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"Nor is mankind so much to blame in his choice thus determining him, if we consider that the debate merely lies between things past and things conceived, and so the question is only this: whether things that have place in the imagination may not as properly be said to exist as those that are seated in the memory? which may be justly held in the affirmative, and very much to the advantage of the former, since this is acknowledged to be the womb of things, and the other allowed to be no more than the grave."

— Swift, Jonathan (1667-1745)

Author

A Tale of a Tub

Place of Publication

London

Publisher

Printed for John Nutt

Date

May 10, 1704

Metaphor

"Nor is mankind so much to blame in his choice thus determining him, if we consider that the debate merely lies between things past and things conceived, and so the question is only this: whether things that have place in the imagination may not as properly be said to exist as those that are seated in the memory? which may be justly held in the affirmative, and very much to the advantage of the former, since this is acknowledged to be the womb of things, and the other allowed to be no more than the grave."

Metaphor in Context

Having, therefore, so narrowly passed through this intricate difficulty, the reader will, I am sure, agree with me in the conclusion that, if the moderns mean by madness only a disturbance or transposition of the brain, by force of certain vapours issuing up from the lower faculties, then has this madness been the parent of all those mighty revolutions that have happened in empire, in philosophy, and in religion. For the brain in its natural position and state of serenity disposeth its owner to pass his life in the common forms, without any thought of subduing multitudes to his own power, his reasons, or his visions, and the more he shapes his understanding by the pattern of human learning, the less he is inclined to form parties after his particular notions, because that instructs him in his private infirmities, as well as in the stubborn ignorance of the people. But when a man’s fancy gets astride on his reason, when imagination is at cuffs with the senses, and common understanding as well as common sense is kicked out of doors, the first proselyte he makes is himself; and when that is once compassed, the difficulty is not so great in bringing over others, a strong delusion always operating from without as vigorously as from within. For cant and vision are to the ear and the eye the same that tickling is to the touch. Those entertainments and pleasures we most value in life are such as dupe and play the wag with the senses. For if we take an examination of what is generally understood by happiness, as it has respect either to the understanding or the senses we shall find all its properties and adjuncts will herd under this short definition, that it is a perpetual possession of being well deceived. And first, with relation to the mind or understanding, it is manifest what mighty advantages fiction has over truth, and the reason is just at our elbow: because imagination can build nobler scenes and produce more wonderful revolutions than fortune or Nature will be at the expense to furnish. Nor is mankind so much to blame in his choice thus determining him, if we consider that the debate merely lies between things past and things conceived, and so the question is only this: whether things that have place in the imagination may not as properly be said to exist as those that are seated in the memory? which may be justly held in the affirmative, and very much to the advantage of the former, since this is acknowledged to be the womb of things, and the other allowed to be no more than the grave. Again, if we take this definition of happiness and examine it with reference to the senses, it will be acknowledged wonderfully adapt. How sad and insipid do all objects accost us that are not conveyed in the vehicle of delusion! How shrunk is everything as it appears in the glass of Nature, so that if it were not for the assistance of artificial mediums, false lights, refracted angles, varnish, and tinsel, there would be a mighty level in the felicity and enjoyments of mortal men. If this were seriously considered by the world, as I have a certain reason to suspect it hardly will, men would no longer reckon among their high points of wisdom the art of exposing weak sides and publishing infirmities--an employment, in my opinion, neither better nor worse than that of unmasking, which, I think, has never been allowed fair usage, either in the world or the play-house.
(pp. 82-3 in OUP ed.)