But I forget that I am expatiating on a subject wherein I have no concern, having neither a talent nor an inclination for satire. On the other side, I am so entirely satisfied with the whole present procedure of human things, that I have been for some years preparing materials towards A Panegyric Upon the World; to which I intended to add a second part, entitled, A Modest Defence of the Proceedings of the Rabble in all Ages. Both these I had thoughts to publish, by way of appendix to the following treatise; but finding my common-place book fill much slower than I had reason to expect, I have chosen to defer them to another occasion. Besides, I have been unhappily prevented in that design by a certain domestic misfortune; in the particulars whereof, though it would be very seasonable, and much in the modern way, to inform the gentle reader, and would also be of great assistance towards extending this preface into the size now in vogue, which by rule ought to be large in proportion as the subsequent volume is small; yet I shall now dismiss our impatient reader from any farther attendance at the porch; and having duly prepared his mind by a preliminary discourse, shall gladly introduce him to the sublime mysteries that ensue. A Tale of a Tub, &c. Section I: The Introduction[A physico-mythological dissertation on the different sorts of oratorial machines. Of the bar and the bench. The Author fond of the number Three; promises a panegyric on it. Of pulpits; which are the best. Of ladders; on which the British orators surpass all others. Of the stage itinerant; the seminary of the two former. A physical reason why those machines

Religious conflict at the time was primarily between the Church of England and the dissenting churches. The threat posed by the dissenters was keenly felt by Establishment clerics like Jonathan Swift. It was common enough for Puritans and other dissenters to disrupt church services, to accuse political leaders of being the anti-Christ, and to move the people toward violent schism, riots, and peculiar behaviour including attempts to set up miniature theocracies. Protestant dissenters had led the English Civil War. The pressure of dissenters was felt on all levels of British politics and could be seen in the change of the British economy. It is supposed to be an intervention in the controversy over the intended meaning of the Tale. However, the author of the 'Apology' does not admit to being Swift, or even the author of the Tale. Swift creates a third person figure that seems to ventriloquise a defence of the work that is part on behalf of an enraged and violated author, and part an outsider coming to his rescue. The apology refers consistently to the author, saying that 'the author cannot conclude this apology without…' or 'the author observes'. But the tale is complicated by the Apology's use of an 'I' in it, a figure that is differentiated from 'the author'. is reviewed between 08.30 to 16.30 Monday to Friday. We're experiencing a high volume of enquiries so it may take usThere is one thing which the judicious reader cannot but have observed: that some of those passages in this discourse, which appear most liable to objection, are what they call parodies, where the author personates the style and manner of other writers, whom he has a mind to expose. I shall produce one instance of a passage, 10 in which Dryden, L'Estrange, and some Swift, Jonathan. A Tale of a Tub and Other Works. Marcus Walsh, editor. Cambridge: Cambridge University Press, 2010. Ehrenpreis, Irvin. Swift: The Man, his Works, and the Age: Dr Swift. London: Methuen & Co. Ltd., 1967. Names of the more prominent persons mentioned in the text are tagged. Foreign phrases and terms are tagged. Canonical References

p.48• A Voyage into England, by a Person of Quality in Terra Australis Incognita, 23 translated from the Original. Thomas Hobbes, Leviathan; or the Matter, Form and Power of a Commonwealth, Ecclesiastical and Civil. (London 1651). For a short history of the seventeenth and early eighteenth centuries, see Mark Kishlansky, A Monarchy Transformed: Britain 1603–1714, New York: Penguin (1996). Harry Whitaker, C. U. M. Smith and Stanley Finger (eds.), Explorations of the Brain, Mind and Medicine in the Writings of Jonathan Swift. Springer (US) 2007.Swift was annoyed by people so eager to possess the newest knowledge that they failed to pose sceptical questions. If he was not a particular fan of the aristocracy, he was a sincere opponent of democracy, which was often viewed then as the sort of " mob rule" that led to the worst abuses of the English Interregnum. Swift's satire was intended to provide a genuine service by painting the portrait of conspiracy minded and injudicious writers. Although today very little of this debate remains, questions of the authorship of the Tale occupied many notable critics both in the 18th and 19th centuries. Famously, Samuel Johnson said A Tale of a Tub was a work of true genius (in contrast to Gulliver's Travels where once one imagines "big people and little people" the rest is easy) and too good to be Swift's. In the 19th century, many critics who saw misanthropy and madness in Swift's later work wished to reject the Tale as his. In a way, a critic's view on who wrote the Tale reflected that critic's politics. Swift was such a powerful champion of Tory, or anti-Whig, causes that fans of the Tale were eager to attribute the book to another author from nearly the day of its publication. Richard Bentley, A dissertation upon the Epistles of Phalaris: with an answer to the objections of the Honourable Charles Boyle, esquire. (London 1699). [An expansion of his essay published in 1697.] others I shall not name, are here levelled at; who, having spent their lives on faction and apostasies and all manner of vice, pretended to be sufferers for loyalty and religion. So Dryden tells us, in one of his prefaces, of his merits and sufferings, thanks God that he possesses his soul in patience; in other places he talks at the same rate; and L'Estrange often uses the like style; and I believe the reader may find more persons to give that passage an application: But this is enough to direct those who may have overlooked the author's intention. I expected, indeed, to have heard of your lordship's bravery at the head of an army; of your undaunted courage in mounting a breach or scaling a wall; or to have had your pedigree traced in a linear descent from the house of Austria; or of your wonderful talent at dress and dancing; or your profound knowledge in algebra, metaphysics, and the oriental tongues. But to ply the world with an old beaten story of your wit, and eloquence, and learning, and wisdom, and justice, and politeness, and candour, and evenness of temper in all scenes of life; of that great discernment in discovering, and readiness in favouring deserving men; with forty other common topics; I confess, I have neither conscience nor countenance to do it. Because there is no virtue, either of a public or private life, which some circumstances of your own have not often produced upon the stage of the world; and those few, which, for want of occasions to exert them, might otherwise have passed unseen or unobserved by your friends, your enemies have at length brought to light. 25