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Satire is the main stylistic device used by Moliere and Swift to unveil social problems and political troubles that affected their societies. In their works, Tartuffe and Gulliver’s Travel, Moliere and Swift depict social and political situations and ridicules the governmental system and false values existing in the society. Both works, Tartuffe and Gulliver’s Travel are unique because the author depicts events, experience, time, memories through different frames which are connected with each other.
Moliere and Swift attack social institutions and false traditions and values followed by society. In Gulliver’s Travels Swift criticizes the government of England unveiling corruption of administration and incompetence of George I. Swift took an active part in political life and was involved with the Tory government, but in a time, the Whigs returned to power and brought the full force of government against Swift.
Taking into account these facts, it is possible to say that the novel “Gulliver’s Travels” is a commentary on those political and historical events. In parts one and two the little and big people, versions of two opposite English classes, show readers the relativity of Swift’s standards. Gulliver, a version of society, shows the essence of human motives. In Lilliput, while effortlessly admired and respected, he casually performs heroic exploits and insists on preserving a conquered people’s liberty (Williams 65).
In Tartuffe, Moliere pays special attention to the role of religion and church in the lives of people and its influence on the government. During his time, political and social life was influenced by church and religion, and Moliere demonstrates that there was a separation of culture, “high” culture of a social and intellectual elite and “low” culture of peasant, small and big people. At the end o the play, the officer explains:
“Thus he rewards your recent zeal, displayed
In helping to maintain his rights and shows
How well his heart, when it is least expected,
Knows how to recompense a noble deed” (Moliere 1998).
Similar to Moliere, Swift includes a conflict between Protestant and Catholic Christians through the Little Indians and the Big Indians. Describing the land of Brobdingnag, Swift portrays that Brobdingnagian King knows little about the art of ruling and political science, but this incompetence does not lead the country to a crisis. Brobdingnag is a prosperous and well-governed country in spite of the fact that the King does little to support the economic and social development of his land. Swift ridicules that the government of England was elected in the same foolish manner “whoever jumps the highest, without falling, succeeds in the office” (Swift, 1998).
Characterizing his period, Swift and Moliere satirize the government and the society using acute irony and sarcasm. In Gulliver’s Travels, an extensive part of the governmental actions returned to the identification between the political and religious worlds, with the belief that only political power can support the monarchy. It is possible to say that Moliere satirizes the government and the church using specific things and actions of characters.
For instance, the tide character deliberately abuses his rhetorical and theatrical skills in order to deceive those around him by a false display of religious behavior, which is what made the play so controversial in the 1660s. By way of defense, Molière suggests that he wrote the play in such a way as to prevent any confusion in the spectators’ minds: it would be clear to them all along that Tartuffe was a hypocrite, even if some of the characters in the play believed him to be sincere. In contort, Swift uses absurdity to unveil false values and traditions of the society (Williams 69).
For instance, Swift criticizes the immoral life of this new literary world, foreseeing the death of civilized values. His works vividly reflect his epoch portraying ineffective functions of the government and foolish decisions. Using satire and sarcasm, Swift shows the human necessity for survival and the lengths to which a person will go to save his life. Swift depicts real government life through the character of the King of Laputa. According to British law, the King could not leave the land without Parliament’s consent.
The King of Laputa was also subdued to this rule seeing as an “important person” who felt a lack of personal freedom and rights. Swift ridicules that common citizens of Laputa were free from social constraints in contrast to the King limited by his own power. Part three hits out in several directions: at colonial power, pedantry, and abstract learning.
Gulliver reaches an impasse when he meets the Struldbruggs, people exempt from natural death. In the novel, the King of Lilliput, a prototype of George I who favored the Whigs, wears the Low-Heals. Swift describes: “We apprehend his imperial highness, the heir to the crown, to have some tendency towards the high heels; at least we can plainly discover that one of his heels is higher than the other, which gives him a hobble in his gait” (Swift, 1998).
Similar to Moliere and Swift, modern writers use satire as the main stylistic device to unveil social problems and issues. For instance, the Simpsons and Saturday night Live satirize social relations and class differences, unveil false morals of high classes and economic instability. In contrast to Moliere and Swift, they lack fire, animus, defined objective. The satiric tone and technique, in other words, have not reappeared. They restrict their material to a narrow range of society and events.
Moliere and Swift treat their material with such subtlety of observation and depth of penetration that they are ranked among the best of satirical writers. Modern writers use a simple argumentative method. They open with elaborate rhetoric, draw their principles from a social authority, then embellish arguments sardonically. Wealth is permissible only if its excess is distributed to the poor.
Works Cited
Swift, J. Gulliver’s Travels. 1998. Web.
Moliere, Tartuffe. 1998. Web.
Williams, K. Jonathan Swift and the Age of Compromise. University Press of Kansas, 1968.
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