A Tale of a Tub - Jonathan Swift

Summary

'A Tale of a Tub' is a highly satirical and allegorical work by Jonathan Swift, primarily attacking religious corruption, specifically focusing on the Roman Catholic Church (Peter), the Anglican Church (Martin), and Dissenting Protestants, especially Presbyterians (Jack). The narrative weaves together two main threads: a fictional tale about three brothers who inherit coats (representing Christianity) from their father, and numerous digressions where Swift's authorial persona comments on various aspects of "modern" learning, literature, and society.

The core tale follows the three brothers, Peter, Martin, and Jack, who are given plain coats by their dying father, with strict instructions not to alter them. However, as they grow up and are tempted by worldly fashion, Peter, the eldest, begins to add various adornments to his coat, bending the father's will through increasingly ingenious interpretations. Martin, the second brother, eventually tries to reform his coat by carefully removing the additions, but finds that some cannot be removed without tearing the fabric. Jack, the youngest, rebels violently against Peter's excesses, tearing his coat to shreds in his zeal to remove all adornments, and eventually descending into extreme fanaticism and madness.

Interspersed with this allegorical narrative are numerous digressions, where Swift, adopting the persona of a mad, pretentious, and self-congratulatory "modern author," satirizes pedantry, superficial scholarship, Grub Street writers, the scientific community (the Royal Society), and the general intellectual hubris of his age. He critiques the "modern" trend towards novelty, enthusiasm, and superficiality, often through deliberately obscure, verbose, and nonsensical prose that parodies the very styles he condemns. The "tub" in the title refers to a common device used by sailors to divert whales from their ship—Swift implies his work serves as a "tub" to divert the "wits of the age" from attacking the state and religion.

Ultimately, the book is a scathing indictment of human folly, intellectual pride, and the corruption of both religion and learning, presented with biting wit, complex irony, and a challenging narrative structure.

Book Sections

The Bookseller's Dedication

This section is a satirical dedication from the fictional "bookseller" to Lord Somers. It parodies the obsequious and self-serving dedications common in Swift's time, highlighting the commercial motivations behind publishing and the flattering nature of such prefaces. The bookseller praises Lord Somers excessively and subtly suggests that the book's value is purely for entertainment or novelty, rather than profound insight.

The Epistle Dedicatory

Written by the "Author" himself to Prince Posterity, this dedication is a mock-heroic lament about the ingratitude and neglect shown to modern authors by the present age. The author expresses his hope that future generations will appreciate his genius and laments the ephemeral nature of fame. It serves as an early instance of the author's pretentious and self-aggrandizing persona, setting the tone for the subsequent digressions.

The Preface

The author explains the purpose of the book, which he claims is to serve as a "tub" to distract critics and modern "wits" from attacking the Church and State, much like sailors throw a tub to a whale. He discusses the decline of wit and learning, and the proliferation of superficial writing. Swift uses this preface to subtly introduce the central themes of the book: the attack on false learning, modern pedantry, and religious enthusiasm, all presented through a highly ironic and often contradictory authorial voice.

The Introduction

The author further expands on his satirical attack on modern authors and critics. He outlines the nature of "modern" writing as a trade driven by novelty and self-interest. He discusses the various factions of writers—the critics, the compilers, the commentators—all of whom he portrays as parasites on true learning. This section establishes Swift's persona as a representative (and simultaneously a critic) of the very modern trends he attacks, using their own bombastic and convoluted style against them.

Section I: The Tale of the Three Brothers Begins

This section introduces the core allegory of the three brothers. Their wealthy father, before his death, bequeaths each son a coat of excellent new cloth, with strict instructions never to alter them by adding or removing any "lace, or points, or gold, or silver, or embroidery." These coats represent the original, uncorrupted Christian doctrine. The brothers, named Peter, Martin, and Jack, represent the Roman Catholic Church, the Anglican Church, and the Dissenting Protestants (particularly Presbyterians), respectively. Initially, they follow their father's will, but as they come of age and enter the world, they are tempted by the fashions and luxuries of the time.

Character	Characteristics	Motivations
The Father	Wise, benevolent, representative of divine authority or original Christian teaching.	To provide his sons with true and uncorrupted doctrine/faith.
Peter	Eldest brother, initially obedient, later becomes manipulative, authoritative, and prone to adding embellishments. Allegory for the Roman Catholic Church.	Initially to obey, later driven by desire for wealth, power, and conformity to worldly fashion/customs.
Martin	Middle brother, initially goes along with Peter's changes but later seeks moderation and careful reform. Allegory for the Anglican Church.	To obey the father's will, later to correct Peter's excesses with careful, measured reforms.
Jack	Youngest brother, initially goes along with Peter's changes, but later reacts violently against them, becoming excessively zealous and destructive. Allegory for Dissenting Protestants (especially Presbyterians).	To obey the father's will, later to eradicate Peter's corruptions completely and vehemently, often going beyond the original intent.

A Digression Concerning Critics

This digression shifts away from the brothers' tale to a satirical commentary on literary critics. The author defines critics as a race of vermin, specifically "blowflies" or "maggots," who feed on the works of others. He presents a mock-genealogy of critics, tracing their lineage back to the earliest times, and classifies different types of critics based on their methods and motivations. Swift ridicules the pedantry, envy, and superficiality of literary criticism, suggesting that critics often misunderstand or deliberately misinterpret works to serve their own agendas.

Section II: Peter's Innovations

The three brothers arrive in London and fall under the sway of fashionable society. They desire to adorn their plain coats with "shoulder-knots," "gold lace," and "flames" (representing various forms of elaborate ceremony, dogma, and traditions not found in original Christianity). Peter, being the most cunning, interprets their father's will creatively to justify these additions. He claims that the "shoulder-knots" are mentioned in the will but in a tiny script that only he can read. He develops increasingly convoluted methods of interpreting the will to sanction every new fashion, symbolizing the development of extra-biblical traditions and doctrines within the Catholic Church, often justified through strained interpretations.

A Digression in the Modern Kind

This digression is a further satirical attack on the intellectual climate of Swift's time, particularly "modern" theories of knowledge, writing, and discovery. The author muses on the nature of writing, particularly the "sublime" style, which he often equates with nonsense or mere bombast. He critiques those who claim originality while simply re-hashing old ideas, and mocks the pursuit of trivial knowledge or superficial learning. This digression, like others, is full of verbose and often contradictory statements, parodying the very style it condemns.

Section III: Peter's Tyranny Worsens

Peter's innovations grow increasingly bold and oppressive. He not only adds embellishments to the coats but also starts asserting his authority over his brothers. He invents new clauses in the father's will, such as prohibiting the wearing of linen (symbolizing Peter's imposition of celibacy on clergy) and insisting that bread is meat (transubstantiation). He acquires vast wealth and power, living luxuriously and selling "bulls" (papal bulls/indulgences) that promise eternal salvation. Peter's tyrannical behavior, his claims of infallibility, and his increasing demands on his brothers represent the growing power and corruption of the Papacy.

A Digression in Praise of Digressions

The author, with characteristic irony, praises the art of digression, claiming it is essential for modern writing and genius. He suggests that digressions allow authors to display their vast knowledge and prevent readers from becoming bored with a linear narrative. This serves as a self-aware commentary on the very structure of 'A Tale of a Tub,' which is famous for its extensive and often labyrinthine digressions. Swift uses this to mock academic pedantry and the tendency of modern authors to stray from their subject matter.

Section IV: Martin and Jack's Attempts at Reform

After enduring Peter's tyranny for a long time, Martin and Jack decide to reform their coats and return to the father's original will. Martin approaches the task cautiously, attempting to remove the embellishments gently. He finds that some additions, like the gold lace, can be carefully unpicked, but others, like the "flames" (representing persecution/burning), have become so deeply integrated that removing them would tear the fabric of the coat itself. Martin represents the Anglican Church's careful and moderate reformation, seeking to remove Catholic excesses without destroying the fundamental structure of the Church. Jack, however, fueled by rage against Peter, attacks his coat with furious zeal, tearing it to shreds in his attempt to remove every single embellishment. This symbolizes the more radical and often destructive reforms of the Dissenting Protestants.

A Digression Concerning the Original, the Use, and Improvement of Madness in a Commonwealth (Part 1)

This digression delves into the nature of madness, presenting it not as a flaw but as a source of genius, innovation, and power in society. The author argues that many great leaders, philosophers, and founders of religions have been driven by a form of "enthusiasm" or madness. He links madness to the human desire for novelty and discovery, claiming that it is the engine of progress in science, politics, and religion. This is a highly ironic commentary, suggesting that what society calls genius or divine inspiration is often a form of mental imbalance, especially targeting religious fanaticism.

Section V: Peter's Fall and Jack's Extremism

Peter is finally abandoned by his brothers due to his insufferable tyranny. He is stripped of his wealth and power, leaving him in a state of "poverty and distress." Meanwhile, Jack, having utterly ruined his coat in his zeal to remove all embellishments, descends into extreme fanaticism. He attempts to reconstruct his coat from the shreds, but does so in an absurd and haphazard manner, valuing the tears and holes as signs of true piety. He develops bizarre rituals and interpretations of the father's will, rejecting all forms of external authority and tradition. This symbolizes the radical and often self-destructive tendencies of certain Dissenting Protestant sects, who in their rejection of Peter's (Catholic) errors, veer into equally problematic extremes of literalism and enthusiasm.

A Digression Concerning the Original, the Use, and Improvement of Madness in a Commonwealth (Part 2)

This continues the previous digression, further exploring the societal implications of madness. The author connects it directly to specific historical examples of innovation and political upheaval. He presents the idea that madness, by providing individuals with unwavering conviction and disregard for conventional wisdom, allows them to challenge existing structures and create new ones. This further underscores Swift's critique of the unreasoned enthusiasm and fanaticism that he saw driving both religious and intellectual movements of his era.

Section VI: The Aeolists

This section is a detailed satire of the "Aeolists," a fictional sect of philosophers/religious enthusiasts who worship the wind. They believe that wind (representing "spirit," "inspiration," or mere empty rhetoric) is the source of all knowledge, power, and religious fervor. Their practices involve intense breathing exercises, flatulence as a form of divine inspiration, and bombastic, meaningless sermons. This is a biting satire of enthusiastic Dissenters, particularly Quakers and other groups Swift viewed as excessively emotional, irrational, and prone to "windy" or empty preaching, lacking substance or reasoned theology.

A Digression Concerning the Methods by which Modern Authors are Qualified for any Employment...

This digression satirizes the superficiality and corruption of professional life, particularly in the literary and political spheres. The author ironically describes how modern authors gain preferment not through merit or talent, but through flattery, patronage, and a willingness to compromise their integrity. He critiques the "projectors" and "empirics" who promise grand solutions without any real substance, and the ease with which unqualified individuals can rise to positions of influence in a "modern" society obsessed with novelty and appearance over truth and skill.

Section VII: The Separation and Jack's Decline

The separation between the brothers becomes complete. Martin continues his moderate path, attempting to salvage what he can of the original coat. Jack, however, having ruined his coat, now proudly displays its rags and holes as symbols of his purity and rejection of all worldly adornments. He becomes increasingly erratic, believing himself to be the sole interpreter of the father's will and rejecting all external authority, including Peter's and Martin's. He exhibits signs of genuine mental derangement, including self-mutilation and obsessive behaviors related to the father's will. This section emphasizes the destructive consequences of unchecked religious enthusiasm and the descent into isolated, idiosyncratic fanaticism.

A Digression Concerning the Causes of Universal Corruption of Mankind...

This digression offers Swift's cynical view on human nature and the pervasive corruption of mankind. The author attributes this corruption to various causes, including pride, self-love, and the inability of humans to see beyond their own limited perspectives. He suggests that human reason is often a slave to passion and that individuals are easily misled by superficial appearances and false promises. This digression serves to ground the religious satire in a broader critique of human folly and the inherent flaws in human nature that allow for such corruptions to take root.

Section VIII: Further Decline of Jack

Jack's behavior grows even more bizarre and contemptible. He develops a severe hatred for Peter, often mimicking Peter's former actions in an inverted and equally extreme way. He even attempts to disfigure himself in various ways, believing that self-mutilation is a sign of true piety. He preaches violently against all forms of established order and tradition, becoming a pariah. This reinforces the allegorical critique of the destructive zealotry of some Dissenting groups, who in their fervent opposition to Catholic practices, adopted equally extreme and irrational behaviors.

Section IX: Jack's Fanaticism

This section further details Jack's extreme fanaticism, focusing on his literal interpretations of the father's will and his rejection of all "outward" forms of religion. He becomes obsessed with outward signs of simplicity, even to the point of squalor. He insists that true faith comes from "inward light" and rejects all ceremonies, sacraments, and hierarchical structures. He also develops a habit of speaking only in cryptic utterances and parables, further alienating him from society. This satirizes the extreme anti-establishment and anti-ceremonial stances of some radical Dissenters.

Section X: Conclusion of the Tale

The tale of the three brothers concludes with a reflection on their ultimate fates. Peter remains an object of scorn but still retains some adherents. Martin, having pursued a moderate path, continues to represent a balanced form of faith. Jack, however, succumbs entirely to his madness, wandering the streets in rags, despised and rejected by all. The moral is drawn that both extreme conformity (Peter) and extreme rebellion (Jack) lead to ruin, while the middle path of careful reform (Martin) is the most prudent.

Section XI: General Conclusion

The author concludes the entire work by reflecting on its purpose and his own genius. He reiterates his satirical attacks on modern authors, critics, and the superficiality of contemporary learning. He boasts of his unique style and profound insights, even as he often contradicts himself and rambles in a manner that parodies the very intellectual pride he critiques. This final section wraps up Swift's elaborate ironies, leaving the reader to ponder the true meaning behind the layers of satire and the perplexing persona of the author.

Literary Genre

Satirical Prose, Allegory, Mock-Heroic, Menippean Satire.
It's a foundational work of English satire, characterized by its use of irony, parody, and sarcasm to critique religious and intellectual excesses. Its allegorical nature allows Swift to critique specific religious institutions through the tale of the three brothers. It also employs elements of mock-heroic by elevating trivial subjects or debasing grand ones. The complex structure, blending narrative with extensive digressions and a blend of prose and verse, also places it firmly in the tradition of Menippean satire.

Author Facts

• Jonathan Swift (1667–1745) was an Anglo-Irish satirist, essayist, political pamphleteer, poet, and Anglican cleric who became Dean of St. Patrick's Cathedral, Dublin.
• He is considered one of the foremost prose satirists in the English language, celebrated for works such as 'Gulliver's Travels', 'A Modest Proposal', and 'A Tale of a Tub'.
• Swift was a member of the Tory political party and wrote extensively in support of their policies.
• He was deeply concerned with the political and social issues of his time, particularly the treatment of Ireland by the English government and what he perceived as the decline of morals and reason.
• His writing style is characterized by its sharp wit, irony, and often savage sarcasm.

Moral of the Book

The central moral of 'A Tale of a Tub' is a strong advocacy for moderation and common sense, and a scathing critique of religious zealotry, intellectual vanity, and human folly.

Swift argues that both the rigid, tradition-bound corruption of the Roman Catholic Church (Peter) and the extreme, destructive fanaticism of some Dissenting Protestants (Jack) deviate dangerously from the original, simple truth of Christianity. The Anglican Church (Martin), with its careful and moderate approach to reform, is presented as the ideal middle ground.

Beyond religion, the book warns against the dangers of unreasoned enthusiasm in all its forms, whether intellectual, scientific, or political. It critiques the superficiality of "modern" learning, the hubris of pretentious authors, and the tendency of humanity to replace genuine understanding with empty rhetoric, self-serving interpretations, and superficial novelties. The overarching moral is to maintain a balance between tradition and reform, reason and faith, and to guard against the irrational excesses that arise from pride and a lack of sound judgment.

Curiosities of the Book

• Anonymity and Controversy: 'A Tale of a Tub' was published anonymously in 1704. Its biting satire on religion and learning caused a significant stir and offended many, including Queen Anne, which likely hindered Swift's ecclesiastical career.
• The "Tub" Metaphor: The title refers to a sailor's practice of throwing a tub into the sea to divert a whale from attacking the ship. Swift implies his book serves as a "tub" to distract the "wits of the age" (modern critics and radicals) from attacking the Church and State.
• Complex Structure: The book is famous for its intricate and often bewildering structure, constantly alternating between the allegorical "tale" of the brothers and numerous digressions on various unrelated topics. This structure is itself a satirical device, parodying the verbose and disorganized nature of much "modern" writing Swift intended to mock.
• Authorial Persona: Swift employs a highly unreliable narrator or authorial persona throughout the digressions. This persona is vain, self-congratulatory, and often nonsensical, serving as a caricature of the very "modern authors" Swift aimed to ridicule. This makes reading the book a constant exercise in deciphering irony.
• Accompanied Works: 'A Tale of a Tub' was originally published with two other distinct but related satires: 'The Battle of the Books' (a mock-heroic poem satirizing the "ancients vs. moderns" literary debate) and 'A Discourse Concerning the Mechanical Operation of the Spirit' (a satire on religious enthusiasm). These works enhance the overall satirical scope.
• Critique of Scientific Empiricism: Through the satire on the Aeolists and various digressions, Swift implicitly critiques the Royal Society and the nascent scientific empiricism of his time, suggesting that some of its pursuits were as irrational and "windy" as religious enthusiasm.