The chapter reviews literary contexts for Gulliver’s Travels, surveying relevant earlier texts, and indicating their satiric influence. With little reference to major verse satirists of Greece and Rome, key works include fictional narratives such as the Golden Ass of Apuleius, and most significantly the True Histories of Lucan, and his widely copied Dialogues of the Dead. In the Renaissance, we find specific links with More’s Utopia and a general debt to Erasmus’s Praise of Folly. An imaginary voyage in space available to Swift is Cyrano de Bergerac’s States and Empires of the Moon. The biggest single influence comes from the twin stories of Rabelais, Gargantua and Pantagruel. More modern writers whose practice was known to Swift are seventeenth-century English poets, headed by Dryden, Marvell, Butler, and Rochester. Contemporaries who produced effective satires in prose were Tom Brown, Ned Ward, and William King. The author’s friends in the Scriblerus group, Pope, Arbuthnot, and Gay, naturally left some mark on Gulliver. Overall, the satiric workings of Swift’s masterpiece show abundant traces of these traditions, but its success owes most to his own comic gifts, learning, and capacity at once to attract and disturb the reader.

Michel de Montaigne (1533–92) credited his contemporary Jacques Amyot’s (1513–93) translations of Plutarch (Lives, 1559; Moralia, 1572) with lifting him out of the mire of ignorance and inspiring him to write the Essays.1 Together, Amyot and Montaigne ensured the tremendous cultural importance of Plutarch in France from the late sixteenth century onwards.2 After a decline during the Enlightenment when the Encyclopédistes deemed his ideas obscure, Plutarch again rose to prominence at the close of the eighteenth century thanks to Jean-Jacques Rousseau (1712–78) and the revolutionaries. A republican Plutarch had replaced Plutarch as the “mirror for princes” whose works the playwright and historiographer Jean Racine (1639–99) had read to an ailing Louis XIV.

Chapter 2 provides a word history of politique throughout the sixteenth-century, considering late-medieval and Italian influences, the context of vernacularisation and the status of language under François I, and the impact of the Reformation and of Calvin’s thought in particular. This is followed by in-depth analysis of Guillaume Budé’s Institution du prince, Rabelais’s Gargantua, Etienne Pasquier’s Pourparler du prince, and Louis Le Caron’s Courtesan dialogues. It also considers the political career of Michel de L’Hospital and his connection with understandings of politique. These case studies are also a pre-history for uses of politique that emerge during the civil war. The chapter concludes with an analysis of François de la Noue’s Essais politiques et militaires and Montaigne’s Essais.

In the first decades of printing, medieval romances were edited and printed en masse, sometimes in luxurious in-folio formats. Sixteenth-century works of long prose narrative also drew on Classical epic and the dialogue. Notwithstanding these significant classical and medieval influences, there was no formal theorization of the novel in the sixteenth century—and indeed no single term to designate 'the novel' in this period. This absence of rigorous theorization and terminology contributed to making the period's vernacular prose narrative a privileged medium for literary experimentation: Rabelais's works were of course experimental in the highest sense, but other forms were also forged and promoted: in particular, sentimental and pastoral forms as well as the humanist model of the Greek novel based on Heliodorus. This period also forged new devices such as suspense and serialization, which would become signature features of the novel in the nineteenth century. Through all its incarnations and in the midst of formal experimentation, long prose narrative in this period opened a new horizon for reading: as a hobby, a pleasurable activity to fill the idle moments of life.