@article{oai:nagoya.repo.nii.ac.jp:00028148,
 author = {原田, 範行 and Harada, Noriyuki},
 journal = {IVY},
 month = {Nov},
 note = {Satire is a mode of expression in which the range of indication of ·words and sentences is most significantly extended. As it is used for criticizing the contemporary politics and topical issues in the society, it is often characterized simply as a linguistic genre of attacking. However, satire can be more suitably considered to be an expression where one of the most essential features of language is well reflected: intrinsic ambiguity of a word or sentence. It is by this intrinsic ambiguity that satire is distinguished from simple irony, paradox, straightforward exaggeration, or attacking criticism. In Gulliver's Travels (1726), Jonathan Swift successfully describes the multiplicity of the world, making the most of this function of satire. In Lilliput, for example, he narrates the emperor's features with peculiar references to his "Austrian Lip," "arched Nose," and age of "twenty-eight Years and three Quarters old, of which he had reigned about seven." We can identify the indication of those references to some degree by the result of scholarly researches that have been done; "an Austrian Lip" suggests the thick underlip typical of the Habsburgs, "an arched Nose" invokes the memory of William III, and the age of the emperor alludes to George I. However, we should note that Swift does not here mention any one of those possible kings and emperors of the contemporary society, but makes several layers of characterization for the Lilliputian emperor. In other words, the Lilliputian emperor sometimes represents George I, but other times, he does not. By this satiric maneuver, the author shows the ·wide range of indication that each word or sentence can exhibit beyond our common understanding of one-to-one correspondence of a word and its meaning. Swift's refusal of single interpretations of words also enables him to attack some fixed notions in our society. One of the well-known examples of such attacks is observed in the scene where Gulliver was seriously shocked with the sight of the skin of a nurse in Brobdingnag. Gulliver cannot help saying with a sigh of disappointment: "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." This narration is quite different from common descriptions of beauty or plainness left by many authors; what Swift exhibits here is the possibility that the real beauties are deformed simply by changing our scale. Here the fixed and single notion of fair skins of English ladies totally breaks down. As for the impropriety of our tendency to give a single interpretation of each word that is observed in Tomas Sprat's record of the activity for improvement of the English language in the Royal Society, Gulliver's narration of the failure of the attempt by linguistic scholars in the Academy in Lagado should be regarded as one of the most serious attacks. Although "many scholars adhere to the new scheme of expressing themselves by Things," "if a Man's Business be very great, and various Kinds, he must be obliged in Proportion to carry a greater Bundle of Things upon his Back." However, in the country of the houyhnhnms, Gulliver faces a totally different and difficult problem to be solved; the language that the horses are using lacks important vocabulary for human society like power, government, war, law, and punishment and nevertheless, he comes to admire the houyhnhnms' society because of the lack of such words and notions. On this phase, Swift, who successfully has described the multiplicity of the human thought and society by using effectively the satiric mode of language, is obliged to change the tone of Gulliver's narration; his eloquence gradually becomes meaningless and Gulliver is finally banished from the country, in spite of his solicitation for remaining there. In a sense, this pessimistic and misanthropic ending of Gulliver's Travels is caused by Swift's satiric use of language; he makes the most of the ambiguity of language, denies a single interpretation of words, and breaks down fixed notions that are usually understood from a single point of view. Because of this satiric maneuver, Gulliver is obliged to encounter the defects of human society itself in the country where the common relationship between human beings and horses is reversed. And if we try to be perfectly free from the defects of human society, we need to get rid of some vile notions with the words and to accept the lack of enough vocabulary. The satire of Gulliver's Travels is sure to exhibit this depth of the human society but it must be noted that such a pessimistic feature of this work is not caused by the author's misanthropy, but by the widest possible range of human imagination and creation that this story has explored., 本論は2013年度名古屋大学英文学会サマー・セミナー（2013年7月12日）における講演に基づくものである。},
 pages = {41--62},
 title = {諷刺と語りの揺らぎ : 『ガリヴァー旅行記』再読},
 volume = {47},
 year = {2014}
}