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Gulliver’s Travels

Jonathan Swift

Part II, Chapters III–V

Summary Part II, Chapters III–V

These chapters contain, in addition to the continuing satire of European culture, some of the most entertaining portions of the novel. Gulliver is treated like a doll, tormented by the court dwarf, and adopted, briefly, by a monkey. For the most part, these scenes serve to hammer home the image of Gulliver’s miniscule size as compared to the Brobdingnagians, but they also achieve several more significant accomplishments. The conflict with the dwarf is a good example of such a point. The dwarf, unable to gain the power that generally accompanies great physical size, has tried to make a place for himself in society by capitalizing instead on the distinctive lack of power that accompanies his tiny size. When Gulliver enters the court, he challenges the dwarf’s distinctiveness, and the dwarf responds aggressively. If there is a moral to the episode, it is that the politics of those who attempt to achieve power not through physical strength but through their distinctiveness can be just as immoral as the mainstream.

Another key episode takes place with Gulliver’s visit to the ladies of the court. The fantasy of domination and submission—realized when Gulliver becomes the sexual plaything of the ladies—is overshadowed by his outright disgust at their smell and appearance. He knows, theoretically, that if he were their size they would be just as attractive as the well-pampered court ladies of England, but since he is not, their flaws are literally magnified, and they appear to him malodorous, blemished, and crude. Swift’s point is that anything, even the smoothest skin or the most appealing political system, has imperfections, and these imperfections are bound to be exposed under close enough scrutiny. In a sense, what looks perfect to us is not actually perfect—it is simply not imperfect enough for our limited senses to notice.

At the time that Swift was writing Gulliver’s Travels, however, technology that could accentuate these imperfect senses was burgeoning, and Gulliver’s microscopic view of flies and flesh may be a reference to the relatively recent discovery of the microscope. The late seventeenth century saw the first publication of books containing magnified images illustrating that various items—fleas, hair, skin—contained details and flaws that had previously been hidden. Gulliver lives this microscopic experience directly. In a magnified world, everything takes on new levels of complexity and imperfection, demonstrating that the truth about objects is heavily influenced by the observer’s perspective.