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by Jonathan Swift
Analysis: Allusions When authors refer to other great works, people, and events, it’s usually not accidental. Put on your super-sleuth hat and figure out why.
Literary and Philosophical References Aristotle (2.3.6, 3.8.1) Demosthenes (2.6.6) Cicero (2.6.6) Dionysius Halicarnassensis (2.7.1) Lucius Junius Brutus (3.7.10) Socrates (3.7.10, 4.8.9) Cato the Younger (3.7.10) Sir Thomas More (3.7.10) Homer (3.8.1) Didymus (3.8.1) Eustathius (3.8.1) John Duns Scotus (3.8.1) Ramus (a.k.a. Pierre de la Ramée) (3.8.1) René Descartes (3.8.2) Pierre Gassendi (3.8.2) Epicurus (3.8.2) Polydore Virgil (3.8.4) Plato (4.8.9) The Aeneid (4.12.3) Horace (4.12.6) Historical References Alexander the Great (3.7.7) Hannibal (3.7.8) Julius Caesar (3.7.9-10) Pompey the Great (3.7.9) Brutus (3.7.10) Epaminondas (3.7.10) Brutus (3.7.10) The Spartans (3.8.3) Heliogabalus (3.8.3) Agesilaus (3.8.3) the Battle of Actium (3.8.9) Mark Antony (3.8.9) Augustus (3.8.9, 4.12.6) Publicola (3.8.9) Agrippa (3.8.9) Charles V of France (4.3.2) the Glorious Revolution that began the reign of William and Mary in 1689 ("Revolution under the Prince of Orange") (4.5.2) The War of Spanish Succession ("the long war with France") (4.5.2) Hernán (Ferdinando in the text) Cortéz (4.12.6) Pop Cultural References Niagara Falls (2.8.4) Phaëton, God of the Sun (2.8.13) Herman Moll, Dutch mapmaker (4.11.3)
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