The extent and variety of Swift’s writings render it necessary to confine our notice to two or three of his most curious productions. Of the ‘Tale of a Tub,’ which, being regarded as an attack upon all religion, brought down a weight of censure on the author, against which he protested in the preface to a later edition, Dr. Johnson says that “it has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed or never exerted. It is a mode so distinct and peculiar, that it must be considered by itself; what is true of that is not true of anything else which he has written. In his other works is found an equable tenor of easy language, which rather trickles than flows.”
‘Gulliver’s Travels’ are now probably better known to the public than any other of his productions. That work is a moral and political romance, exhibiting a wonderful specimen of irregular genius. Not only are human actions placed in the most unfavourable light, but human nature itself is libelled. His wayward temper and his ill-concealed disappointment had put him out of conceit with the world; misanthropy had made some inroad into his heart, and, with his pen in his hand, he indulged in the expression of it with affected exaggeration. But however offensive to good feeling the satire might be, the imagination and wit which pervade this extraordinary work will always attract some readers, while the simple, circumstantial air of truth with which such extravagant fictions are related is a source of amusement to less refined tastes.
Neither are the ‘Drapier’s Letters,’ written in 1724, less remarkable, although the temporary nature of the subject has divested them of all interest, except as samples of the powers of his mind and the character of his style. Lord Orrery calls them “those brazen monuments of his fame.” A patent had been taken out by one Wood for a copper coinage for Ireland, to the amount of one hundred and eighty thousand pounds in halfpence and farthings, by which the projector, at least as was alleged by the opponents of the ministry, would have gained exorbitant profit, and the nation would of course have incurred proportionate loss. The Dean, in the character of a Drapier, wrote a series of letters, exposing the folly and mischief of giving gold and silver for a debased coin probably not worth a third of its nominal value. He urged the people to refuse this copper money; and the nation acted on the Drapier’s advice. The government took the alarm at this seditious resistance to the King’s patent, and offered three hundred pounds reward for the discovery of the author of the fourth letter; but his precautions were so well taken, and his popularity so universal, that, though known to be the author, the proclamation failed to touch him. The popular indignation rose to such a height that Wood was compelled to withdraw his patent, and the base money was totally suppressed. From this time forward the Dean, who at his first arrival in Ireland had been most unpopular, possessed unlimited influence; he was consulted on all measures of domestic policy; persons of all ranks either courted or feared him; national gratitude was expressed by all ranks in their various ways; the Drapier was a toast at every convivial meeting, and the sign of his head insured custom to an ale-house.
His letters are remarkable for the pure English of their style: there is little of solid information to be derived from them; but the most trifling anecdotes of distinguished men find ready acceptation with a large class of readers.
As a poet, in the higher sense of the word, we rank Swift’s claims to honour very humbly. But he possessed uncommon power of correct, easy, and familiar versification; which, with his racy vein of humour, will secure him admirers among those who can pardon his offensive grossness.
Delany, an Irishman to the backbone, gives the following character of him: “No man ever deserved better of any country, than Swift did of his; a steady, persevering, inflexible friend; a wise, a watchful, and a faithful counsellor, under many severe trials and bitter persecutions, to the manifest hazard both of his liberty and fortune.” With respect to his conversation and private economy some particulars may be worth mentioning. His rule never to speak more than a minute at a time, and to wait for others to take up the conversation, it were well if professed talkers would adopt. He excelled in telling a story, but told the same too often; an infirmity which grew on him, as it does on others, in advancing life. He was churlish to his servants, but in the main a kind and generous master. He was unceremonious and overbearing, sometimes brutal; but in company which he respected, not coarse, although his politeness was in a form peculiar to himself. He considered wealth as the pledge of independence; but his frugality towards the close of his life amounted to avarice. As we have represented some features of his character in no very amiable light, we will conclude with an anecdote which shows the kindly portion of his nature to advantage. In the high tide of his influence, he was often rallied by the ministers for never coming to them without a Whig in his sleeve: whatever might have been his expectations from the unsolicited gratitude of his party, he never pressed his own claims personally; but he often solicited favours from Lord Oxford in behalf of Addison, Congreve, Rowe, and Steele. Personal merit rather than political principles directed his choice of friends. His intimacy with Addison was formed when they used to meet at the parties of Lord Halifax or Lord Somers, who were leaders of the Whigs; but it continued unabated when the Tories had gained the ascendency.
Swift’s works have gone through many editions in various forms. The latest and best is that of Sir Walter Scott. That man must be considered fortunate in his biographers, of whom memoirs have been handed down, with more or less detail, by Lord Orrery, Dr. Delany, Dr. Hawkesworth, Dr. Sheridan, Dr. Johnson, and Sir W. Scott.
[Gulliver in Lilliput, from a Design by Stothard.]
