Swift knew all this. He had time, between the years 1714 and 1720, to find it out, even if he had not known of it before. But the condition was getting worse, and his heart filled, as he told Pope in 1728, with a "perfect rage and resentment" at "the mortifying sight of slavery, folly, and baseness about me, among which I am forced to live."
He commenced what might be called a campaign of attack in 1720, with the publication of his tract entitled, "A Modest Proposal for the Universal Use of Irish Manufactures." As has been pointed out in the notes prefixed to the pamphlets in the present volume, England had, apparently, gone to work systematically to ruin Irish manufactures. They seemed to threaten ruin to English industries; at least so the people in England thought. The pernicious legislation began in the reign of Charles II. and continued in that of William III. The Irish manufacturer was not permitted to export his products and found a precarious livelihood in a contraband trade. Swift's "Proposal" is one of retaliation. Since England will not allow Ireland to send out her goods, let the people of Ireland use them, and let them join together and determine to use nothing from England. Everything that came from England should be burned, except the people and the coal. If England had the right to prevent the exportation of the goods made in Ireland, she had not the right to prevent the people of Ireland from choosing what they should wear. The temper of the pamphlet was mild in the extreme; but the governing officials saw in it dangerous symptoms. The pamphlet was stigmatized as libellous and seditious, and the writer as attempting to disunite the two nations. The printer was brought to trial, and the pamphlet obtained a tremendous circulation. Although the jury acquitted the printer, Chief Justice Whitshed, who had, as Swift puts it, "so quick an understanding, that he resolved, if possible, to outdo his orders," sent the jury back nine times to reconsider their verdict. He even declared solemnly that the author's design was to bring in the Pretender. This cry of bringing in the Pretender was raised on any and every occasion, and has been well ridiculed by Swift in his "Examination of Certain Abuses and Corruptions in the City of Dublin." The end of Whitshed's persecution could have been foretold—it fizzled out in a nolle prosequi.
Following on this interesting commencement came the lengthened agitation against Wood's Halfpence to which we owe the remarkable series of writings known now as the "Drapier's Letters." These are fully discussed in the volume preceding this. But Swift found other channels in which to continue rousing the spirit of the people, and refreshing it to further effort. The mania for speculation which Law's schemes had given birth to, reached poor Ireland also. People thought there might be found a scheme on similar lines by which Ireland might move to prosperity. A Bank project was initiated for the purpose of assisting small tradesmen. But a scheme that in itself would have been excellent in a prosperous society, could only end in failure in such a community as peopled Ireland. Swift felt this and opposed the plan in his satirical tract, "The Swearer's Bank." The tract sufficed, for no more was heard of the National Bank after the House of Commons rejected it.
The thieves and "roughs" who infested Dublin came in next for Swift's attention. In characteristic fashion he seized the occasion of the arrest and execution of one of their leaders to publish a pretended "Last Speech and Dying Confession," in which he threatened exposure and arrest to the remainder of the gang if they did not make themselves scarce. The threat had its effect, and the city found itself considerably safer as a consequence.
How Swift pounded out his "rage and resentment" against English misgovernment, may be further read in the "Story of the Injured Lady," and in the "Answer" to that story. The Injured Lady is Ireland, who tells her lover, England, of her attractions, and upbraids him on his conduct towards her. In the "Answer" Swift tells the Lady what she ought to do, and hardly minces matters. Let her show the right spirit, he says to her, and she will find there are many gentlemen who will support her and champion her cause.
Then came the plain, pathetic, and truthful recital of the "Short View of the State of Ireland"—a pamphlet of but a few pages and yet terribly effective. As an historical document it takes rank with the experiences of the clergymen, Skelton and Jackson, as well as the more dispassionate writings of contemporary historians. It is frequently cited by Lecky in his "History of Ireland."
What Swift had so far left undone, either from political reasons or from motives of personal restraint, he completed in what may, without exaggeration, be called his satirical masterpiece—the "Modest Proposal for Preventing the Children of Poor People from being a Burthen to their Parents." Nothing comparable to this piece of writing is to be found in any literature; while the mere fact that it came into being must stand as one of the deadliest indictments against England's misrule. Governments and rulers have been satirized time and again, but no similar condition of things has existed with a Swift living at the time, to observe and comment on them. The tract itself must be read with a knowledge of the Irish conditions then prevailing; its temper is so calm and restrained that a reader unacquainted with the conditions might be misled and think that the author of "Gulliver's Travels" was indulging himself in one of his grim jokes. That it was not a joke its readers at the time well knew, and many of them also knew how great was the indignation which raged in Swift's heart to stir him to so unprecedented an expression of contempt. He had, as he himself said, raged and stormed only to find himself stupefied. In the "Modest Proposal" he changed his tune and
... with raillery to nettle,
Set your thoughts upon their mettle.
Swift has been censured for the cold-blooded cynicism of this piece of writing, but these censurers have entirely misunderstood both his motive and his meaning. We wonder how any one could take seriously a proposal for breeding children for food purposes, and our wonder grows in reflecting on an inability to see through the thin veil of satire which barely hid an impeachment of a ruling nation by the mere statement of the proposal itself. That a Frenchman should so misunderstand it (as a Frenchman did) may not surprise us, but that any Englishman should so take it argues an utter absence of humour and a total ignorance of Irish conditions at the time the tract was written. But history has justified Swift, and it is to his writings, rather than to the many works written by more commonplace observers, that we now turn for the true story of Ireland's wrongs, and the real sources of her continued attitude of hostility towards England's government of her.
It has been well noted by one of Swift's biographers, that for a thousand readers which the "Modest Proposal" has found, there is perhaps only one who is acquainted with Swift's "Answer to the Craftsman." It may be that the title is misleading or uninviting; but there is no question that this tract may well stand by the side of the "Modest Proposal," both for force of argument and pungency of satire. In its way and within the limits of its more restricted argument it is one of the ablest pieces of writing Swift has given us on behalf of Irish liberty.