This has the effect of literalizing the metaphor as the butchery, sale, and consumption of the "product" are worked out.This also was a satirical strategy we saw in Jonson's because they both use satire to discuss the welfare of society.
Swift's most potent weapon against readers' indifference toward the Irish poor was his satire's rhetorical style.
All satirists take advantage of readers' willingness to believe that they are reading "normal truth-telling" unless warned otherwise, and from the title to the introductory description of the economic problem besetting the Irish, this strategy is pursued by Swift's speaker (usually called "the Projector," as in one who proposes "projects" to remedy social ills).
The satirist takes upon her-/himself the risky task of arbitrating the modes of each new day, to praise those which deserve it while mocking those which do not with just enough savagery to stunt their growth or to ensure their extinction.
Unfortunately for the Irish people, Swift's satire in "MP" did not succeed and the economic situation actually continued to get worse for over a century.
Why didn't this satire stop the exploitation of the Irish poor?
Remember Sidney's ("Defense of Poesy") assertion that "praxis" (deeds) rather than mere "gnosis" (knowing) was the true test of poetry's powers..Swift may be more skilled than any other English satirist in the speed with which he leads readers from their comfortable absorption in the "normal truth-telling" discourse to the Projector's sudden descents into foolish (Horatian) or criminal (Juvenalian) assumptions.For an early clue that something is wrong with the Projector's calm description of the socio-economic disaster, see the first sentence's numeric sequence of poor children following their begging mothers from door to door. What does that sequence look like as a graphed curve?Note that even Behn makes her most debased European "the wild Irishman, Bannister" and moderate Marvell's "Horatian Ode" guardedly praises Cromwell's suppression of the Irish, while Milton positively dances on Irish graves in his commendatory poem to Cromwell on the same expedition.Think about how we conceive of our identities by making comparisons and contrasts with others.In our most deeply buried layers of character, there are visions of the Other by which we anchor our separateness, our notion of a discrete identity.The use of the Irish as the Other happens in America, too, with even in the works of revered writers like Thoreau and Hawthorne..Form: "City Shower" is in heroic couplets, rhyming pairs of loose iambic pentameter lines (with a few extra syllables tucked in there when necessary.Its style is "mock heroic." For a modern parody of the style, see "Al Pope"'s Swifts "Projector" persona, the Irish poor, and Irish and English readers, in "A Modest Proposal"; in "City Shower," a survey of typical "town" types, rather like the General Prologue of "Canterbury Tales," but concentrating on the new city-scape of the seventeenth century: Susan, the Templar, the "sempstress," Tories, Whigs, and beaux.Such a "negative Utopia" could be called a "dystopia." 1.The mistake first-time readers of "MP" usually make is in identifying Swift's intended readers as "the English." This is probably suggested by the "Projector" persona's reference to "them" and "they" when referring to the Irish poor, but remember that not all the Irish were poor, though all were affected by the economic exploitation of Ireland by England.