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Al the Octopus
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Al the Octopus is the mascot of the Detroit Red Wings of the National Hockey League. During some games (usually home playoffs), octopuses are thrown onto the ice by fans for good luck, this usually occurring after the national anthem is sung or after a goal is scored.
This Legend of the Octopus tradition, started on April 15, 1952,[1] when two brothers, Pete and Jerry Cusimano, who owned a fish market, decided to throw an octopus onto the ice at Olympia Stadium, with the eight tentacles of the octopus symbolizing the eight wins it took to win the Stanley Cup at the time.[2][3][4] The Red Wings were a perfect 7–0 in the playoffs and were one win away from not only winning the Cup, but becoming the first perfect team in the NHL's post season history. Sure enough the Red Wings won that game, and the media made mention of the octopus "omen" in the papers the following day, thus establishing the octopus legend in the process. Fans have been throwing octopuses onto the ice at Red Wings games ever since. The tradition died down somewhat in the 1970s and 1980s during the Red Wings dismal seasons, but when the Red Wings became contenders again in the 1990s, the tradition resumed.
Eventually, a drawn purple octopus mascot was created, and in the 1995 playoffs a large Octopus prop was unveiled. The Octopus was eventually named "Al" (after former Joe Louis Arena building operations manager and current Little Caesars Arena building operations manager Al Sobotka),[3] and every playoff year since, Al the Octopus gets raised to the rafters, when the Red Wings skate out onto the ice.[1] As the years went on some modifications were made to Al, such as making it so his pupils light up red (blinking on and off), the adding of a large Red Wing Jersey to his body, and the removal of a tooth in order to give Al that "hockey player" look. Al often appears on Red Wings apparel and promotional items. Coca-Cola would later create stuffed Als, in their Fan in the Can or Al in the Can promotion. The promotion featured cases of Coke in which some cans were, in fact, containers holding the stuffed Al. Later, Michigan stores would carry the doll, and it would be sold via a mail-in.
There have been many other types of Al merchandise, such as stickers, inflatable dolls, and decals. During the 1996 playoff year, a CD called A Call to Arms was released featuring Al on the cover. Being an octopus, Al's jersey number is 8.
As it now takes 16 wins for the Red Wings to claim the Stanley Cup, there are now two Al's hanging from the rafters when the Red Wings are in the playoffs.
See also[edit]
List of National Hockey League mascots
References[edit]
^ Jump up to: a b Starkey, Joe (May 30, 2009). "Octopi to fly at Joe Louis Arena", originally published in the Pittsburgh Tribune-Review. Distributed nationally by McClatchy-Tribune News Service.
Jump up ^ (October 27, 2008). "That rings a bell: Al the Octopus, 1952", Hartford Courant, p. B4.
^ Jump up to: a b Ryan, Shannon (May 19, 2009). "Flying octopi: When Red Wings fans throw 'em, he picks 'em up", Chicago Tribune, p. I3.
Jump up ^ Newman, Stanley (November 25, 2006). "Mascot's past fishy", Windsor Star, p. G6.
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Jeepers Creepers (2001 film)
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Jeepers Creepers
Theatrical release poster
Directed by
Victor Salva
Produced by
Tom Luse
Barry Opper
Written by
Victor Salva
Starring
Gina Philips
Justin Long
Jonathan Breck
Eileen Brennan
Music by
Bennett Salvay
Cinematography
Don E. FauntLeRoy
Edited by
Ed Marx
Production
company
American Zoetrope[1]
Distributed by
United Artists
Release date
August 31, 2001 (2001-08-31)
Running time
91 minutes[2]
Country
United States[1]
Germany[1]
Language
English
Budget
$10 million[3]
Box office
$59.2 million[3]
Jeepers Creepers is a 2001 American-German horror film written and directed by Victor Salva. The film takes its name from the 1938 song "Jeepers Creepers", which is featured in the film. Francis Ford Coppola executive produced, and the film stars Gina Philips, Justin Long, Jonathan Breck, and Eileen Brennan. Philips and Long play two older siblings who become the targets of a demonic creature (Breck) in rural Florida.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Reception
4.1 Box office
4.2 Awards
5 Sequels
6 See also
7 References
8 External links
Plot[edit]
Trish Jenner and her brother Darry are traveling home from college for spring break. As they drive through the Florida countryside, an old rusty truck tries to run them off the road. The vehicle eventually passes them, and they later see the same truck parked next to an abandoned church with a man sliding what appears to be bodies wrapped in bloodstained sheets into a large pipe sticking out of the ground. The man notices Trish and Darry watching him and attempts to run them off the road a second time.
After escaping, Darry convinces Trish to go back to the church and investigate. At the church, Darry hears noises coming from within the pipe and crawls inside with Trish holding on to his feet, but ends up falling in. At the bottom, he finds a dying man with stitches running down his stomach, and hundreds of other bodies sewn to the walls and ceiling. After Darry escapes, the two flee the scene and attempt to contact the police at a diner. At the diner, they are phoned by a strange woman who warns them that they are in danger. Confused and frightened, they ignore her warning. Later, Trish and Darry leave, with two police officers providing a security escort. As they travel, the police learn that the church has caught fire, and any evidence of bodies has been destroyed. The police are then attacked and killed by the mysterious driver, who loads their bodies into his truck.
Fleeing, Trish and Darry stop at a reclusive old woman's house, and beg her to call the police. The woman complies until she notices the driver hiding in her yard. She attempts to kill him, but the driver kills her and reveals his inhuman face to Trish and Darry, before pursuing them once again. Trish runs the driver over with her car, but they are horrified to see a giant wing tear through his trench coat and flap in the air. They drive to the local police station, where they are approached by psychic Jezelle Gay Hartman. She reveals herself as the woman who called them at the diner and tells them the true nature of their pursuer: it is an ancient creature, known as "the Creeper", which awakens every twenty-third spring for twenty-three days to feast on human body parts, which then form parts of its own body. She also tells them that it seeks out its victims through fear, and, by smelling the fear from Trish and Darry, it has found something it likes, but she does not know what.
The wounded Creeper arrives and attacks the police station. After cutting off the power, it gains entrance to the cells and eats prisoners to heal. The Creeper is swarmed by police but kills a number of them and evades capture. Trapped, Jezelle warns Trish and Darry that one of them will die a horrible death. Darry demands to know who, and Jezelle looks at Trish. The Creeper finds them, but spares Jezelle as she does not have anything it wants. The Creeper corners Trish and Darry in an upstairs interrogation room, and after sniffing and tasting them, the Creeper throws Trish aside and chooses Darry. Trish offers her life for her brother's, but the Creeper escapes out of the window and flies away with Darry. The next day, Trish is picked up by her parents, and Jezelle returns home in regret. In the Creeper's new hideout, an abandoned factory, it is revealed that the Creeper has removed the back of Darry's head and taken his eyes.
Cast[edit]
Gina Philips as Patricia "Trish" Jenner
Justin Long as Darius "Darry" Jenner
Jonathan Breck as the Creeper / Bald Cop
Patricia Belcher as Jezelle Gay Hartman
Brandon Smith as Sergeant Davis Tubbs
Eileen Brennan as the Cat Lady
Jon Beshara as Trooper Robert Gideon
Avis-Marie Barnes as Trooper Natasha Weston
Tom Tarantini as Roach
Production[edit]
This section needs expansion. You can help by adding to it. (October 2016)
Jeepers Creepers was filmed in Dunnellon, Florida in the summer of 2000.[4]
Reception[edit]
Rotten Tomatoes, a review aggregator, reports that 45% of 108 surveyed critics gave the film a positive review; the average rating was 5.1/10. The sites consensus reads: "Jeepers Creepers has a promising start. Unfortunately, the tension and suspense quickly deflates into genre cliches as the movie goes on."[5] Metacritic rated it 49/100.[6] Scott Foundas of Variety wrote that it is "the most conventional and least imaginative of the recent crop of high-class fright movies".[7] Stephen Holden of The New York Times called it "a cannier-than-average teen horror movie" that "disintegrates into a shoot-by-numbers monster hunt".[8] Kevin Thomas of the Los Angeles Times wrote that the film "has the scariest opening sequence of any horror picture in recent memory" but becomes an "amusing horror-comedy, spooky and jolting but too literally preposterous to regain its initial aura of suspense."[9] Peter Bradshaw of The Guardian wrote that the film starts off well but quickly degenerates into cliche.[10]
Audiences polled by CinemaScore gave the film an average grade of "D" on an A+ to F scale.[11]
Box office[edit]
Jeepers Creepers opened in 2,944 theaters and took in a US gross of $37.9 million; it later made $21.3 million internationally, making a total of $59.2 million worldwide.[3]
It broke the record for the highest ever Labor Day opening weekend four-day gross, holding the record until the 2003 release of its sequel, Jeepers Creepers 2.[12] After the 2015 Labor Day weekend, Jeepers Creepers holds the #7 spot and the #5 spot goes to its sequel.[12] Allowing for films that had been released prior to Labor Day, Jeepers Creepers holds the #16 spot for the Labor Day four-day weekend, with the #9 spot going to Jeepers Creepers 2.[13]
Awards[edit]
Nominated: 28th Saturn Awards – Best Horror Film
Nominated: 28th Saturn Awards – Best Young Actor: Justin Long
Nominated: International Horror Guild Award – Best Movie[14]
Nominated: 34th Sitges Film Festival - Best Film[15]
Sequels[edit]
In 2003, a sequel was released, Jeepers Creepers 2. Events in the second film take place four days after the first film. The Creeper and Darry are the only characters to appear in both films, although they are not the only actors to appear in both films. In the first film, actor Tom Tarantini appears as the minor character "Austin McCoy" AKA "Roach" who is a car thief and regular in the Poho County jail. In the second film, he portrays "Coach Dwayne Barnes".
On September 11, 2015, Jeepers Creepers 3 was officially greenlit.,[16] with a planned 2017 release.[17] Victor Salva returns as director, Jonathan Breck returns as "the Creeper",[16] and Gina Philips returns as "Trish Jenner", her first screen role in five years.[17] Production was halted in 2016 until it resumed in February 2017,[18] and completed in April. The film opened for what was said would be only a one-night showing on September 26, 2017; it was then shown again October 4 and it was announced that it would air on the SyFy channel on October 28, with a Blu-ray/digital release on December 28, 2017.[19]
See also[edit]
Jersey Devil
Spring-Heeled Jack, a supernatural creature said to prowl Victorian England, from which the 'Creeper' in the film draws inspiration.[20]
References[edit]
^ Jump up to: a b c "Jeepers Creepers". AFI Catalog of Feature Films. Retrieved September 2, 2017.
Jump up ^ "JEEPERS CREEPERS (15)". British Board of Film Classification. June 26, 2001. Retrieved February 21, 2015.
^ Jump up to: a b c Jeepers Creepers (2001). Box Office Mojo. Retrieved 2010-10-24.
Jump up ^ http://pohocounty.blogspot.com/2010/07/creeper-still-circles-his-3rd-and.html
Jump up ^ "Jeepers Creepers (2001)". Rotten Tomatoes. Retrieved 2014-07-25.
Jump up ^ "Jeepers Creepers". Metacritic. Retrieved 2014-07-25.
Jump up ^ Foundas, Scott (2001-08-26). "Review: 'Jeepers Creepers'". Variety. Retrieved 2014-07-25.
Jump up ^ Holden, Stephen (2001-08-31). "Jeepers Creepers (2001)". The New York Times. Retrieved 2014-07-25.
Jump up ^ Thomas, Kevin (2001-08-31). "Clever 'Jeepers Creepers' Pushes Too Far". Los Angeles Times. Retrieved 2014-07-25.
Jump up ^ Bradshaw, Peter (2001-10-18). "Jeepers Creepers". The Guardian. Retrieved 2014-07-25.
Jump up ^ "CinemaScore". cinemascore.com.
^ Jump up to: a b All Time Labor Day Weekend - Opening. Box Office Mojo. Retrieved 2016-05-25.
Jump up ^ All Time Labor Weekend - All Movies. Box Office Mojo. Retrieved 2016-05-25.
Jump up ^ "2001 International Horror Guild Awards". HorrorAward.org. Archived from the original on September 5, 2014. Retrieved 2016-05-27.
Jump up ^ "Fantàstic Official Selection". Sitges Film Festival. Retrieved 2016-05-27.
^ Jump up to: a b McNary, Dave (2015-09-11). "'Jeepers Creepers 3' in the Works From Producer Francis Ford Coppola". Variety. Retrieved 2016-08-25.
^ Jump up to: a b Orange, B. Alan (2016-03-22). "Jeepers Creepers 3 Shooting Next Month, Gina Philips to Return as Trish?". MovieWeb. Retrieved 2016-05-25.
Jump up ^ http://movieweb.com/jeepers-creepers-3-2017-production-start-date-victor-salva/
Jump up ^ http://movieweb.com/jeepers-creepers-3-2017-production-start-date-victor-salva/
Jump up ^ Mentioned in the directors commentary audio track, in the Jeepers Creepers DVD
External links[edit]
Official website
Jeepers Creepers on IMDb
Jeepers Creepers at Box Office Mojo
Jeepers Creepers at Rotten Tomatoes
Preceded by
American Pie 2 Box office number-one films of 2001 (U.S.)
September 2 Succeeded by
The Musketeer
[show]
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Jeepers Creepers
Jeepers Creepers
Jeepers Creepers 2
Jeepers Creepers 3
[show]
v
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Films directed by Victor Salva
Clownhouse (1989)
The Nature of the Beast (1995)
Powder (1995)
Rites of Passage (1999)
Jeepers Creepers (2001)
Jeepers Creepers 2 (2003)
Peaceful Warrior (2006)
Rosewood Lane (2011)
Dark House (2014)
Jeepers Creepers 3 (2017)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jeepers_Creepers_(2001_film)&oldid=817573543"
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Gulliver's Travels
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Gulliver's Travels (disambiguation).
Gulliver's Travels
First edition of Gulliver's Travels
Author
Jonathan Swift
Original title
Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of several Ships
Country
Ireland
Language
English
Genre
Satire, fantasy
Publisher
Benjamin Motte
Publication date
28 October 1726 (291 years ago) (1726-10-28)
Media type
Print
Dewey Decimal
823.5
Text
Gulliver's Travels at Wikisource
Gulliver's Travels, or Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships, (which is the full title), is a prose satire[1][2] by Irish writer and clergyman Jonathan Swift, that is both a satire on human nature and the "travellers' tales" literary subgenre. It is Swift's best known full-length work, and a classic of English literature. He himself claimed that he wrote Gulliver's Travels "to vex the world rather than divert it".
The book became popular as soon as it was published. John Gay wrote in a 1726 letter to Swift that "It is universally read, from the cabinet council to the nursery."[3]
Contents
[hide]
1 Plot
1.1 Part I: A Voyage to Lilliput
1.2 Part II: A Voyage to Brobdingnag
1.3 Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japan
1.4 Part IV: A Voyage to the Land of the Houyhnhnms
2 Composition and history
2.1 Faulkner's 1735 edition
2.2 Lindalino
3 Major themes
3.1 Misogyny
3.2 Character analysis
4 Cultural influences
5 In other works
5.1 Sequels and imitations
5.2 Allusions
6 Adaptations
6.1 Music
6.2 Film, television and radio
7 See also
8 References
9 Bibliography
9.1 Editions
10 External links
10.1 Online text
Plot[edit]
Locations visited by Gulliver, according to Arthur Ellicott Case[4]
Part I: A Voyage to Lilliput[edit]
4 May 1699[5]
Mural depicting Gulliver surrounded by citizens of Lilliput.
The travel begins with a short preamble in which Lemuel Gulliver gives a brief outline of his life and history before his voyages.
During his first voyage, Gulliver is washed ashore after a shipwreck and finds himself a prisoner of a race of tiny people, less than 6 inches (15 cm) tall, who are inhabitants of the island country of Lilliput. After giving assurances of his good behaviour, he is given a residence in Lilliput and becomes a favourite of the Lilliput Royal Court. He is also given permission by the King of Lilliput to go around the city on condition that he must not harm their subjects.
At first, the Lilliputians are hospitable to Gulliver, but they are also wary of the threat that his size poses to them. The Lilliputians reveal themselves to be a people who put great emphasis on trivial matters. For example, which end of an egg a person cracks becomes the basis of a deep political rift within that nation. They are a people who revel in displays of authority and performances of power. Gulliver assists the Lilliputians to subdue their neighbors the Blefuscudians by stealing their fleet. However, he refuses to reduce the island nation of Blefuscu to a province of Lilliput, displeasing the King and the royal court.
Gulliver is charged with treason for, among other crimes, "making water" in the capital though he was putting out a fire. He is convicted and sentenced to be blinded. With the assistance of a kind friend, "a considerable person at court", he escapes to Blefuscu. Here, he spots and retrieves an abandoned boat and sails out to be rescued by a passing ship, which safely takes him back home.
Part II: A Voyage to Brobdingnag[edit]
20 June 1702[6] – 3 June 1706[6]
Gulliver exhibited to the Brobdingnag Farmer (painting by Richard Redgrave)
Gulliver soon sets out again. When the sailing ship Adventure is blown off course by storms and forced to sail for land in search of fresh water, Gulliver is abandoned by his companions and is left on a peninsula on the western coast of the North American continent.
The grass of that land is as tall as a tree. He is then found by a farmer who was about 72 ft (22 m) tall, judging from Gulliver estimating a man's step being 10 yards (9 m). He brings Gulliver home and the farmer's daughter Glumdalclitch cares for Gulliver. The giant-sized farmer treats him as a curiosity and exhibits him for money. After a while the constant shows make Gulliver sick, and the farmer sells him to the queen of the realm. Glumdalclitch (who accompanied her father while exhibiting Gulliver) is taken into the Queen of Brobdingnag's service to take care of the tiny man. Since Gulliver is too small to use their huge chairs, beds, knives and forks, the Queen of Brobdingnag commissions a small house to be built for him so that he can be carried around in it; this is referred to as his "travelling box".
Between small adventures such as fighting giant wasps and being carried to the roof by a monkey, he discusses the state of Europe with the King of Brobdingnag. The King is not happy with Gulliver's accounts of Europe, especially upon learning of the use of guns and cannons. On a trip to the seaside, his traveling box is seized by a giant eagle which drops Gulliver and his box into the sea where he is picked up by some sailors who return him to England.
Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japan[edit]
See also: Castle in the Sky
5 August 1706[6] – 16 April 1710[7]
Gulliver discovers Laputa, the flying island (illustration by J. J. Grandville)
Setting out again, Gulliver's ship is attacked by pirates and he is marooned close to a desolate rocky island near India. He is rescued by the flying island of Laputa, a kingdom devoted to the arts of music, mathematics, and astronomy but unable to use them for practical ends. Rather than use armies, Laputa has a custom of throwing rocks down at rebellious cities on the ground.
Gulliver tours Balnibarbi, the kingdom ruled from Laputa, as the guest of a low-ranking courtier and sees the ruin brought about by the blind pursuit of science without practical results, in a satire on bureaucracy and on the Royal Society and its experiments. At the Grand Academy of Lagado in Balnibarbi, great resources and manpower are employed on researching completely preposterous schemes such as extracting sunbeams from cucumbers, softening marble for use in pillows, learning how to mix paint by smell, and uncovering political conspiracies by examining the excrement of suspicious persons (see muckraking). Gulliver is then taken to Maldonada, the main port of Balnibarbi, to await a trader who can take him on to Japan.
While waiting for a passage, Gulliver takes a short side-trip to the island of Glubbdubdrib which is southwest of Balnibarbi. On Glubbdubdrib, he visits a magician's dwelling and discusses history with the ghosts of historical figures, the most obvious restatement of the "ancients versus moderns" theme in the book. The ghosts consist of Julius Caesar, Brutus, Homer, Aristotle, René Descartes, and Pierre Gassendi.
On the island of Luggnagg, he encounters the struldbrugs, people who are immortal. They do not have the gift of eternal youth, but suffer the infirmities of old age and are considered legally dead at the age of eighty.
After reaching Japan, Gulliver asks the Emperor "to excuse my performing the ceremony imposed upon my countrymen of trampling upon the crucifix", which the Emperor does. Gulliver returns home, determined to stay there for the rest of his days.
Part IV: A Voyage to the Land of the Houyhnhnms[edit]
7 September 1710[6] – 5 December 1715[6]
Gulliver in discussion with Houyhnhnms (1856 illustration by J.J. Grandville).
Despite his earlier intention of remaining at home, Gulliver returns to sea as the captain of a merchantman, as he is bored with his employment as a surgeon. On this voyage, he is forced to find new additions to his crew whom he believes to have turned the rest of the crew against him. His crew then commits mutiny. After keeping him contained for some time, they resolve to leave him on the first piece of land they come across, and continue as pirates. He is abandoned in a landing boat and comes upon a race of hideous, deformed and savage humanoid creatures to which he conceives a violent antipathy. Shortly afterwards, he meets the Houyhnhnms, a race of talking horses. They are the rulers while the deformed creatures that resemble human beings are called Yahoos.
Gulliver becomes a member of a horse's household and comes to both admire and emulate the Houyhnhnms and their way of life, rejecting his fellow humans as merely Yahoos endowed with some semblance of reason which they only use to exacerbate and add to the vices Nature gave them. However, an Assembly of the Houyhnhnms rules that Gulliver, a Yahoo with some semblance of reason, is a danger to their civilization and command him to swim back to the land that he came from. Gulliver's "Master," the Houyhnhnm who took him into his household, bought him time to create a canoe to make his departure easier. After another disastrous voyage, he is rescued against his will by a Portuguese ship. He is disgusted to see that Captain Pedro de Mendez, a Yahoo, is a wise, courteous, and generous person.
He returns to his home in England, but he is unable to reconcile himself to living among "Yahoos" and becomes a recluse, remaining in his house, largely avoiding his family and his wife, and spending several hours a day speaking with the horses in his stables.
Composition and history[edit]
It is uncertain exactly when Swift started writing Gulliver's Travels (much of the writing was done at Loughry Manor in Cookstown, County Tyrone, whilst Swift stayed there) but some sources[which?] suggest as early as 1713 when Swift, Gay, Pope, Arbuthnot and others formed the Scriblerus Club with the aim of satirising popular literary genres. According to these accounts, Swift was charged with writing the memoirs of the club's imaginary author, Martinus Scriblerus, and also with satirising the "travellers' tales" literary subgenre. It is known from Swift's correspondence that the composition proper[clarification needed] began in 1720 with the mirror-themed Parts I and II written first, Part IV next in 1723 and Part III written in 1724; but amendments were made even while Swift was writing Drapier's Letters. By August 1725 the book was complete; and as Gulliver's Travels was a transparently anti-Whig satire, it is likely that Swift had the manuscript copied so that his handwriting could not be used as evidence if a prosecution should arise, as had happened in the case of some of his Irish pamphlets (the Drapier's Letters). In March 1726 Swift travelled to London to have his work published; the manuscript was secretly delivered to the publisher Benjamin Motte, who used five printing houses to speed production and avoid piracy.[8] Motte, recognising a best-seller but fearing prosecution, cut or altered the worst offending passages (such as the descriptions of the court contests in Lilliput and the rebellion of Lindalino), added some material in defence of Queen Anne to Part II, and published it. The first edition was released in two volumes on 28 October 1726, priced at 8s. 6d.[9]
Motte published Gulliver's Travels anonymously, and as was often the way with fashionable works, several follow-ups (Memoirs of the Court of Lilliput), parodies (Two Lilliputian Odes, The first on the Famous Engine With Which Captain Gulliver extinguish'd the Palace Fire...) and "keys" (Gulliver Decipher'd and Lemuel Gulliver's Travels into Several Remote Regions of the World Compendiously Methodiz'd, the second by Edmund Curll who had similarly written a "key" to Swift's Tale of a Tub in 1705) were swiftly produced. These were mostly printed anonymously (or occasionally pseudonymously) and were quickly forgotten. Swift had nothing to do with them and disavowed them in Faulkner's edition of 1735. Swift's friend Alexander Pope wrote a set of five Verses on Gulliver's Travels, which Swift liked so much that he added them to the second edition of the book, though they are rarely included.
Faulkner's 1735 edition[edit]
In 1735 an Irish publisher, George Faulkner, printed a set of Swift's works, Volume III of which was Gulliver's Travels. As revealed in Faulkner's "Advertisement to the Reader", Faulkner had access to an annotated copy of Motte's work by "a friend of the author" (generally believed to be Swift's friend Charles Ford) which reproduced most of the manuscript without Motte's amendments, the original manuscript having been destroyed. It is also believed that Swift at least reviewed proofs of Faulkner's edition before printing, but this cannot be proved. Generally, this is regarded as the Editio Princeps of Gulliver's Travels with one small exception. This edition had an added piece by Swift, A letter from Capt. Gulliver to his Cousin Sympson, which complained of Motte's alterations to the original text, saying he had so much altered it that "I do hardly know mine own work" and repudiating all of Motte's changes as well as all the keys, libels, parodies, second parts and continuations that had appeared in the intervening years. This letter now forms part of many standard texts.
Lindalino[edit]
The five-paragraph episode in Part III, telling of the rebellion of the surface city of Lindalino against the flying island of Laputa, was an obvious allegory to the affair of Drapier's Letters of which Swift was proud. Lindalino represented Dublin and the impositions of Laputa represented the British imposition of William Wood's poor-quality copper currency. Faulkner had omitted this passage, either because of political sensitivities raised by an Irish publisher printing an anti-British satire, or possibly because the text he worked from did not include the passage. In 1899 the passage was included in a new edition of the Collected Works. Modern editions derive from the Faulkner edition with the inclusion of this 1899 addendum.
Isaac Asimov notes in The Annotated Gulliver that Lindalino is generally taken to be Dublin, being composed of double lins; hence, Dublin.[10]
Major themes[edit]
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The King of Brobdingnag and Gulliver (1803), Metropolitan Museum of Art
Gulliver's Travels has been the recipient of several designations: from Menippean satire to a children's story, from proto-science fiction to a forerunner of the modern novel.
Published seven years after Daniel Defoe's wildly successful Robinson Crusoe, Gulliver's Travels may be read as a systematic rebuttal of Defoe's optimistic account of human capability. In The Unthinkable Swift: The Spontaneous Philosophy of a Church of England Man, Warren Montag argues that Swift was concerned to refute the notion that the individual precedes society, as Defoe's novel seems to suggest. Swift regarded such thought as a dangerous endorsement of Thomas Hobbes' radical political philosophy and for this reason Gulliver repeatedly encounters established societies rather than desolate islands. The captain who invites Gulliver to serve as a surgeon aboard his ship on the disastrous third voyage is named Robinson.
Scholar Allan Bloom points out that Swift's critique of science (the experiments of Laputa) is the first such questioning by a modern liberal democrat of the effects and cost on a society which embraces and celebrates policies pursuing scientific progress.[11]
A possible reason for the book's classic status is that it can be seen as many things to many different people. Broadly, the book has three themes:
A satirical view of the state of European government, and of petty differences between religions
An inquiry into whether men are inherently corrupt or whether they become corrupted
A restatement of the older "ancients versus moderns" controversy previously addressed by Swift in The Battle of the Books
In storytelling and construction the parts follow a pattern:
The causes of Gulliver's misadventures become more malignant as time goes on—he is first shipwrecked, then abandoned, then attacked by strangers, then attacked by his own crew.
Gulliver's attitude hardens as the book progresses—he is genuinely surprised by the viciousness and politicking of the Lilliputians but finds the behaviour of the Yahoos in the fourth part reflective of the behaviour of people.
Each part is the reverse of the preceding part—Gulliver is big/small/wise/ignorant, the countries are complex/simple/scientific/natural, and the forms of government are worse/better/worse/better than England's.
Gulliver's viewpoint between parts is mirrored by that of his antagonists in the contrasting part—Gulliver sees the tiny Lilliputians as being vicious and unscrupulous, and then the king of Brobdingnag sees Europe in exactly the same light; Gulliver sees the Laputians as unreasonable, and his Houyhnhnm master sees humanity as equally so.
No form of government is ideal—the simplistic Brobdingnagians enjoy public executions and have streets infested with beggars, the honest and upright Houyhnhnms who have no word for lying are happy to suppress the true nature of Gulliver as a Yahoo and are equally unconcerned about his reaction to being expelled.
Specific individuals may be good even where the race is bad—Gulliver finds a friend in each of his travels and, despite Gulliver's rejection and horror toward all Yahoos, is treated very well by the Portuguese captain, Don Pedro, who returns him to England at the novel's end.
Of equal interest is the character of Gulliver himself—he progresses from a cheery optimist at the start of the first part to the pompous misanthrope of the book's conclusion and we may well have to filter our understanding of the work if we are to believe the final misanthrope wrote the whole work. In this sense Gulliver's Travels is a very modern and complex novel. There are subtle shifts throughout the book, such as when Gulliver begins to see all humans, not just those in Houyhnhnm-land, as Yahoos. However, a feminist perspective of Gulliver's Travels argues that it is misogyny, and not misanthropy, that is shown in Gulliver.[12]
Throughout, Gulliver is presented as being gullible; he believes what he is told, never perceives deeper meanings, is an honest man, and expects others to be honest. This makes for fun and irony; what Gulliver says can be trusted to be accurate, and he does not always understand the meaning of what he perceives.
Also, although Gulliver is presented as a commonplace "everyman", lacking higher education, he possesses a remarkable natural gift for language. He quickly becomes fluent in the native tongue of any strange land in which he finds himself, a literary device that adds much understanding and humour to Swift's work.
Despite the depth and subtlety of the book, it is often classified as a children's story because of the popularity of the Lilliput section (frequently bowdlerised) as a book for children. One can still buy books entitled Gulliver's Travels which contain only parts of the Lilliput voyage.
Misogyny[edit]
A well-known underlying theme in Gulliver's Travels is misogyny. Swift uses satire to openly mock misogyny throughout the book, with one of the most cited examples of this coming from Gulliver's description of a Brobdingnagian woman:
"I must confess no Object ever disgusted me so much as the Sight of her monstrous Breast, which I cannot tell what to compare with, so as to give the curious Reader an Idea of its Bulk, Shape, and Colour.... This made me reflect upon the fair Skins of our English Ladies, who appear so beautiful to us, only because they are of our own Size, and their Defects not to be seen but through a magnifying glass...."
This open critic towards aspects of the female body is something that Swift often brings up in other works of his, particularly in poems such as The Lady's Dressing Room and A Beautiful Young Nymph Going To Bed [13]
A well known criticism of Swift's misogyny by Felicity A. Nussbaum proposes the idea that that “Gulliver himself is a gendered object of satire, and his antifeminist sentiments may be among those mocked.” Gulliver’s own masculinity is often mocked, seen in how he is made to be a coward among the Brobdingnag people, repressed by the people of Lilliput, and viewed as an inferior Yahoo among the Houyhnhnms.[12]
Another criticism of Swift's use of misogyny delves into Gulliver's repeated use of the word 'nauseous,' and the way that Gulliver is fighting his emasculation by commenting on how he thinks the women of Brobdingnag are disgusting.
"Swift has Gulliver frequently invoke the sensory (as opposed to reflective) word "nauseous" to describe this and other magnified images in Brobdingnag not only to reveal the neurotic depths of Gulliver's misogyny, but also to show how male nausea can be used as a pathetic countermeasure against the perceived threat of female consumption. Swift has Gulliver associate these magnified acts of female consumption with the act of "throwing-up" — the opposite of and antidote to the act of gastronomic consumption."[14]
This commentary of Deborah Needleman Armintor relies upon the way that the giant women do with Gulliver as they please, in much the same way as one might play with a toy, and get it to do everything one can think of. Armintor's comparison focuses on the pocket microscopes that were popular in Swift's time. She talks about how this instrument of science was transitioned to something toy-like and accessible, so it shifted into something that women favored, and thus men lose interest. This is similar to the progression of Gulliver's time in Brobdingnag, from man of science to women's plaything.
Character analysis[edit]
Pedro de Mendez is the name of the Portuguese captain who rescues Gulliver in Book IV. When Gulliver is forced to leave the Island of the Houyhnhnms, his plan is "to discover some small Island uninhabited" where he can live in solitude. Instead, he is picked up by Don Pedro's crew. Despite Gulliver's appearance—he is dressed in skins and speaks like a horse—Don Pedro treats him compassionately and returns him to Lisbon.
Though Don Pedro appears only briefly, he has become an important figure in the debate between so-called soft school and hard school readers of Gulliver's Travels. Some critics contend that Gulliver is a target of Swift's satire and that Don Pedro represents an ideal of human kindness and generosity. Gulliver believes humans are similar to Yahoos in the sense that they make "no other use of reason, than to improve and multiply...vices" [15] Captain Pedro provides a contrast to Gulliver's reasoning, proving humans are able to reason, be kind, and most of all: civilized. Gulliver sees the bleak fallenness at the center of human nature, and Don Pedro is merely a minor character who, in Gulliver's words, is "an Animal which had some little Portion of Reason."[16]
Cultural influences[edit]
Gulliver and a giant, a painting by Tadeusz Pruszkowski (National Museum in Warsaw).
From 1738 to 1746, Edward Cave published in occasional issues of The Gentleman's Magazine semi-fictionalized accounts of contemporary debates in the two Houses of Parliament under the title of Debates in the Senate of Lilliput. The names of the speakers in the debates, other individuals mentioned, politicians and monarchs present and past, and most other countries and cities of Europe ("Degulia") and America ("Columbia") were thinly disguised under a variety of Swiftian pseudonyms. The disguised names, and the pretence that the accounts were really translations of speeches by Lilliputian politicians, were a reaction to an Act of Parliament forbidding the publication of accounts of its debates. Cave employed several writers on this series: William Guthrie (June 1738 – November 1740), Samuel Johnson (November 1740 – February 1743), and John Hawkesworth (February 1743 – December 1746).
In his reference to the astronomers of Laputa in Chapter III, Swift states: "They have likewise discovered two lesser stars, or satellites, which revolve about Mars; whereof the innermost is distant from the centre of the primary planet exactly three of his diameters, and the outermost, five; the former revolves in the space of ten hours, and the latter in twenty-one and a half; so that the squares of their periodical times are very near in the same proportion with the cubes of their distance from the centre of Mars; which evidently shows them to be governed by the same law of gravitation that influences the other heavenly bodies."[17] (This is 151 years earlier than the recognized discovery of the two moons of Mars by Asaph Hall in 1877.)
Voltaire was presumably influenced by Swift: his 1750 short story Micromégas, about an alien visitor to Earth, also refers to two moons of Mars.
Swift crater, a crater on Mars's moon Deimos, is named after Jonathan Swift, while on Mars's other moon, Phobos, there is one named regio, Laputa Regio, and one named planitia, Lagado Planitia, both of which are named after places in Gulliver's Travels (the fictional Laputa, a flying island, and Lagado, imaginary capital of the fictional nation Balnibarbi).[18] Many of the craters on Phobos are also named after characters in Gulliver's Travels.[19]
The term Lilliputian has entered many languages as an adjective meaning "small and delicate". There is even a brand of small cigar called Lilliput. There is a series of collectable model houses known as "Lilliput Lane". The smallest light bulb fitting (5mm diameter) in the Edison screw series is called the "Lilliput Edison screw". In Dutch and Czech, the words Lilliputter and liliput(á)n respectively are used for adults shorter than 1.30 meters. Conversely, Brobdingnagian appears in the Oxford English Dictionary as a synonym for very large or gigantic.
In like vein, the term yahoo is often encountered as a synonym for ruffian or thug. In the Oxford English Dictionary it is considered a definition for "a rude, noisy, or violent person" and its origins attributed to Swift's Gulliver's Travels.[20]
In the discipline of computer architecture, the terms big-endian and little-endian are used to describe two possible ways of laying out bytes in memory. The terms derive from one of the satirical conflicts in the book, in which two religious sects of Lilliputians are divided between those who crack open their soft-boiled eggs from the little end, and those who use the big end, the "Big-endians".
Dostoevsky references Gulliver's Travels in his novel Demons (1872): 'In an English satire of the last century, Gulliver, returning from the land of the Lilliputians where the people were only three or four inches high, had grown so accustomed to consider himself a giant among them, that as he walked along the Streets of London he could not help crying out to carriages and passers-by to be careful and get out of his way for fear he should crush them, imagining that they were little and he was still a giant....'
In other works[edit]
Sequels and imitations[edit]
Many sequels followed the initial publishing of the Travels. The earliest of these was the anonymously authored Memoirs of the Court of Lilliput,[21] published 1727, which expands the account of Gulliver's stays in Lilliput and Blefuscu by adding several gossipy anecdotes about scandalous episodes at the Lilliputian court.
Abbé Pierre Desfontaines, the first French translator of Swift's story, wrote a sequel, Le Nouveau Gulliver ou Voyages de Jean Gulliver, fils du capitaine Lemuel Gulliver (The New Gulliver, or the travels of John Gulliver, son of Captain Lemuel Gulliver), published in 1730.[22] Gulliver's son has various fantastic, satirical adventures.
Donald Grant Mitchell retold part one of the novel in the form of a short story for children, published in St. Nicholas magazine in 1874.[23]
Hungarian author Frigyes Karinthy wrote two science fiction novellas that continue the adventures of Gulliver: Voyage to Faremido (1916) is an early examination of artificial intelligence, with a pacifist theme,[24] while Capillaria (1921) is a satire on the 'battle of the sexes'.[24]
Soviet science fiction writer Vladimir Savchenko published Gulliver's Fifth Travel—The Travel of Lemuel Gulliver, First a Surgeon, and Then a Captain of Several Ships to the Land of Tikitaks (Russian: Пятое путешествие Гулливера – Путешествие Лемюэля Гулливера, сначала хирурга, а потом капитана нескольких кораблей, в страну тикитаков), a sequel to the original series in which Gulliver's role as a surgeon is more apparent. Tikitaks are people who inject the juice of a unique fruit to make their skin transparent, as they consider people with regular opaque skin secretive and ugly.
Gulliver's Travels Beyond the Moon (ガリバーの宇宙旅行, Garibā no Uchū Ryokō, Gulliver's Space Travels) is a 1965 Japanese animated film, portraying an elder Gulliver taking part in a space travel, joined by a boy, a crow, a talking toy soldier and a dog. The film, although being a children's production generally fascinated by the idea of space travelling, portrays an alien world where robots have taken power. Thus it continues in Swift's vein of critical approach on themes in current society.
Hanna-Barbera produced two adaptations of Gulliver's Travels, one was an animated TV series called The Adventures of Gulliver from 1968 to 1969 and another was a 1979 animated television special titled Gulliver's Travels.
American physician John Paul Brady published in 1987 A Voyage to Inishneefa: A First-hand Account of the Fifth Voyage of Lemuel Gulliver (Santa Barbara: John Daniel), a parody of Irish history in Swift's manner.
In 1998 the Argentine writer Edgar Brau published El último Viaje del capitán Lemuel Gulliver (The Last Voyage of Captain Lemuel Gulliver), a novel in which Swift's character goes on an imaginary fifth journey, this time into the River Plate. It satirises ways and customs of present-day society, including sports, television, politics, etc. To justify the parody, the narrative is set immediately after the last voyage written by Swift (precisely, 1722), and the literary style of the original work is kept throughout the whole story.
"L. Gulliver" appears in Alan Moore's comic The League of Extraordinary Gentlemen Volume 1 as a member of a prior Society of Extraordinary Gentlemen from 1780s.[25]
Allusions[edit]
Philip K. Dick's short story "Prize Ship" (1954) loosely referred to Gulliver's Travels.[26]
In the 9th book of The Time Wars Series, Simon Hawke's The Lilliput Legion, the protagonists meet Lemuel Gulliver and battle the titular army.[27]
The BBC Radio 4 comedy series Brian Gulliver's Travels by Bill Dare is a satirical comedy about a travel documentary presenter, Brian Gulliver (played by Neil Pearson), who talks about his adventures in the undiscovered continent of Clafenia. Gulliver's Travels was the only book Dare read while he was at the university.[28]
The 1986 Japanese anime film Castle in the Sky, directed by Hayao Miyazaki and released by Studio Ghibli, centers on a floating city known as Laputa. The film was originally titled Laputa: Castle in the Sky.
A 2012 series of advertisements for the Acura RDX.[29]
In Journey 2: The Mysterious Island, elements of Lilliput were used to make up this film's version of The Mysterious Island.
In the film Dr. Strangelove, a loose B-52 bomber targets a science research laboratory in the fictional Soviet city of Laputa.
In Fahrenheit 451 the main character, Guy Montag, remarks "It is computed that eleven thousand persons have at several times suffered death rather than submit to break their eggs at the smaller end."
In the Doctor Who story The Mind Robber and its novelization, the character of Gulliver appears, speaking only lines from the book.
In Old Man's War, John Perry has to fight a race of aliens called the Covandu. Perry compares them to the Lilliputians due to them resembling humanity closely, and also the fact they are, on average, only one inch tall. Despite their small size, the novel mentions that they perform well in space battles and are aggressive colonizers, but they are understandably under-matched against Perry's forces in a ground battle.
In the Charle E Fritsch book Horses Asteroid, a collection of Sci fi short stories written before 1980, the hynhouyhyms have left earth in a spaceship due to it being too full of humans and settled on an asteroid.
Adaptations[edit]
Comic book cover by Lilian Chesney
Music[edit]
In 1728 the Baroque composer Georg Philipp Telemann composed a 5-movement suite for two violins based on Swift's book. Telemann's piece is commonly known as Gulliver's Travels, and depicts the Lilliputians and the Brobdingnagians particularly vividly through rhythms and tempos. The piece is part of Telemann's Der getreue Musik-meister (The Steadfast Music Teacher).
The ambient band Soufferance based and themed their 2010 concept album on the book. Titled "Travels into Several Remote Nations of the Mind", the album featured a single, 65 minute song, bearing the title "The Thoughts and Memoirs of Mike Lachaire, First a Strange Individual, and then a Philosopher", referencing the full title of the original book.[30]
Film, television and radio[edit]
Gulliver's Travels has been adapted several times for film, television and radio. Most film versions avoid the satire completely.
Guliver's Travels Among the Lilliputians and the Giants (1902): A French Silent film by Georges Méliès, a pioneer of early film. Gulliver is played by Méliès himself in this version.
Gulliver Mickey (1934): is a black and white Mickey Mouse short, produced by Walt Disney and released by United Artists in 1934.
The New Gulliver (1935): this Soviet retelling of the travel to Lilliput was lauded for the ground-breaking animation work by director Aleksandr Ptushko.
Gulliver's Travels (1939): Max Fleischer's animated feature-length classic of Gulliver's adventures in Lilliput. This was the first full-length animated cartoon after Walt Disney's Snow White and the Seven Dwarfs. The film was spun off into two cartoon short series: the Gabby cartoons about a Lilliputian sidekick of the film, and the Animated Antics cartoons starring Sneak, Snoop and Snitch (the three villains) and Twinkletoes (the carrier pigeon).
The Three Worlds of Gulliver (1960): a loose adaptation starring Kerwin Mathews and featuring stop motion effects by Ray Harryhausen.
Case for a Rookie Hangman (1970): A satirical movie by the Czech Pavel Juráček, based upon the third book, depicting indirectly the Communist Czechoslovakia, shelved soon after its release.[31]
Gulliver a törpék országában (1974): Directed by András Rajnai for Hungarian Television (MTV), this show deals with the trip to Lilliput.[32]
Gulliver's Travels (1977): Part live-action and part-animated. Stars Richard Harris.
Gulliver's Travels (1979): An animated TV movie adaptation of the first two parts made in Australia. It was produced by Southern Star Group for Famous Classic Tales, with the voice cast being Julie Bennett, Regis Cordic, Ross Martin, Don Messick, Hal Smith, John Stephenson, and Janet Waldo.[33]
Gulliver az óriások országában (1980): The second adaptation by András Rajnai for Hungarian Television (MTV), this hour-long show is an adaptation of Gulliver's voyage to Brobdingnag.[34]
Gulliver in Lilliput (1981): BBC Classics Television. Stars Andrew Burt and Elisabeth Sladen.[35]
Gulliver's Travels: It was produced by Saban Entertainment. It was aired from September 8, 1992 to June 29, 1993. It is an adaptation of the Gulliver's Travels novel by Jonathan Swift, and spanned a total of 26 episodes.
Gulliver's Travels (1996): Live-action, 2 part, TV miniseries with special effects starring Ted Danson and Mary Steenburgen, also featuring a variety of film stars in cameo roles.[36] This version includes all four voyages.
Crayola Kids Adventures: Tales of Gulliver's Travels (1997): Live-action Direct-to-video film starring children with Adam Wylie as Gulliver.[37]
Jajantaram Mamantaram (2003): Live-action Indian children's film, starring Javed Jaffrey.[38]
Gulliver's Travels (2010): Modernized, Live-action version of Gulliver's adventures in Lilliput, starring Jack Black, also featuring Billy Connolly, James Corden, Amanda Peet, Chris O'Dowd, Catherine Tate, Jason Segel, Emily Blunt and Olly Alexander.[39]
Gulliver's Travels was produced by Golden Films. This is an animated short version of the story. It is part of a larger series known as "Enchanted Tales."
See also[edit]
Ireland portal
Novels portal
The Engine
References[edit]
Jump up ^ Swift, Jonathan (2003). DeMaria, Robert Jr., ed. Gulliver's Travels. Penguin. p. xi.
Jump up ^ Swift, Jonathan (2009). Rawson, Claude, ed. Gulliver's Travels. W. W. Norton. p. 875. ISBN 978-0-393-93065-8.
Jump up ^ Gulliver's Travels: Complete, Authoritative Text with Biographical and Historical Contexts, Palgrave Macmillan 1995 (p. 21). The quote has been misattributed to Alexander Pope, who wrote to Swift in praise of the book just a day earlier.
Jump up ^ Case, Arthur Ellicott (1945). Four essays on Gulliver's travels. Gloucester, Mass: P. Smith.
Jump up ^ e="Project Gutenberg"> "Project Gutenberg".
^ Jump up to: a b c d e "Project Gutenberg".
Jump up ^ "Proyecto Gutenberg".
Jump up ^ Clive Probyn, Swift, Jonathan (1667–1745), Oxford Dictionary of National Biography (Oxford University Press: Oxford, 2004)
Jump up ^ Daily Journal 28 Oct 1726, "This day is published".
Jump up ^ Swift, Jonathan (1980). Isaac Asimov, ed. The Annotated Gulliver's Travels. New York: Clarkson N Potter Inc. p. 160. ISBN 0-517-539497.
Jump up ^ Allan Bloom (1990). Giants and Dwarfs: An Outline of Gulliver's Travels. New York: Simon and Schuster. pp. 47–51.
^ Jump up to: a b 1667-1745., Swift, Jonathan,. Gulliver's travels : complete, authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. Fox, Christopher, 1948-. Boston. ISBN 9780312066659. OCLC 31794911.
Jump up ^ Rogers, Katharine M. (1959). ""MY FEMALE FRIENDS": THE MISOGYNY OF JONATHAN SWIFT". Texas Studies in Literature and Language. 1 (3): 366–379.
Jump up ^ Armintor, Deborah (2007). "The Sexual Politics of Microscopy in Brobdingnag". JSTOR.
Jump up ^ Swift, Jonathan (1726). Gulliver's Travels. p. 490. ISBN 978-0-393-93065-8.
Jump up ^ James Clifford, "Gulliver's Fourth Voyage: 'hard' and 'soft' Schools of Interpretation." Quick Springs of Sense: Studies in the Eighteenth Century. Ed. Larry Champion. Athens: U of Georgia Press, 1974. 33–49
Jump up ^ Gulliver's Travels: Complete, Authoritative Text with Biographical and Historical Contexts, Palgrave Macmillan 1995 (p. 21)
Jump up ^ Gazetteer of Planetary Nomenclature USGS Astrogeology Research Program, Phobos
Jump up ^ "Gazetteer of Planetary Nomenclature, Phobos Craers". International Astronomical Union. Retrieved 10 January 2018.
Jump up ^ "yahoo - definition of yahoo in English - Oxford Dictionaries".
Jump up ^ "Memoirs of the Court of Lilliput". J. Roberts. 1 January 1727 – via Google Books.
Jump up ^ l'abbé), Desfontaines (Pierre-François Guyot, M.; Swift, Jonathan (1 January 1730). "Le nouveau Gulliver: ou, Voyage de Jean Gulliver, fils du capitaine Gulliver". La veuve Clouzier – via Google Books.
Jump up ^ “About Some Queer Little People,” by Donald Grant Mitchell, St. Nicholas, Mar. 1874, 296–99.
^ Jump up to: a b Bleiler, E. F.; Richard, Bleiler (1990). Science-Fiction: The Early Years. Kent State University Press. pp. 400–401. ISBN 9780873384162.
Jump up ^ "The 1780s League of Extraordinary Gentlemen". www.comp.dit.ie. Retrieved 2015-05-30.
Jump up ^ Collected Short Stories of Philip K. Dick: Volume One, Beyond Lies The Wub, Philip K. Dick, 1999, Millennium, an imprint of Orion Publishing Group, London
Jump up ^ The Lilliput Legion, Simon Hawke, 1989, Ace Books, New York, NY
Jump up ^ "Brian Gulliver's Travels: Episode 1". BBC Radio 4. Retrieved 21 February 2011.
Jump up ^ "Videos: Acura launches Gulliver's Travels themed commercials for new 2013 RDX". 8 April 2012. Retrieved 15 September 2012.
Jump up ^ Julien, Alexandre. "Soufferance Bandcamp page". Bandcamp. Abridged Pause Publishing. Retrieved 28 June 2015.
Jump up ^ Pajukallio, Arto (10 August 2011). "Nuoren pyövelin tapaus". Helsingin Sanomat (in Finnish). pp. D 5.
Jump up ^ "Gulliver a törpék országában (1974)".
Jump up ^ "Gulliver's Travels". 23 November 1979 – via IMDb.
Jump up ^ "Gulliver az óriások országában (1980)".
Jump up ^ "Gulliver in Lilliput". 3 January 1982 – via IMDb.
Jump up ^ "Gulliver's Travels (TV 1996)". Retrieved 26 November 2011.
Jump up ^ "Tales of Gulliver's Travels » Sonar Entertainment". Sonar Entertainment, LLC. Archived from the original on 26 June 2015. Retrieved 12 January 2012. .
Jump up ^ "Now, an Indian Gulliver's Travels". Sunday Tribune. 8 June 2003. Retrieved 13 November 2012.
Jump up ^ "Chris O'Dowd: The IT Man From The IT Crowd". SuicideGirls.com. 9 May 2009. Archived from the original on 10 April 2012. Retrieved 11 May 2009.
Bibliography[edit]
Editions[edit]
The standard edition of Swift's prose works as of 2005[update] is the Prose Writings in 16 volumes, edited by Herbert Davis et al.[1]
Swift, Jonathan Gulliver's Travels (Harmondsworth: Penguin, 2008) ISBN 9780141439495. Edited with an introduction and notes by Robert DeMaria Jr. The copytext is based on the 1726 edition with emendations and additions from later texts and manuscripts.
Swift, Jonathan Gulliver's Travels (Oxford: Oxford University Press, 2005) ISBN 9780192805348. Edited with an introduction by Claude Rawson and notes by Ian Higgins. Essentially based on the same text as the Essential Writings listed below with expanded notes and an introduction, although it lacks the selection of criticism.
Swift, Jonathan The Essential Writings of Jonathan Swift (New York: W. W. Norton, 2009) ISBN 9780393930658. Edited with an introduction by Claude Rawson and notes by Ian Higgins. This title contains the major works of Swift in full, including Gulliver's Travels, A Modest Proposal, A Tale of a Tub, Directions to Servants and many other poetic and prose works. Also included is a selection of contextual material, and criticism from Orwell to Rawson. The text of GT is taken from Faulkner's 1735 edition.
Swift, Jonathan Gulliver's Travels (New York: W. W. Norton, 2001) ISBN 0393957241. Edited by Albert J. Rivero. Based on the 1726 text, with some adopted emendations from later corrections and editions. Also includes a selection of contextual material, letters, and criticism.
External links[edit]
Wikimedia Commons has media related to Gulliver's Travels.
Gulliver's Travels public domain audiobook at LibriVox
Wikisource has original text related to this article:
Gulliver's Travels
Wikiquote has quotations related to: Gulliver's Travels
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Online text[edit]
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Gulliver's Travels (Parts I and II) with illustrations at Project Gutenberg
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Jump up ^ Swift, Jonathan (2005). Rawson, Claude; Higgins, Ian, eds. Gulliver's Travels (New ed.). Oxford. p. xlviii.
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values: ഗള്ളിവേഴ്സ് ട്രാവൽസ് – Malayalam

values: ဂါလစ်ဗာ၏ခရီးစဉ် – Burmese

values: ガリヴァー旅行記 – Japanese

values: ਗੁਲੀਵਰਸ ਟਰੈਵਲਜ਼ – Punjabi

values: Гулливеровы вандровкы – Rusyn

values: Путешествия Гулливера – Russian

values: การเดินทางของกัลลิเวอร์ – Thai

values: Мандри Гуллівера – Ukrainian

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