Early in 1715 he published The Family Instructor, in three parts: 1st, relating to fathers and children; 2nd, to masters and servants; 3rd, to husbands and wives. He carefully concealed his authorship, lest the good effects of his labour should be obstructed by the great imperfections of the writer. The world was then too busy to look immediately into the work. The bookseller soon procured a recommendatory letter from the Rev. Samuel Wright, a well-known preacher in the Blackfriars. It was praised from the pulpit and the press: and the utility of the end, with the attractiveness of the execution, gave it, at length, a general reception[80]. The author's first design was to write a dramatic poem; but the subject was too solemn, and the text too copious, to admit of restraint, or to allow excursions. His purpose was to divert and instruct, at the same moment; and by giving it a dramatic form, it has been called by some a religious play. De Foe at last says with his usual archness: As to its being called a play, be it called so, if they please: it must be confessed, some parts of it are too much acted in many families among us. The author wishes, that either all our plays were as useful for the improvement and entertainment of the world, or that they were less encouraged. There is, I think, some mysticism in the preface, which, it were to be desired, a judicious hand would expunge, when The Family Instructor shall be again reprinted; for, reprinted it will be, while our language endures; at least, while wise men shall continue to consider the influences of religion and the practice of morals as of the greatest use to society[81].
De Foe afterwards added a second volume, in two parts; 1st, relating to Family Breaches; 2ndly, to the great Mistake of mixing the Passions in the managing of Children. He considered it, indeed, as a bold adventure to write a second volume of anything; there being a general opinion among modern readers, that second parts never come up to the spirit of the first. He quotes Mr. Milton, for differing from the world upon the question, and for affirming with regard to his own great performances, That the people had a general sense of the loss of Paradise, but not an equal gust for regaining it. Of De Foe's second volume, it will be easily allowed, that it is as instructive and pleasing as the first. His Religious Courtship, which he published in 1722, may properly be considered as a third volume: for the design is equally moral, the manner is equally attractive, and it may in the same manner be called a religious play[82].
But the time at length came, when De Foe was to deliver to the world the most popular of all his performances. In April, 1719, he published the well-known Life and surprising Adventures of Robinson Crusoe[83]. The reception was immediate and universal; and Tayler, who purchased the manuscript after every bookseller had refused it, is said to have gained a thousand pounds. If it be inquired by what charm it is that these surprising Adventures should have instantly pleased, and always pleased, it will be found, that few books have ever so naturally mingled amusement with instruction. The attention is fixed, either by the simplicity of the narration, or by the variety of the incidents; the heart is amended by a vindication of the ways of God to man: and the understanding is informed by various examples, how much utility ought to be preferred to ornament: the young are instructed, while the old are amused.
Robinson Crusoe had scarcely drawn his canoe ashore, when he was attacked by his old enemies, the savages. He was assailed first by The Life and strange Adventures of Mr. D—— De F—, of London, Hosier, who has lived above Fifty Years by himself in the Kingdoms of North and South Britain. In a dull dialogue between De Foe, Crusoe, and his man Friday, our author's life is lampooned, and his misfortunes ridiculed. But he who had been struck by apoplexy, and who was now discountenanced by power, was no fit object of an Englishman's satire. Our author declares, when he was himself a writer of satiric poetry, "that he never reproached any man for his private infirmities, for having his house burnt, his ships cast away, or his family ruined; nor had he ever lampooned any one, because he could not pay his debts, or differed in judgment from him." Pope has been justly censured for pursuing a vein of satire extremely dissimilar. And Pope placed De Foe with Tutchin, in The Dunciad, when our author's infirmities were greater and his comfort less. He was again assaulted in 1719, by An Epistle to D—— De F—, the reputed Author of Robinson Crusoe. "Mr. Foe," says the letter-writer, "I have perused your pleasant story of Robinson Crusoe; and if the faults of it had extended no further than the frequent solecisms and incorrectness of style, improbabilities, and sometimes impossibilities, I had not given you the trouble of this epistle." "Yet," said Johnson to Piozzi, "was there ever anything written by mere man that was wished longer by its readers, except Don Quixote, Robinson Crusoe, and the Pilgrim's Progress[84]?" This epistolary critic, who renewed his angry attack when the second volume appeared, has all the dulness, without the acumen, of Dennis, and all his malignity, without his purpose of reformation. The Life of Crusoe has passed through innumerable editions, and has been translated into foreign languages, while the criticism sunk into oblivion.
De Foe set the critics at defiance while he had the people on his side. As a commercial legislator he knew, that it is rapid sale that is the great incentive: and, in August, 1719, he published a second volume of Surprising Adventures, with similar success[85]. In hope of profit and of praise, he produced in August, 1720, Serious Reflections during the Life of Robinson Crusoe, with his Vision of the Angelic World. He acknowledges that the present work is not merely the product of the two first volumes, but the two first may rather be called the product of this: the fable is always made for the moral, not the moral for the fable. He, however, did not advert, that instruction must be insinuated rather than enforced. That this third volume has more morality than fable, is the cause I fear, that it has never been read with the same avidity as the former two, or spoken of with the same approbation. We all prefer amusement to instruction; and he who would inculcate useful truths, must study to amuse, or he will offer his lessons to an auditory, neither numerous, nor attentive.
The tongue of detraction is seldom at rest. It has often been repeated that De Foe had surreptitiously appropriated the papers of Alexander Selkirk, a Scotch mariner, who having lived solitary on the isle of Juan Fernandez, four years and four months, was relieved on the 2nd of February, 1708-9, by captain Woodes Rogers, in his cruising voyage round the world. But let no one draw inferences till the fact be first ascertained. The adventures of Selkirk had been thrown into the air, in 1712, for literary hawks to devour[86]; and De Foe may have catched a common prey, which he converted to the uses of his intellect, and distributed for the purposes of his interest[87]. Thus he may have fairly acquired the fundamental incident of Crusoe's life; but, he did not borrow the various events, the useful moralities, or the engaging style. Few men could write such a poem; and few Selkirks could imitate so pathetic an original. It was the happiness of De Foe, that as many writers have succeeded in relating enterprises by land, he excelled in narrating adventures by sea, with such felicities of language, such attractive varieties, such insinuative instruction, as have seldom been equalled, but never surpassed[88].
While De Foe in this manner busied himself in writing adventures which have charmed every reader, a rhyming fit returned on him. He published in 1720, The complete Art of Painting, which he did into English from the French of Du Fresnoy. Dryden had given, in 1695, a translation of Du Fresnoy's poem, which has been esteemed for its knowledge of the sister arts. What could tempt De Foe to this undertaking it is not easy to discover, unless we may suppose that he hoped to gain a few guineas, without much labour of the head or hand. Dryden has been justly praised for relinquishing vicious habits of composition, and adopting better models for his muse. De Foe, after he had seen the correctness, and heard the music of Pope, remained unambitious of accurate rhymes, and regardless of sweeter numbers. His politics and his poetry, for which he was long famous among biographers, would not have preserved his name beyond the fleeting day; yet I suspect that, in imitation of Milton, he would have preferred his Jure Divino to his Robinson Crusoe.
De Foe lived not then, however, in pecuniary distress; for his genius and his industry were to him the mines of Potosi: and in 1722, he obtained from the corporation of Colchester, though my inquiries have not discovered by what interposition, a ninety-nine years' lease of Kingswood-heath, at a yearly rent of a hundred and twenty pounds, with a fine of five hundred pounds[89]. This transaction seems to evince a degree of wealth much above want, though the assignment of his lease not long after to Walter Bernard equally proves, that he could not easily hold what he had thus obtained. Kingswood-heath is now worth 300l. a year, and is advertised for sale by Bennet, the present possessor.
Whatever may have been his opulence, our author did not waste his subsequent life in unprofitable idleness. No one can be idly employed who endeavours to make his fellow subjects better citizens and wiser men. This will sufficiently appear if we consider his future labours, under the distinct heads of voyages; fictitious biography; moralities, either grave or ludicrous; domestic travels; and tracts on trade.
The success of Crusoe induced De Foe to publish, in 1720, The Life and Piracies of Captain Singleton, though not with similar success; the plan is narrower, and the performance is less amusing. In 1725, he gave A New Voyage Round the World, by a Course never sailed before. Most voyagers have had this misfortune, that whatever success they had in the adventure, they had very little in the narration; they are indeed full of the incidents of sailing, but they have nothing of story for the use of readers who never intend to brave the dangers of the sea. These faults De Foe is studious to avoid in his new voyage. He spreads before his readers such adventures as no writer of a real voyage can hope to imitate, if we except the teller of Anson's tale. In the life of Crusoe we are gratified by continually imagining that the fiction is a fact; in the Voyage Round the World we are pleased by constantly perceiving that the fact is a fiction, which, by uncommon skill, is made more interesting than a genuine voyage.