Summary
Gulliver leaves the flying island and travels to the port town of Maldonada, where he must wait a month for a ship. A local gentleman suggests he visit nearby Glubbdubdrib, the Island of Sorcerers, where the governor can summon any dead person from history for exactly 24 hours. This bizarre power creates a household staffed entirely by ghosts and spirits, which initially terrifies Gulliver but soon becomes routine. The governor offers Gulliver an extraordinary opportunity: he can call up any historical figure and ask them questions, with the guarantee that the dead cannot lie. Gulliver eagerly begins summoning famous leaders and heroes. He calls up Alexander the Great, who admits he died from drinking too much, not from poison as legends claim. Hannibal confesses he never used vinegar to dissolve rocks while crossing the Alps. Most revealing is when Gulliver summons both Julius Caesar and his assassin Brutus together. Instead of enemies, they appear as friends, with Caesar freely admitting that Brutus performed a greater service to Rome by killing him than Caesar ever did by conquering it. Gulliver spends ten days interviewing history's greatest figures, discovering that the stories we tell about the past often bear little resemblance to reality. Swift uses this magical premise to expose how we mythologize historical figures while simultaneously revealing uncomfortable truths about power, heroism, and the gap between public reputation and private reality.
Coming Up in Chapter 24
Gulliver's conversations with the dead take a darker turn as he begins to question not just individual heroes, but entire historical narratives. What happens when you can finally get the truth about the past?
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An excerpt from the original text.(~500 words)
The author leaves Lagado: arrives at Maldonada. No ship ready. He takes a short voyage to Glubbdubdrib. His reception by the governor. The continent, of which this kingdom is a part, extends itself, as I have reason to believe, eastward, to that unknown tract of America westward of California; and north, to the Pacific Ocean, which is not above a hundred and fifty miles from Lagado; where there is a good port, and much commerce with the great island of Luggnagg, situated to the north-west about 29 degrees north latitude, and 140 longitude. This island of Luggnagg stands south-eastward of Japan, about a hundred leagues distant. There is a strict alliance between the Japanese emperor and the king of Luggnagg; which affords frequent opportunities of sailing from one island to the other. I determined therefore to direct my course this way, in order to direct my return to Europe. I hired two mules, with a guide, to show me the way, and carry my small baggage. I took leave of my noble protector, who had shown me so much favour, and made me a generous present at my departure. My journey was without any accident or adventure worth relating. When I arrived at the port of Maldonada (for so it is called) there was no ship in the harbour bound for Luggnagg, nor likely to be in some time. The town is about as large as Portsmouth. I soon fell into some acquaintance, and was very hospitably received. A gentleman of distinction said to me, “that since the ships bound for Luggnagg could not be ready in less than a month, it might be no disagreeable amusement for me to take a trip to the little island of Glubbdubdrib, about five leagues off to the south-west.” He offered himself and a friend to accompany me, and that I should be provided with a small convenient bark for the voyage. Glubbdubdrib, as nearly as I can interpret the word, signifies the island of sorcerers or magicians. It is about one third as large as the Isle of Wight, and extremely fruitful: it is governed by the head of a certain tribe, who are all magicians. This tribe marries only among each other, and the eldest in succession is prince or governor. He has a noble palace, and a park of about three thousand acres, surrounded by a wall of hewn stone twenty feet high. In this park are several small enclosures for cattle, corn, and gardening. The governor and his family are served and attended by domestics of a kind somewhat unusual. By his skill in necromancy he has a power of calling whom he pleases from the dead, and commanding their service for twenty-four hours, but no longer; nor can he call the same persons up again in less than three months, except upon very extraordinary occasions. When we arrived at the island, which was about eleven in the morning, one of the gentlemen who accompanied me went to the...
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Intelligence Amplifier™ Analysis
The Road of Mythmaking - When Heroes Become Human
The tendency to create heroic or villainous narratives about people when we lack direct access to their reality.
Why This Matters
Connect literature to life
This chapter teaches how to recognize when distance creates false narratives about people and events.
Practice This Today
This week, notice when you hear workplace legends about past managers or 'golden age' stories—ask yourself what human reality might be underneath the myth.
Now let's explore the literary elements.
Terms to Know
Satire
A literary technique that uses humor, irony, or exaggeration to criticize people's vices or society's problems. Swift uses the magical island to mock how we create myths about historical figures and refuse to face uncomfortable truths.
Modern Usage:
We see this in late-night comedy shows that use jokes to point out political hypocrisy or social media memes that expose celebrity contradictions.
Mythologizing
The process of turning real people or events into larger-than-life legends that often ignore messy truths. Swift shows how we prefer heroic stories over complicated reality.
Modern Usage:
We do this with founding fathers, war heroes, and even celebrities - focusing on inspiring stories while downplaying their flaws or mistakes.
Historical revisionism
Reexamining and reinterpreting historical events, often revealing that accepted stories aren't entirely accurate. Gulliver discovers that famous historical accounts are often wrong or exaggerated.
Modern Usage:
Modern historians constantly uncover new evidence that changes how we understand past events, like discovering that popular war stories were propaganda.
Necromancy
The magical practice of communicating with the dead, usually to learn hidden knowledge. The governor uses this power to summon any historical figure for exactly 24 hours.
Modern Usage:
We see this concept in movies, TV shows, and video games where characters can speak with spirits or resurrect the dead.
Empirical evidence
Information gained through direct observation and experience rather than theory or hearsay. Gulliver gets to question historical figures directly instead of relying on written accounts.
Modern Usage:
This is the foundation of scientific research and investigative journalism - going to primary sources rather than accepting secondhand information.
Cognitive dissonance
The mental discomfort when new information conflicts with existing beliefs. Gulliver struggles when his heroes turn out to be different from their legendary reputations.
Modern Usage:
We experience this when we learn unflattering facts about people we admire, like discovering a favorite celebrity has serious personal problems.
Characters in This Chapter
The Governor of Glubbdubdrib
Magical host and guide
He possesses the power to summon any dead person from history and offers Gulliver the chance to interview them. He represents the ultimate insider with access to hidden truths.
Modern Equivalent:
The connected person who can get you access to anyone - like a powerful agent or someone with serious networking skills.
Alexander the Great
Historical figure summoned from the dead
When questioned, he admits he died from excessive drinking rather than the heroic poisoning story. This reveals how we romanticize even the deaths of our heroes.
Modern Equivalent:
The legendary CEO whose success story gets exposed as involving luck and questionable decisions rather than pure genius.
Hannibal
Historical military leader summoned from the dead
He confesses that the famous story about using vinegar to dissolve rocks while crossing the Alps never actually happened. Shows how military legends get exaggerated over time.
Modern Equivalent:
The war veteran whose heroic stories turn out to be embellished versions of more ordinary events.
Julius Caesar
Historical ruler summoned from the dead
Appears alongside his assassin Brutus as a friend rather than enemy. He admits that Brutus did Rome a greater service by killing him than he ever did by conquering territories.
Modern Equivalent:
The powerful boss who later admits their successor made better decisions than they did.
Brutus
Historical assassin summoned from the dead
Shows up as Caesar's friend, completely contradicting the dramatic betrayal narrative. Represents how political necessity can be misunderstood as personal betrayal.
Modern Equivalent:
The whistleblower who gets painted as a traitor but was actually trying to save the organization.
Key Quotes & Analysis
"I had the honour to have much conversation with Brutus; and was told, that his ancestor Junius, the founder of the commonwealth, bore a perpetual grudge against tyranny."
Context: Gulliver describes his conversation with Brutus after summoning both Caesar and his assassin together.
This reveals that Brutus wasn't motivated by personal ambition but by family principles against tyranny. Swift shows how we misunderstand historical motivations by focusing on drama rather than deeper principles.
In Today's Words:
Brutus explained that fighting against abuse of power was a family tradition, not a personal vendetta.
"I was struck with a profound veneration at the sight of Brutus, and could easily discover the most consummate virtue, the greatest intrepidity and firmness of mind, the truest love of his country."
Context: Gulliver's first impression when meeting the famous assassin of Julius Caesar.
This challenges readers' expectations about Brutus as a villain. Swift forces us to reconsider whether someone history painted as a traitor might actually have been a principled patriot.
In Today's Words:
Meeting Brutus in person, I could see he was actually a person of incredible integrity and genuine love for his country.
"Caesar freely confessed to me, that the greatest actions of his own life were not equal by many degrees to the glory of taking it away."
Context: Julius Caesar admits that Brutus killing him was more beneficial to Rome than anything Caesar himself accomplished.
This completely inverts our understanding of the Caesar-Brutus relationship. Swift suggests that sometimes the people who stop powerful leaders do more good than the leaders themselves.
In Today's Words:
Caesar admitted that Brutus killing him did more good for Rome than anything Caesar had ever accomplished.
Thematic Threads
Truth vs. Legend
In This Chapter
Historical figures reveal their real stories differ dramatically from public legends
Development
Builds on earlier themes about perception vs. reality across different societies
In Your Life:
You might discover that family stories about relatives or workplace legends about colleagues don't match the complex truth.
Power and Vulnerability
In This Chapter
Even the greatest leaders admit to human weaknesses and mistakes
Development
Continues exploration of how power affects both those who hold it and those who observe it
In Your Life:
You might realize that authority figures you fear or admire are dealing with the same human struggles you face.
Access to Truth
In This Chapter
Only through direct contact with the dead can Gulliver learn what really happened
Development
Extends the book's theme about how social distance distorts understanding
In Your Life:
You might find that secondhand information about conflicts or situations is often incomplete or biased.
Heroism Redefined
In This Chapter
Brutus killing Caesar is revealed as friendship and service, not betrayal
Development
Challenges earlier assumptions about loyalty, duty, and moral action
In Your Life:
You might need to reconsider whether someone who challenged or opposed you was actually trying to help.
Knowledge and Disillusionment
In This Chapter
Learning the truth about heroes is both enlightening and disturbing
Development
Continues Gulliver's pattern of gaining knowledge that changes his worldview
In Your Life:
You might struggle with learning uncomfortable truths about people or institutions you respected.
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What shocked Gulliver most about the historical figures he summoned, and why were their real stories so different from the legends?
analysis • surface - 2
Why do you think we create heroic myths about historical figures when the truth is often more ordinary or flawed?
analysis • medium - 3
Where do you see this same mythmaking happening today - at work, in families, or on social media?
application • medium - 4
How would you fact-check the stories you hear about people in your life before making important decisions based on those stories?
application • deep - 5
What does this chapter reveal about why humans need heroes and villains, and how does that need sometimes blind us to reality?
reflection • deep
Critical Thinking Exercise
Separate the Myth from the Person
Think of someone you either greatly admire or strongly dislike - a boss, family member, public figure, or ex-partner. Write down the story you tell yourself about this person, then list what you actually know versus what you've assumed or heard from others. Finally, identify one concrete step you could take to get closer to the real person behind your mental story.
Consider:
- •Notice how distance (time, status, limited contact) makes mythmaking easier
- •Pay attention to which details you've filled in without direct evidence
- •Consider what emotional need your current story serves for you
Journaling Prompt
Write about a time when you discovered someone was very different from your first impression or the stories others told about them. How did that change how you approach judging people?
Coming Up Next...
Chapter 24: Meeting the Dead Reveals Historical Lies
Moving forward, we'll examine to question official narratives and seek truth behind public stories, and understand corruption often hides behind titles and respectability. These insights bridge the gap between classic literature and modern experience.