Swift’s Use of Narrative Techniques Here and Elsewhere in the Novel.

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Discuss Swift’s use of narrative techniques here and elsewhere in the novel. Jacob Crick manned the mills at Stump Corner from 1748 to 1789. He never married. In all those years he probably moved no further than a mile or two from his mills, which at all times he had to guard and tend. With Jacob Crick another characteristic of my paternal family emerges. They are fixed people. They have tied around their legs an invisible tether, and have enjoined upon them the stationary vigilance of sentinels. The biggest migration the Cricks ever made – before I, a twentieth-century Crick, made my home in London – was to move from the land west to the land east of the Ouse – a distance of six miles. So Jacob Crick, mill-man and apprentice hermit, never sees the wide world. Though some would say the Fenland skies are wide enough. He never learns what is happening in Quebec or Boston. He eyes the horizon, sniffs the wind, looks at flatness. He has time to sit and ponder, to become suicidal or sagely calm. He acquires the virtue, if virtue it is, of which the Cricks have always had good supply: Phlegm. A muddy, silty humour. And in the momentous and far from phlegmatical year 1789, whose significance you know, children, though Jacob Crick never did, Jacob Crick died. Wifeless, childless. But the Cricks are not extinct. In 1820 it is a grand-nephew of Jacob – William – who is foreman of a gang employed in digging the southern end of the Eau Brink Cut, a new, deep channel to carry the waters of the lower Ouse by the shortest route to King’s Lynn. For they are still trying to straighten out the slithery, wriggly, eel-like Ouse. In 1822, Francis Crick, perhaps another grand-nephew of Jacob, is entrusted with the operation of the new steam-pump on Stott’s Drain, near the village of Hockwell. For the wind-pump is already obsolete. A windmill’s use is limited. It cannot be used

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