Abstract This paper examines Daniel Defoe's ambivalent attitude towards the supernatural as seen in his novels "Moll Flanders" and "Journal of the Plague Year". The paper asserts that ambivalence is reflected in his realistic characters, who express contradictions in their feelings towards supernatural experiences. The paper points out that Defoe incorporates events that include the supernatural world into both novels, raising questions about his reasons for including such spiritual accounts in novels otherwise prided on their realism. The paper maintains that, most likely, the scenes involving supernatural phenomenon represent the divine world in which Defoe was living. The paper concludes that Defoe's attitude towards the supernatural remains unclear, for although he cannot deny its significance, he does lightly mock it by creating characters that remain themselves in doubt.
From the Paper "The supernatural plays an important role in Journal of the Plague Year because it sets the tone for most of the novel. Right from the start it is made to be a true account of events and these celestial interferences are prominent factors in portraying the attitude of H.F. In the early parts of the novel, H.F. struggles with the decision of whether he should stay in London or leave to escape the plague that was upon the city. He attributes his decision to stay mostly as "the direction of the Divine power" and "an intimation from heaven." His motivation comes mostly from a superstition common to people of his time and, as he goes on to explain, he felt his staying in London was the will of God and that ultimately God would protect his health and well-being. After explaining all this to his reader, H.F. makes the decision to remain in London, weathering and recording the plague's progress. The contradictions in H.F.'s views arise when, in the beginning of his story, he describes the black magic beginning to be found throughout the town. He calls the belief in astrologers, fortune tellers, and the like as "horrid delusions" and is disgusted by the fact that so many people are allowing themselves to fall into these money making traps."
Abstract This paper examines how Charles Darwin's "Journey of the Beagle" and Daniel Defoe's 18th century novel, "Robinson Crusoe", both provide 18th and mid 19th century encapsulations of the observable, natural world from the point of view of a naturalist and an unwitting traveler and survivor. It looks at how the deployment of narrative, drama, and personal experience in the accounts of both Defoe and Darwin exhibit similar literary elements, such as the use of dramatic narrative, dialogue, and the cataloging of picaresque or memorable details. It also discusses how Darwin sees himself in a different guise, the guise of a scientific observer, as well as an individual experiencing life in a strange place, while Defoe's fictional explorer, Robinson Crusoe, only sees himself as the latter.
From the Paper "Darwin, however, does not debate the classification of animals in relation to humanity; rather he classifies the animals simply as animals"thus showing not only a less moral, but also a less andocentric view of the world than Defoe's literary progeny. Crusoe's narrative may have inspired wonder in his readers, but there is no corresponding wonder in the strangeness and lack of civilization"rather Crusoe is delighted to find the early trappings moral civilization in wild places and wonders at his potential ability to recreate that civilization so far away from it. Once again, Crusoe's narrative and contrast between civilized and uncivilized, between the good practice of home and the wild unchristian island, is cast in a moral, rather than an exploratory tone from the beginning."
Abstract This paper is a review of Daniel Defoe's novels "Robinson Crusoe" and "Moll Flanders". The paper specifically discusses to what extent these novels represent a microcosm of the world of Defoe. The paper follows a tendency toward the poststructuralist method of deconstruction, which seeks to unlock a reflection of the text by exposing its counter side, and therefore showing what the work of Defoe, can tell us about the past.
From the Paper "Before an attempt can be made to construct any critical theory regarding Defoe's vision of society and civilisation, it is necessary to put into context the corridors of thought which may lead to its interpretation. The idea that a response to a work is the same as its meaning demands the question: Can a work can have as many meanings as we have responses?"
Abstract Both Alexander Pope and Daniel Defoe approached women differently but with equal passion in their literature. One might say of Pope too that on the whole his poetry suggests he has discovered a woman's world--the world of female portraiture and feminized mock-epic and feminine "Gothic" sensibility--but not women. As early as the 1697 Essay upon Projects, Defoe had criticized conventional restrictions on women, calling there for the foundation of "An Academy for Women."
Abstract Daniel Defoe has been called the father of the English novel. His book, "Robinson Crusoe", became a template for adventure tales and the source for many adaptations. Defoe blends a myriad of factors together to appeal to and captivate his reader. This essay examines these factors in detail, using as a reference a movie adaption to the book, "Cast Away", directed by Robert Zemeckis.
From the Paper "In 1719 the world was entering into the age of modern science and the value of religion came into question. Defoe's character Crusoe gains important perspective on this topical issue while sequestered on his island. He goes from being a fool-hardy young man with no respect for religion to a "scholar in the Scripture knowledge" (8). Similarly Cast Away set in the late twentieth century tackles the issue of time and freedom from responsibility, something which the main character Chuck and the majority of western civilization have little of."
Abstract This paper is an eight page review of Daniel Defoe's Robinson Crusoe. Specifically, the paper looks at the relationship between economic prosperity/survival and divine providence in Defoe's masterwork. As will be evident when reviewing the text, these two themes are, far and away, the most prominent in the narrative and they reflect the social and cultural factors taking place in the world in which they were written.
From the Paper "Daniel Defoe's Robinson Crusoe is one of the great works of modern western literature. This paper explores Crusoe's master work by looking at two broad themes that, at first glance, might seem unrelated; to wit, the following paper looks at the theme of economic survival and/or prosperity in Crusoe's work; from there, the paper examines the importance of religion and the function of providence in Defoe's text. Quite simply, this paper argues that Defoe's work is suffused with the notion that material prosperity is very much a product of providence and that, he or she who finds favour in heaven will find riches on earth."
Abstract This paper analyzes various themes found in Daniel Defoe's "Robinson Crusoe", including the concept of order and disorder as it appears in the work. Following a plot summary and brief biography of Defoe, the paper focuses on the opposition between these two concepts, pointing out the alleged ordered and disordered elements in the novel. The reviewer then considers the conflict between order and disorder in the varied spheres of the the work. Quotes from the novel are used to support the reviewer's hypotheses. The paper concludes by pointing out the influence of "Robinson Crusoe" on modern literature.
From the Paper "From the very beginning of the novel, the reader is encountered with sharp contrasts, foreshadowing the unfolding of the plot. Indeed, Robinson Crusoe seems to deal in extremes. It presents a world where one state counters its very opposite. We will see that the primary idea of order strictly opposing disorder is portrayed time and again throughout Robinson Crusoe. Indeed, the book seems to set its main themes in polarities. Our study will concentrate on the three focal instances of order and disorder, that is, those partaking of nature and its forces, of spirituality and morality and of society and politics."
Abstract This essay explores Defoe's preoccupation with the theme of family relationships which is a recurring motif in much of his work. Contains a particular concentration on his two novels 'Moll Flanders' and 'Roxana'.
The moral of 'Moll Flanders' is that abandoning children has hidden long term consequences, some of which are not only harrowing but life threatening, and that these consequences have an effect not only on the individual, but on society as a whole. The moral of 'Roxana' is If the "unsufferable" behaviour of servants is not curbed then the natural order of society will become undermined by the corrupting influence of those "less morally endowed".
From the Paper "In Moll Flanders and Roxana, by Daniel Defoe, the theme of family relationships, relationships between parents and children, husbands and wives, and masters and servants, is a recurring motif. This theme is not only a feature of these two novels, it was also a preoccupation of the author?s, and is a subject of some his earlier works, in particular his treatise, The Family Instructor (1715), which was published in three parts. It is difficult, if not impossible, to separate Defoe from his themes. But for Defoe the family was of primary importance, as David Blewett asserts in Defoe's Art of Fiction: Moll as Whore and Thief:"
Abstract This paper discusses the novel, "Moll Flanders," and the issues raised about morality in the life of the title character. The paper begins with a summary of the novel with quotes from the text, giving the reader a background for the later analysis. Common themes of religion, poverty, crime, marriage, and overall ambiguity are analyzed, with attention given to the time period in which the novel was written and the literary style.
From the Paper "In Daniel Defoe's novel Moll Flanders, it is difficult for readers to determine the true moral and value system that the ambiguous Moll adheres to. Some readers may see her as a product of the society in which she was born and raised; other readers may see her as a free agent acting of her own volition. Defoe's brilliant writing style and technique ensures that readers have a favourable impression of Moll at the end of the novel, developing a character who has endured improbable hardships throughout the course of her life."
Abstract This paper analyzes Daniel Defoe's "Moll Flanders" and how it seems that Defoe is suggesting that it is easy to be moral when well supplied financially, but impossible when destitute. The paper relates that Defoe's idea of penitence differs from ours and that, indeed, the only moral the text supports is the moral of money. The paper looks at how Defoe's work, basically argues for the economic worth of the individual and the importance of money in determining virtue.
From the Paper "Daniel Defoe begins his pseudo-biography with a discussion of his novel's moral worth. Aware that his material will shock a conservative audience, Defoe provides a disclaimer. He justifies his tale of thievery and debauchery by ascribing it with a moral purpose. In his preface he claims that "there is not a wicked Action in any Part of it, but is first or last rendered Unhappy and Unfortunate: There is not a superlative Villain brought upon the Stage, but either he is brought to an unhappy End, or brought to be a Penitent" (3). Once having read the novel, one has to wonder if Defoe wrote this statement with his tongue in one cheek. Although the text states that Moll Flanders becomes repentant, it doesn't take a close reading to ascertain that she eventually flourishes as a direct result of her thievery and deceit. Clearly, Defoe's idea of penitence differs from ours. Indeed, the only moral the text supports is the moral of money. Basically, Defoe argues for the economic worth of the individual and the importance of money in determining virtue."
Abstract An analysis of the book "Roxana" by Daniel Defoe. By understanding the autobiography of Mlle. Beleau, we can see how she takes immorally wicked adventures in the world that Defoe has created for her. The means to this theme will be discussed, as Defoe presents her.
Abstract This paper explains that Defoe wrote "Moll Flanders" as a realistic interpretation of his socioeconomic and moral theories, but in fact, he unintentionally created an ironic indictment of the immorality of capitalism as it pertained to middle-class women pursuing upward mobility in England in the 17th and 18th centuries. The author points out that Defoe contends in this novel that the pursuit of upward mobility by the middle class is a moral imperative and, furthermore, that the methods of gaining upward mobility are not limited to those historically seen as virtuous. The paper concludes that the irony in "Moll Flanders" exists not because Defoe intended it, but because history has so substantially changed what are considered moral and acceptable ways for a woman to better herself in society.
From the Paper "Moll Flanders' many outlooks on life completely conform to Daniel Defoe's outlooks, discounting the probability that she was created as an ironic commentator on the events, which occur to her, and, furthermore, Defoe was well acquainted with consciously writing irony and it appears that he was made quite aware of the fact that it wasn't his literary strength. Moll says at one point, "marriages were here the consequences of politic schemes, for forming interests, carrying on business, and that love had no share or but very little in the matter" (46). Defoe himself "defended commercial marriages on the grounds that building a business was more worthy than marrying for lust." Much that Moll expresses coincides with Defoe's point of view as clearly as their shared view on marriage."
Tags: socio-economic, moral, mobility, women, england
Explores the characters of Moll Flanders and Roxana from Daniel Defoe's "Roxana: The Fortunate Mistress" and "The Fortunes and Misfortunes of Moll Flanders", as well as the characters in J.M. Coetzee's "Foe".
Abstract The paper discusses Daniel Defoe's novels "Roxana: The Fortunate Mistress" and "The Fortunes and Misfortunes of Moll Flanders", which depict the heroines as trapped in a patriarchal society. The paper then looks at J.M. Coetzee's "Foe", which provides a synthesis of Defoe's heroine icons through the character of Susan Barton. The paper demonstrates how Roxana and Moll display attributes of male strength through determination and will, while Coetzee's Susan Barton and accompanying characters attempt to reflect the Defoe feminism in a more flexible light.
From the Paper "Defoe's Roxana and Moll Flanders are stark representations of the 19th century struggle for women who sought a place in society for themselves. In the midst of British Imperialism, the role of the woman remained static, while opportunities to become successful in business, education and politics expanded. This background is essential in the setup of both Roxana and Moll, as the characters battle from shoddy upbringings to the pinnacle of wealth and social acceptance. Moll's rise through the social and class ranks of society begins as an orphan. Through marriage after marriage, Moll takes on a variety of roles, from housewife, con-artist, to thief to convict. It is important to note the tone of the narration, as Moll seems nonchalant in explanation of her history: "...and let any one judge what must be the anguish of my mind, when I came to reflect that this was certainly no more or less than my own mother, and I had now had two children, and was big with another by my own brother, and lay with him still every night." (Defoe 20). The ending is happy however, and the main point is not lost as a result. Although Moll eventually finds happiness in America, it is the trials and tribulations that defines her as a male equal."
Tags: patriarchy, feminism, heroines, male, strength, Crusoe, island
Abstract In this article, the writer explains why Defoe's 'Robinson Crusoe' is a fundamentally important work regarding the rise of individualism of modern capitalism. The writer demonstrates how Crusoe becomes the exemplar of the Protestant work ethic in action. Quoting Weber and others, the writer explains what this work ethic means, and how the Protestant's relationship to work is a form of piety. Describing how the Protestant has a personal communion with God, cut adrift from society and organized religion, the essay goes on to show how Defoe recreates this situation with Crusoe being physically separated from society and the world. The writer maintains that the novel not only reflects the rise of individualism but also partakes in it. The essay also explains why the advent of the novel form is key to development of the individual psyche and why Defoe's effort is the protean novel in every sense. The novel is about reader identification, and Crusoe is the ideal that all readers can identify with. In addition, the novel is about relationships that create the individual's world. The writer concludes that Robinson Crusoe explores the relationship that stands before all others, that with God.
From the Paper "In popular imagination Daniel Defoe's Robinson Crusoe has become an adventure story for children, for which the original novel is not responsible, but the abridged and bowdlerized versions must be blamed. A close reading of the original text reveals a novel of enormous significance. In many ways the novel can be said to be defining the modern citizen of capitalistic society. It is also widely regarded as being the first modern novel. In fact this latter claim is not unrelated to the previous proposition. The modern novel is not only a mirror to the modern psyche, but also bears an organic relationship to it. A general proposition is that literature was the means by which the modern psyche came into being, and the modern novel is particularly instrumental in this sense. In this regard Robinson Crusoe not only sets the agenda of modern capitalism and individualism, but was also a key phenomenon that helped bring about its realization."
Tags: stranded, desert, island, self-expression, piety, God
Abstract An explanation of the concepts introduced by Watt in his work "The Rise of the Novel: Studies in Defoe, Richardson, and Fielding," whereby the author feels that the writing of the authors Daniel Defoe, Samuel Richardson, and Henry Fielding was influenced by broad changes in their society. The writer shows that these authors were more representative of society of the time, and so readers could identify with them more closely.
From the Paper "He also believes that these three authors in effect created the novel as a ?new literary form.? He says the term "novel" did not come into use until the end of the eighteenth century, and that before these three authors wrote this new fiction form, most fiction was romantic in nature. These new novelists however, steeped their stories in realism, and were more representative of the current state of English society."
Tags: novel, history, author, genre, society, english
