These two chapters highlight the kinds of commentary Swift makes throughout the novel. By describing a society that chooses its highest officials with silly competitions like seeing who can jump the highest on a tightrope, Swift is poking fun at the way officials are chosen in England. He is also commenting on the disturbing trend of politicians who are willing to do whatever it takes to gain favour in the courtincluding humiliating themselves. The danger of ambition is also figured here; jumping badly can lead to death. Having Gulliver stand with his legs apart so that the Lilliputian armies can walk through is also a ridiculous idea. It is a comment on the pomp and circumstance of English armies
– Mona Baker, Gill Francis ja Elena Tognini-Bonelli (toim.), Text and Technology: In Honour of John Sinclair. Amsterdam: John Benjamins. Mona Baker 2004. A corpus-based view of similarity and difference in translation. International Journal of Corpus Linguistics, 9 (2), 167–193. Susan Bassnett 2006. Writing and translating. – Susan Bassnett ja Peter Bush (toim.), The Translator as Writer. London: Continuum, 173–183. Anthea Bell 2006. Translation: walking the tightrope of illusion. – Susan Bassnett ja Peter Bush (toim.), The Translator as Writer. London: Continuum, 58–67. Roger T. Bell 1991. Translation and Translating. London: Longman. 258 Kirjandus Roger T. Bell 1995. What do translators think about translation? Investigating the attitudes of trainee translators. – Ian Mason ja Christine Pagnoulle (toim.), Cross-Words: Issues and Debates in Literary and Non-Literary Translating
Toforeshadow these meetings, Dorothy encounters a small model of the Special World adven ture. Bored, she tries to balance on the thin railing of a pig pen, and falls in. Three friendly farmhands rescue herfrom danger, predicting the roles the same actors will play in the Special World. The scene says, in the language of symbol, that Dorothy has been walking a tightrope between warring sides of her personality, and sooner or later she will need all the help she can get, from every part of her being, to survive the inevitable fall into conflict. 2®=> Heroes may have no obvious missing piece, flaw, or wound. T h e y may merely be restless, uneasy, and out of sync with their environment or culture. T h e y may have
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