Two months after returning to England, Gulliver is restless again. He sets sail on a ship called the Adventure, traveling to the Cape of Good Hope and Madagascar before encountering a monsoon that draws the ship off course. The ship eventually arrives at an unknown land mass. There are no inhabitants about, and the landscape is barren and rocky. Gulliver is walking back to the boat when he sees that it has already left without him. He tries to chase after it, but then he sees that a giant is following the boat. Gulliver runs away, and when he stops, he is on a steep hill from which he can see the countryside. He is shocked to see that the grass is about twenty feet high.
He walks down what looks like a high road but turns out to be a footpath through a field of barley. He walks for a long time but cannot see anything beyond the stalks of corn, which are forty feet high. He tries to climb a set of steps into the next field, but he cannot mount them because they are too high. As he is trying to climb up the stairs, he sees another one of the island’s giant inhabitants. He hides from the giant, but it calls for more people to come, and they begin to harvest the crop with scythes. Gulliver lies down and bemoans his state, thinking about how insignificant he must be to these giant creatures.
One of the servants comes close to Gulliver with both his foot and his scythe, so Gulliver screams as loudly as he can. The giant finally notices him, and picks him up between his fingers to get a closer look. Gulliver tries to speak to him in plaintive tones, bringing his hands together, and the giant seems pleased. Gulliver makes it clear that the giant’s fingers are hurting him, and the giant places him in his pocket and begins to walk toward his master.
The giant’s master, the farmer of these fields, takes Gulliver from his servant and observes him more closely. He asks the other servants if they have ever seen anything like Gulliver, then places him onto the ground. They sit around him in a circle. Gulliver kneels down and begins to speak as loudly as he can, taking off his hat and bowing to the farmer. He presents a purse full of gold to the farmer, which the farmer takes into his palm. He cannot figure out what it is, even after Gulliver empties the coins into his hand.
The farmer takes Gulliver back to his wife, who is frightened of him. The servant brings in dinner, and they all sit down to eat, Gulliver sitting on the table not far from the farmer’s plate. They give him tiny bits of their food, and he pulls out his knife and fork to eat, which delights the giants. The farmer’s son picks Gulliver up and scares him, but the farmer takes Gulliver from the boy’s hands and strikes his son. Gulliver makes a sign that the boy should be forgiven, and kisses his hand. After dinner, the farmer’s wife lets Gulliver nap in her own bed. When he wakes up he finds two rats attacking him, and he defends himself with his “hanger,” or sword.
The farmer’s nine-year-old daughter, whom Gulliver calls Glumdalclitch, or “nursemaid,” has a doll’s cradle that becomes Gulliver’s permanent bed. Glumdalclitch places the cradle inside a drawer to keep Gulliver safe from the rats. She becomes Gulliver’s caretaker and guardian, sewing clothes for him and teaching him the giants’ language.
The farmer begins to talk about Gulliver in town, and a friend of the farmer’s comes to see him. He looks at Gulliver through his glasses, and Gulliver begins to laugh at the sight of the man’s eyes through the glass. The man becomes angry and advises the farmer to take Gulliver into the market to display him. He agrees, and Gulliver is taken to town in a carriage, which he finds very uncomfortable. There, he is placed on a table while Glumdalclitch sits down on a stool beside him, with thirty people at a time walking through as he performs “tricks.”
Gulliver is exhausted by the journey to the marketplace, but upon returning to the farmer’s house, he finds that he is to be shown there as well. People come from miles around and are charged great sums to view him. Thinking that Gulliver can make him a great fortune, the farmer takes him and Glumdalclitch on a trip to the largest cities.
The three arrive in the largest city, Lorbrulgrud, and the farmer rents a room with a table for displaying Gulliver. By now, Gulliver can understand their language and speak it fairly well. He is shown ten times a day and pleases the visitors greatly.
In Gulliver’s adventure in Brobdingnag, many of the same issues that are brought up in the Lilliputian adventure are now brought up again, but this time Gulliver is in the exact opposite situation. Many of the jokes from Gulliver’s adventure in Lilliput are played in reverse: instead of worrying about trampling on the Lilliputians, Gulliver is now at risk of being trampled upon; instead of being feared and admired for his gargantuan size, he is treated as a miniscule and insignificant curiosity; instead of displaying miniature livestock in England to make money, he is put on display for money by the farmer. As a whole, the second voyage serves to emphasize the importance of size and the relativity of human culture.
Gulliver’s initial experiences with the Brobdingnagians are not positive. First they almost trample him, then the farmer virtually enslaves him, forcing him to perform tricks for paying spectators. This enslavement emphasizes the fundamental humanity of the Brobdingnagians—just like Europeans, they are happy to make a quick buck when the opportunity arises—and also makes concrete Gulliver’s lowly status. Whereas in Lilliput, his size gives him almost godlike powers, allowing him to become a hero and a Nardac to the Lilliputian people, in Brobdingnag his different size has exactly the opposite effect. Even his small acts of heroism, like his battle against the rats, are seen by the Brobdingnagians as, at best, “tricks.”
Swift continues to play with language in a way that both emphasizes his main satirical points about politics, ethics, and culture and makes fun of language itself. In the first few pages of this section, while Gulliver is still at sea, he describes in complicated naval jargon the various attempts his ship makes to deal with an oncoming storm. The rush of words is nearly incomprehensible, and it is meant to be so—the point is to satirize the jargon used by writers of travel books and sailing accounts, which in Swift’s view was often overblown and ridiculous. By taking the tendency to use jargon to an extreme and putting it in the mouth of the gullible and straightforward Gulliver, Swift makes a mockery of those who would try to demonstrate their expertise through convoluted language. Attacks like this one, which are repeated elsewhere in the novel, are part of Swift’s larger mission: to criticize the validity of various kinds of expert knowledge that are more showy than helpful, whether legal, naval, or, as in the third voyage, scientific.
The type of work is Satire, not Novel, because it happened before the Novel tradition started, and because it is a parody.
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