Swift, the greatest writer of the enlightenment

Like all the writers of the period. Swift wanted to enlighten people, trying to share with them his opinion and judgment concerning men and things. In his works, in the pamphlets in particular, he addressed himself to thecommon people, whom he supported with all hisTieart. Unlike many of his contemporaries who wanted to better the world simply by teaching. Swift openly protested against the vicious social order, and went so far in his criticism as to attack the vital principles of the bourgeois system as a whole. The great writer saw oppression, vice and misery all around, but did not know how to eliminate them. The tragic fate of the Irish people'especially grieved him and he did all he could to help them to secure their independence. Swift did not see any sure way of making people happy, – hence his pessimism, which led to bitterness and biting satire-in the allegorical portrayal of contemporary life which we find in "Gulliver's Travels".

The greatest merit of the novel lies in the satirical description of all the faults and vices of the society of the time. Under the cloak of what seems pure fantasy Swift attacks the politics of the time, religious prejudices, wars of ambition and the absurdity of many aspects of science. Swift's uniquely simple style has an incomparable exactness and precision. Even' line and every detail is alive with bitter, biting satire. The author presents the most improbable situations with the utmost gravity and makes the reader believe them.

Swift's ideas, as expressed in "Gulliver's Travels" had a great influence on the writers who came after him. The work has become popular in all languages. Like Defoe's "Robinson Crusoe". it has the merit both of amusing children and making men think.

In his satirical "Verses on the Death of Dr. Swift" (1733), the writer sums up the meaning of his life:

Fair Liberty was all his cry;

For her he stood prepar'd to die;

For her he boldly stood alone;

For her he oft exposed his own.

Lecture 13

The Theme: DEVELOPMENT OF THE ENGLISH REALISTIC NOVEL

The Plan

1. Henry Fielding (1707 – 1754).

2. “Tom Jones”.

Literature

1. Аракин В.Д. Практический курс английского языка. – М.: Владос, 1998. – 536 с.

2. Abbs B. Starting Strategies. - Longman, 1977. Aston H. Streets Ahead. - Book 1. - OUP,1990.

3. Bell J. Pre-Intermediate. - Longman, 1995.

4. Black V. Fast Forward 1 .- OUP, 1986. - P. 7.

5. Hartley B. Streamline English Departures. – OUP, 1978. - P. 2 - 6.

6. Richards J. Interchange 1/-CUP, 1990. - P. 2 - 8.

7. Sinclair B. Active Your English. Pre-Intermediate. - CUP, 1995/

8. Soars L. Headway. Elementary.- OUP, 1993/

9. Swan M. The New Cambridge English Course. - CUP, 1991/

10. Vimey P. Grapevine 1 .- OUP, 1989.

11. Volosova T.D., Rogoff V.V. English Literature. – M.: Prosvescheniye, 1994. – 240 p.

Development of the english realistic novel

The foundations of early bourgeois realism were laid by Daniel « and Jonathan Swift, but their novels, though of a new type and i a new hero, were based on imaginary voyages and adventures losed to take place far from England. Gradually the readers' tastes iged. They wanted to find more and more of their own life reflected terature, that is to say, the everyday life of a bourgeois family with oys and sorrows. These demands were satisfied when the great :ls of Samuel Richardson, Henry Fielding, and Tobias Smollett tared one after another. They marked a new stage in the developet of the art of writing. The greatest merit of these novelists lies in r deep sympathy for the common man, the man in the street, who become the central figure

of the new bourgeois world. The common i is shown in his actual surroundings, which makes him so convinc-believable, and true to life.