The character of Swift presents great apparent contradictions. Although full of good-will and appreciation for individuals, although exercising out of a small income the most discriminating and open handed generosity, there has never lived a man more bitter in his misanthropy, more fierce in his denunciation of mankind. Although capable of great and disinterested affection, he was unable to make his affection a source of happiness to himself or to others. Although he always chose for companionship the most refined and cultivated women, the wisest and most honored men, his mind dwelt by preference on the most terrible examples of human depravity, and he gave permanent form, in his literary productions, to ideas from which a healthy mind must always turn with horror and disgust. His misanthropy was founded partly on observation of the evil and corruption which he saw about him, and partly on the suspicions and exaggerations of his own imagination. He gave up writing a history of England, because, in his own words, he found the characters of history such a pack of rascals that he would have no more to say to them. He made a "List of Friends," which he classified as Grateful, Ungrateful, Indifferent, and Doubtful. Of these friends, forty-four in number, only seventeen were marked with the _g_ which signified that their friendship was trusted. We cannot disassociate Swift from his own time, nor can we attribute simply to a melancholy life or to mental aberration the revolting conceptions which his works contain. The coarseness and corruption which marked the private and public life of Swift's day had their share in the production of such poems as The "Lady's Dressing-Room," and such degrading views of human nature as are expressed in the "Voyage to the Houyhnhnms." It is a significant sign of the times that Hogarth, the greatest English painter, and Swift, the greatest English writer, should have employed their talents in caricature and in satire. In the wonderful allegory of the "Tale of a Tub," in which the corruptions and failings of the English, Roman, and Presbyterian churches were ridiculed in the persons of Jack, Peter, and Martin, Swift displayed at an early age his exuberant wit and surpassing satirical power. The "Tale of a Tub" was succeeded by the "Battle of the Books," an imaginary conflict between volumes in a library, which exposed the absurdity of the controversy over the relative merits of the ancients and the moderns. But Swift's satire became most fierce and brilliant when it was turned from rival creeds and rival literatures, and directed toward mankind itself.