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156 pages

English

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“Robinson Crusoe” is a novel by Daniel Defoe, first published in 1719. A fictional autobiography, the first edition purported to be the work of the titular protagonist Robinson Crusoe and led its early readers to believe the book to be a real travelogue of Crueso's 28 years spent marooned on a remote tropical island near Venezuela, where he came across cannibals, captives, and mutineers before finally being rescued. The novel was well received when first published and is often credited as being the origins of the realistic fiction as a literary genre. One of the most widely published books in history, “Robinson Crusoe” constitutes a must-read for all lovers of the written word and would make for a fantastic addition to any collection. Contents include: “Slavery and Escape”, “Wrecked on a Desert Island”, “First Weeks on the Island”, “Builds a House—The Journal”, “Ill and Conscience-Stricken”, “Agricultural Experience”, “Surveys his Position”, “A Boat”, “Tames Goats”, “Finds Print of Man’s Foot on the Sand”, “A Cave Retreat”, “Wreck of a Spanish Ship”, etc. Read & Co. Classics is republishing this novel now in a brand new edition complete with an introductory essay by Virginia Woolf.

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Alexander Selkirk

Alexandre Selkirk

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Publié par	Read Books Ltd.
Date de parution	20 octobre 2021
Nombre de lectures	6
EAN13	9781528792745
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0350€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

ROBIN SON CRUSOE
By
DANIEL DEFOE
WITH AN ADDITIONAL ESSAY BY VIRGINIA WOOLF

First published in 1719

Copyright © 2021 Read & Co. Classics
This edition is published by Read & Co. Classics, an imprint of Read & Co.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
Read & Co. is part of Read Books Ltd. For more information visit www.readandcobooks.co.uk

Contents
Da niel Defoe
DEFOE - AN ESSAY
By Virg inia Woolf
ROBINSON CRUSOE
CHAPTER I
STA RT IN LIFE
CHAPTER II
SLAVERY AND ESCAPE
C HAPTER III
WRECKED ON A DES ERT ISLAND
CHAPTER IV
FIRST WEEKS ON THE ISLAND
CHAPTER V
BUILDS A HOUSE—T HE JOURNAL
CHAPTER VI
ILL AND CONSCIENC E-STRICKEN
C HAPTER VII
AGRICULTURAL EXPERIENCE
CH APTER VIII
SURVEYS HI S POSITION
CHAPTER IX
A BOAT
CHAPTER X
T AMES GOATS
CHAPTER XI
FINDS PRINT OF MAN’S FOOT O N THE SAND
C HAPTER XII
A CA VE RETREAT
CH APTER XIII
WRECK OF A SP ANISH SHIP
C HAPTER XIV
A DREA M REALISED
CHAPTER XV
FRIDAY’S EDUCATION
C HAPTER XVI
RESCUE OF PRISONERS FROM CANNIBALS
CH APTER XVII
VISIT OF MUTINEERS
CHA PTER XVIII
THE SHIP RECOVERED
C HAPTER XIX
RETURN TO ENGLAND
CHAPTER XX
FIGHT BETWEEN FRIDAY AND A BEAR

Da niel Defoe
Daniel Defoe was born in London, England in 1660. He attended a school for Dissenters, with the intention of becoming a minister, but he changed his mind and instead became a hosiery merchant. In 1685, Defoe participated in th e Monmouth
Rebellion – a West Country rebellion in which James Scott, the 1st Duke of Monmouth, attempted to overthrow James II – on the side of the King. His 1701 poem, ‘The True Born Englishman’, attacked those who thought England shouldn’t have a foreign-born king, and propelled him into the limelight as a vocal supporter of the monarchy.
From 1703, Defoe worked as a spy for the Earl of Oxford, founding and editing a newspaper, The Review (1704-1713). In 1719, after two spells in prison – for slandering, in turn, the Anglican Church and the Whig Party – Defoe turned to writing fiction. His first novel, Robinson Crusoe (1719), was and remains a huge success, having never gone out of print. He followed it with the novels Captain Singleton (1720), Journal of the Plague Year (1722), Captain Jack (1722), Moll Flanders (1722) and Roxanda (1724) – all of which sold well. He also penned a three-volume travel book, Tour Through the Whole Island of Great Britain (1724-1727) . By the year of his death, 1731, Defoe had published more than 500 books and pamphlets, as well as short fiction and poems. He is now regarded as one of the founders of the English novel (before his time, fiction was written almost exclusively in the form of verse or plays).

DEFOE - AN ESSAY
By Virg inia Woolf
The fear which attacks the recorder of centenaries lest he should find himself measuring a diminishing spectre and forced to foretell its approaching dissolution is not only absent in the case of Robinson Crusoe but the mere thought of it is ridiculous. It may be true that Robinson Crusoe is two hundred years of age upon the twenty-fifth of April 1919, but far from raising the familiar speculations as to whether people now read it and will continue to read it, the effect of the bi-centenary is to make us marvel that Robinson Crusoe, the perennial and immortal, should have been in existence so short a time as that. The book resembles one of the anonymous productions of the race rather than the effort of a single mind; and as for celebrating its centenary we should as soon think of celebrating the centenaries of Stonehenge itself. Something of this we may attribute to the fact that we have all had Robinson Crusoe read aloud to us as children, and were thus much in the same state of mind towards Defoe and his story that the Greeks were in towards Homer. It never occurred to us that there was such a person as Defoe, and to have been told that Robinson Crusoe was the work of a man with a pen in his hand would either have disturbed us unpleasantly or meant nothing at all. The impressions of childhood are those that last longest and cut deepest. It still seems that the name of Daniel Defoe has no right to appear upon the title-page of Robinson Crusoe, and if we celebrate the bi-centenary of the book we are making a slightly unnecessary allusion to the fact that, like Stonehenge, it is still in existence.
The great fame of the book has done its author some injustice; for while it has given him a kind of anonymous glory it has obscured the fact that he was a writer of other works which, it is safe to assert, were not read aloud to us as children. Thus when the Editor of the Christian World in the year 1870 appealed to "the boys and girls of England" to erect a monument upon the grave of Defoe, which a stroke of lightning had mutilated, the marble was inscribed to the memory of the author of Robinson Crusoe . No mention was made of Moll Flanders. Considering the topics which are dealt with in that book, and in Roxana, Captain Singleton, Colonel Jack and the rest, we need not be surprised, though we may be indignant, at the omission. We may agree with Mr. Wright, the biographer of Defoe, that these "are not works for the drawing-room table". But unless we consent to make that useful piece of furniture the final arbiter of taste, we must deplore the fact that their superficial coarseness, or the universal celebrity of Robinson Crusoe, has led them to be far less widely famed than they deserve. On any monument worthy of the name of monument the names of Moll Flanders and Roxana, at least, should be carved as deeply as the name of Defoe. They stand among the few English novels which we can call indisputably great. The occasion of the bicentenary of their more famous companion may well lead us to consider in what their greatness, which has so much in common with his, may be found t o consist.
Defoe was an elderly man when he turned novelist, many years the predecessor of Richardson and Fielding, and one of the first indeed to shape the novel and launch it on its way. But it is unnecessary to labour the fact of his precedence, except that he came to his novel-writing with certain conceptions about the art which he derived partly from being himself one of the first to practise it. The novel had to justify its existence by telling a true story and preaching a sound moral. "This supplying a story by invention is certainly a most scandalous crime", he wrote. "It is a sort of lying that makes a great hole in the heart, in which by degrees a habit of lying enters in." Either in the preface or in the text of each of his works, therefore, he takes pains to insist that he has not used his invention at all but has depended upon facts, and that his purpose has been the highly moral desire to convert the vicious or to warn the innocent. Happily these were principles that tallied very well with his natural disposition and endowments. Facts had been drilled into him by sixty years of varying fortunes before he turned his experience to account in fiction. "I have some time ago summed up the Scenes of my life in this distich," he wrote:
No man has tasted differing fortunes more, And thirteen times I have been rich and poor.
He had spent eighteen months in Newgate and talked with thieves, pirates, highwaymen, and coiners before he wrote the history of Moll Flanders. But to have facts thrust upon you by dint of living and accident is one thing; to swallow them voraciously and retain the imprint of them indelibly, is another. It is not merely that Defoe knew the stress of poverty and had talked with the victims of it, but that the unsheltered life, exposed to circumstances and forced to shift for itself, appealed to him imaginatively as the right matter for his art. In the first pages of each of his great novels he reduces his hero or heroine to such a state of unfriended misery that their existence must be a continued struggle, and their survival at all the result of luck and their own exertions. Moll Flanders was born in Newgate of a criminal mother; Captain Singleton was stolen as a child and sold to the gipsies; Colonel Jack, though "born a gentleman, was put 'prentice to a pickpocket"; Roxana starts under better auspices, but, having married at fifteen, she sees her husband go bankrupt and is left with five children in "a condition the most deplorable that words can express".
Thus each of these boys and girls has the world to begin and the battle to fight for himself. The situation thus created was entirely to Defoe's liking. From her very birth or with half a year's respite at most, Moll Flanders, the most notable of them, is goaded by "that worst of devils, poverty", forced to earn her living as soon as she can sew, driven from place to place, making no demands upon her creator for the subtle domestic atmosphere which he was unable to supply, but drawing upon him for all he knew of strange people and customs. From the outset the burden of proving her right to exist is laid upon her. She has to depend entirely upon her own wits and judgement, and to deal with each emergency as it arises by a rule-of-thumb morality which she has forged in her ow