Gardner D. “Speaker and Satiric Vision in Swift’s Tale of a Tub.” Eighteenth-Century Studies, vol. 3, no. 2, 1969, pp. 175–99. JSTOR, doi.org/10.2307/2737572.

6. Swift, Jonathan. A Tale of a Tub. Project Gutenberg, 2015, www.gutenberg.org/cache/epub/4737/pg4737-images.html.

7. Williams, Abigail, and Kate O’Connor. “Jonathan Swift and ‘A Tale of a Tub.’” Great Writers Inspire, 4 July 2012, writersinspire.org/content/jonathan-swift-tale-tub. Accessed 16 Nov. 2024.