English Literature: Its History and Significance for the Life of the English-Speaking World, William J. Long [suggested reading .txt] 📗

that, with the exception of a few writers like Langland and Bunyan, authors wrote largely for the upper classes. In the eighteenth century the spread of education and the appearance of newspapers and magazines led to an immense increase in the number of readers; and at the same time the middle-class people assumed a foremost place in English life and history. These new readers and this new, powerful middle class had no classic tradition to hamper them. They cared little for the opinions of Dr. Johnson and the famous Literary Club; and, so far as they read fiction at all, they apparently took little interest in the exaggerated romances, of impossible heroes and the picaresque stories of intrigue and villainy which had interested the upper classes. Some new type of literature was demanded, this new type must express the new ideal of the eighteenth century, namely, the value and the importance of the individual life. So the novel was born, expressing, though in a different way, exactly the same ideals of personality and of the dignity of common life which were later proclaimed in the American and in the French Revolution, and were welcomed with rejoicing by the poets of the romantic revival. To tell men, not about knights or kings or types of heroes, but about themselves in the guise of plain men and women, about their own thoughts and motives and struggles, and the results of actions upon their own characters,--this was the purpose of our first novelists. The eagerness with which their chapters were read in England, and the rapidity with which their work was copied abroad, show how powerfully the new discovery appealed to readers everywhere.

Before we consider the work of these writers who first developed the modern novel, we must glance at the work of a pioneer, Daniel Defoe, whom we place among the early novelists for the simple reason that we do not know how else to classify him.

DANIEL DEFOE (1661(?)-1731)

To Defoe is often given the credit for the discovery of the modern novel; but whether or not he deserves that honor is an open question. Even a casual reading of Robinson Crusoe (1719), which generally heads the list of modern fiction, shows that this exciting tale is largely an adventure story, rather than the study of human character which Defoe probably intended it to be. Young people still read it as they might a dime novel, skipping its moralizing passages and hurrying on to more adventures; but they seldom appreciate the excellent mature reasons which banish the dime novel to a secret place in the haymow, while Crusoe hangs proudly on the Christmas tree or holds an honored place on the family bookshelf. Defoe's Apparition of Mrs. Veal, Memoirs of a Cavalier, and Journal of the Plague Year are such mixtures of fact, fiction, and credulity that they defy classification; while other so-called "novels," like Captain Singleton, Moll Flanders, and Roxana, are but, little better than picaresque stories, with a deal of unnatural moralizing and repentance added for puritanical effect. In Crusoe, Defoe brought the realistic adventure story to a very high stage of its development; but his works hardly deserve, to be classed as true novels, which must subordinate incident to the faithful portrayal of human life and character.

Illustration: DANIEL DEFOE
DANIEL DEFOE

Life. Defoe was the son of a London butcher named Foe, and kept his family name until he was forty years of age, when he added the aristocratic prefix with which we have grown familiar. The events of his busy seventy years of life, in which he passed through all extremes, from poverty to wealth, from prosperous brickmaker to starveling journalist, from Newgate prison to immense popularity and royal favor, are obscure enough in details; but four facts stand out clearly, which help the reader to understand the character of his work. First, Defoe was a jack-at-all-trades, as well as a writer; his interest was largely with the working classes, and notwithstanding many questionable practices, he seems to have had some continued purpose of educating and uplifting the common people. This partially accounts for the enormous popularity of his works, and for the fact that they were criticised by literary men as being "fit only for the kitchen." Second, he was a radical Nonconformist in religion, and was intended by his father for the independent ministry. The Puritan zeal for reform possessed him, and he tried to do by his pen what Wesley was doing by his preaching, without, however, having any great measure of the latter's sincerity or singleness of purpose. This zeal for reform marks all his numerous works, and accounts for the moralizing to be found everywhere. Third, Defoe was a journalist and pamphleteer, with a reporter's eye for the picturesque and a newspaper man's instinct for making a "good story." He wrote an immense number of pamphlets, poems, and magazine articles; conducted several papers,--one of the most popular, the Review, being issued from prison,--and the fact that they often blew hot and cold upon the same question was hardly noticed. Indeed, so extraordinarily interesting and plausible were Defoe's articles that he generally managed to keep employed by the party in power, whether Whig or Tory. This long journalistic career, lasting half a century, accounts for his direct, simple, narrative style, which holds us even now by its intense reality. To Defoe's genius we are also indebted for two discoveries, the "interview" and the leading editorial, both of which are still in daily use in our best newspapers.

The fourth fact to remember is that Defoe knew prison life; and thereby hangs a tale. In 1702 Defoe published a remarkable pamphlet called "The Shortest Way with the Dissenters," supporting the claims of the free churches against the "High Fliers," i.e. Tories and Anglicans. In a vein of grim humor which recalls Swift's "Modest Proposal," Defoe advocated hanging all dissenting ministers, and sending all members of the free churches into exile; and so ferociously realistic was the satire that both Dissenters and Tories took the author literally. Defoe was tried, found guilty of seditious libel, and sentenced to be fined, to stand three days in the pillory, and to be imprisoned. Hardly had the sentence been pronounced when Defoe wrote his "Hymn to the Pillory,"--

Hail hieroglyphic state machine,
Contrived to punish fancy in,--

a set of doggerel verses ridiculing his prosecutors, which Defoe, with a keen eye for advertising, scattered all over London. Crowds flocked to cheer him in the pillory; and seeing that Defoe was making popularity out of persecution, his enemies bundled him off to Newgate prison. He turned this experience also to account by publishing a popular newspaper, and by getting acquainted with rogues, pirates, smugglers, and miscellaneous outcasts, each one with a "good story" to be used later. After his release from prison, in 1704, he turned his knowledge of criminals to further account, and entered the government employ as a kind of spy or secret-service agent. His prison experience, and the further knowledge of criminals gained in over twenty years as a spy, accounts for his numerous stories of thieves and pirates, Jonathan Wild and Captain Avery, and also for his later novels, which deal almost exclusively with villains and outcasts.

When Defoe was nearly sixty years of age he turned to fiction and wrote the great work by which he is remembered. Robinson Crusoe was an instant success, and the author became famous all over Europe. Other stories followed rapidly, and Defoe earned money enough to retire to Newington and live in comfort; but not idly, for his activity in producing fiction is rivaled only by that of Walter Scott. Thus, in 1720 appeared Captain Singleton, Duncan Campbell, and Memoirs of a Cavalier; in 1722, Colonel Jack, Moll Flanders, and the amazingly realistic Journal of the Plague Year. So the list grows with astonishing rapidity, ending with the History of the Devil in 1726.

In the latter year Defoe's secret connection with the government became known, and a great howl of indignation rose against him in the public print, destroying in an hour the popularity which he had gained by a lifetime of intrigue and labor. He fled from his home to London, where he died obscurely, in 1731, while hiding from real or imaginary enemies.

Works of Defoe. At the head of the list stands Robinson Crusoe (1719-1720), one of the few books in any literature which has held its popularity undiminished for nearly two centuries. The story is based upon the experiences of Alexander Selkirk, or Selcraig, who had been marooned in the island of Juan Fernandez, off the coast of Chile, and who had lived there in solitude for five years. On his return to England in 1709, Selkirk's experiences became known, and Steele published an account of them in The Englishman, without, however, attracting any wide attention. That Defoe used Selkirk's story is practically certain; but with his usual duplicity he claimed to have written Crusoe in 1708, a year before Selkirk's return. However that may be, the story itself is real enough to have come straight from a sailor's logbook. Defoe, as shown in his Journal of the Plague Year and his Memoirs of a Cavalier, had the art of describing things he had never seen with the accuracy of an eyewitness.

Robinson CrusoeThe charm of the story is its intense reality, in the succession of thoughts, feelings, incidents, which every reader recognizes to be absolutely true to life. At first glance it would seem that one man on a desert island could not possibly furnish the material for a long story; but as we read we realize with amazement that every slightest thought and action--the saving of the cargo of the shipwrecked vessel, the preparation for defense against imaginary foes, the intense agitation over the discovery of a footprint in the sand--is a record of what the reader himself would do and feel if he were alone in such a place. Defoe's long and varied experience now stood him in good stead; in fact, he "was the only man of letters in his time who might have been thrown on a desert island without finding himself at a loss what to do;"[215] and he puts himself so perfectly in his hero's place that he repeats his blunders as well as his triumphs. Thus, what reader ever followed Defoe's hero through weary, feverish months of building a huge boat, which was too big to be launched by one man, without recalling some boy who spent many stormy days in shed or cellar building a boat or dog house, and who, when the thing was painted and finished, found it a foot wider than the door, and had to knock it to pieces? This absolute naturalness characterizes the whole story. It is a study of the human will also,--of patience, fortitude, and the indomitable Saxon spirit overcoming all obstacles; and it was this element which made Rousseau recommend Robinson Crusoe as a better treatise on education than anything which Aristotle or the moderns had ever written. And this suggests the most significant thing about Defoe's masterpiece, namely, that the hero represents the whole of human society, doing with his own hands all the things which, by the division of labor and the demands of modern civilization, are now done by many different workers. He is therefore the type of the whole civilized race of men.

In the remaining works of Defoe, more than two hundred in number, there is an astonishing variety; but all are marked by the same simple, narrative style, and the same intense realism. The best known of these are the Journal of the Plague Year, in which the horrors of a frightful plague are minutely recorded; the Memoirs of a Cavalier, so realistic that Chatham quoted it as history in Parliament; and several picaresque novels, like Captain Singleton, Colonel Jack, Moll Flanders, and Roxana. The last work is by some critics given a very high