For many years I have believed that that Print—of—a—Man's—Naked—Foot was set in italic type in all editions of “Robinson Crusoe.” But a patient search of many editions has convinced me that I must have been mistaken.
The passage comes sneaking along in the midst of a paragraph in common Roman letters and by the living jingo! you discover it just as Mr. Crusoe discovered the footprint itself!
No story ever written exhibits so profoundly either the perfect design of supreme genius or the curious accidental result of slovenly carelessness in a hack-writer. This is not said in any critical spirit, because, Robinson Crusoe, in one sense, is above criticism, and in another it permits the freest analysis without suffering in the estimation of any reader.
But for Robinson Crusoe, De Foe would never have ranked above the level of his time. It is customary for critics to speak in awe of the “Journal of the Plague” and it is gravely recited that that book deceived the great Dr. Meade. Dr. Meade must have been a poor doctor if De Foe's accuracy of description of the symptoms and effects of disease is not vastly superior to the detail he supplies as a sailor and solitaire upon a desert island. I have never been able to finish the “Journal.” The only books in which his descriptions smack of reality are “Moll Flanders” and “Roxana,” which will barely stand reading these days.
In what may be called its literary manner, Robinson Crusoe is entirely like the others. It convinces you by its own conviction of sincerity. It is simple, wandering yet direct; there is no making of “points” or moving to climaxes. De Foe did unquestionably possess the capacity to put into his story the appearance of sincerity that persuades belief at a glance. In that much he had the spark of genius; yet that same case has not availed to make the “Journal” of the Plague anything more than a curious and laborious conceit, while Robinson Crusoe stands among the first books of the world—a marvelous gleam of living interest, inextinguishably fresh and heartening to the imagination of every reader who has sensibility two removes above a toad.
The question arises, then, is “Robinson Crusoe” the calculated triumph of deliberate genius, or the accidental stroke of a hack who fell upon a golden suggestion in the account of Alexander Selkirk and increased its value ten thousand fold by an unintentional but rather perfect marshaling of incidents in order, and by a slovenly ignorance of character treatment that enhanced the interest to perfect intensity? This question may be discussed without undervaluing the book, the extraordinary merit of which is shown in the fact that, while its idea has been paraphrased, it has never been equalled. The “Swiss Family Robinson,” the “Schonberg-Cotta Family” for children are full of merit and far better and more carefully written, but there are only the desert island and the ingenious shifts introduced. Charles Reade in “Hard Cash,” Mr. Mallock in his “Nineteenth Century Romance,” Clark Russel in “Marooned,” and Mayne Reid, besides others, have used the same theater. But only in that one great book is the theater used to display the simple, yearning, natural, resolute, yet doubting, soul and heart of man in profound solitude, awaiting in armed terror, but not without purpose, the unknown and masked intentions of nature and savagery. It seems to me—and I have been tied to Crusoe's chariot wheels for a dozen readings, I suppose—that it is the pressing in upon your emotions of the immensity of the great castaway's solitude, in which he appears like some tremendous Job of abandonment, fighting an unseen world, which is the innate note of its power.
The very moment Friday becomes a loyal subject, the suspense relaxes into pleased interest, and after Friday's funny father and the Spaniard and others appear it becomes a common book. As for the second part of the adventures I do not believe any matured man ever read it a second time unless for curious or literary purposes. If he did he must be one of that curious but simple family that have read the second part of “Faust,” “Paradise Regained,” and the “Odyssey,” and who now peruse “Clarissa Harlowe” and go carefully over the catalogue of ships in the “Iliad” as a preparation for enjoying the excitements of the city directory.
Every particle of greatness in “Robinson Crusoe” is compressed within two hundred pages, the other four hundred being about as mediocre trash as you could purchase anywhere between cloth lids.