Roxana, for her part, had to the full the independence, the initiative, which her woman was without,—or rather was without when acting for herself; for when acting in the interests of her mistress, Amy was a different creature. Like all of Defoe's principal characters, Roxana is eminently practical, cold-blooded and selfish. After the first pang at parting with her five children, she seldom thinks of them except as encumbrances; she will provide for them as decently as she can without personal inconvenience, but even a slight sacrifice for the sake of one of them is too much for her. Towards all the men with whom she has dealings, and towards the friendly Quakeress of the Minories, too, she shows a calculating reticence which is most unfeminine. The continuator of our story endowed the heroine with wholly characteristic selfishness when he made her, on hearing of Amy's death, feel less sorrow for the miserable fate of her friend, than for her own loss of an adviser.
And yet Roxana is capable of fine feeling, as is proved by those tears of joy for the happy change in her fortunes, which bring about that realistic love scene between her and the Prince in regard to the supposed paint on her cheeks. Again, when shipwreck threatens her and Amy, her emotion and repentance are due as much to the thought that she has degraded Amy to her own level as to thoughts of her more flagrant sins. That she is capable of feeling gratitude, she shows in her generosity to the Quakeress. And in her rage and remorse, on suspecting that her daughter has been murdered, and in her emotion several times on seeing her children, Roxana shows herself a true woman. In short, though for the most part monumentally selfish, she is yet saved from being impossible by several displays of noble emotion. One of the surprises, to a student of Defoe, is that this thick-skinned, mercantile writer, the vulgarest of all our great men of letters in the early eighteenth century, seems to have known a woman's heart better than a man's. At least he has succeeded in making two or three of his women characters more alive than any of his men. It is another surprise that in writing of women, Defoe often seems ahead of his age. In the argument between Roxana and her Dutch merchant about a woman's independence, Roxana talks like a character in a "problem" play or novel of our own day. This, perhaps, is not to Defoe's credit, but it is to his credit that he has said elsewhere:[2] "A woman well-bred and well-taught, furnished with the ... accomplishments of knowledge and behaviour, is a creature without comparison; her society is the emblem of sublime enjoyments; ... and the man that has such a one to his portion, has nothing to do but to rejoice in her, and be thankful." After reading these words, one cannot but regret that Defoe did not try to create heroines more virtuous than Moll Flanders and Roxana.
It is not only in drawing his characters that Defoe, in The Fortunate Mistress, comes nearer than usual to producing a novel. This narrative of his is less loosely constructed than any others except Robinson Crusoe and the Journal of the Plague Year, which it was easier to give structure to. In both of them—the story of a solitary on a desert island and the story of the visitation of a pestilence—the nature of the subject made the author's course tolerably plain; in The Fortunate Mistress, the proper course was by no means so well marked. The more credit is due Defoe, therefore, that the book is so far from being entirely inorganised that, had he taken sufficient pains with the ending, it would have had as much structure as many good novels. There is no strongly defined plot, it is true; but in general, if a character is introduced, he is heard from again; a scene that impresses itself on the mind of the heroine is likely to be important in the sequel. The story seems to be working itself out to a logical conclusion, when unexpectedly it comes to an end. Defoe apparently grew tired of it for some reason, and wound it up abruptly, with only the meagre information as to the fate of Roxana and Amy that they "fell into a dreadful course of calamities."
G.H. MAYNADIER.
FOOTNOTES:
[1] See Memoirs of a Cavalier
[2] An Essay upon Projects, An Academy for Women.