This mistake of Mr. Ebsworth's is the less easy to understand inasmuch as he has been very careful to clear up the popular confusion of our poet Thomas Carew, "gentleman of the Privy Chamber to King Charles I., and cup-bearer to His Majesty," with another Thomas Gary (also a poet), son of the Earl of Monmouth and groom of His Majesty's bed-chamber. But it is one thing to prove that this second Thomas Gary is the original of the "medallion portrait" commonly supposed to be Carew's: it is quite another thing to saddle him, merely upon guess-work, with Carew's reputed indiscretions. Indeed, Mr. Ebsworth lets his enthusiasm for his author run clean away with his sense of fairness. He heads his Introductory Memoir with the words of Pallas in Tennyson's "none"--

"Again she said--'I woo thee not with gifts: Sequel of guerdon could not alter me To fairer. Judge thou me by what I am, So shalt thou find me fairest.'"--

from which I take it that Mr. Ebsworth claims his att.i.tude towards Carew to be much the same as Thackeray's towards Pendennis. But in fact he proves himself a thorough-going partisan, and anyone less enthusiastic may think himself lucky if dismissed by Mr. Ebsworth with nothing worse than a smile of pity mingled with contempt. Now, so long as an editor confines this belligerent enthusiasm to the defence of his author's writings, it is at worst but an amiable weakness; and every word he says in their praise tends indirectly to justify his own labor in editing these meritorious compositions. But when he extends this championship over the author's private life, he not unfrequently becomes something of a nuisance. We may easily forgive such talk as "There must a.s.suredly have been a singular frankness and affectionate simplicity in the disposition of Carew:"

talk which is harmless, though hardly more valuable than the reflection beloved of local historians--"If these grey old walls could speak, what a tale might they not unfold!" It is less easy to forgive such a note as this:--

"Sir John Suckling was incapable of understanding Carew in his final days of sickness and depression, as he had been (and this is conceding much) in their earlier days of reckless gallantry.

His vile address 'to T---- C----,' etc., 'Troth, _Tom_, I must confess I much admire ...' is nothing more than coa.r.s.e badinage without foundation; in any case not necessarily addressed to Carew, although they were of close acquaintance; but many other Toms were open to a similar expression, since 'T.C.' might apply to Thomas Carey, to Thomas Crosse, and other T.C. poets."

It is not pleasant to rake up any man's faults; but when an editor begins to suggest some new man against whom nothing is known (except that he wrote indifferent verse)--who is not even known to have been on speaking terms with Suckling--as the proper target of Suckling's coa.r.s.e raillery, we have a right not only to protest, but to point out that even Clarendon, who liked Carew, wrote of him that, "after fifty years of his life spent with less severity and exactness than it ought to have been, he died with great remorse for that license, and with the greatest manifestation of Christianity that his best friends could desire." If Carew thought fit to feel remorse for that license, it scarcely becomes Mr. Ebsworth to deny its existence, much less to hint that the sinfulness was another's.

A correction.

As a minor criticism, I may point out that the song, "Come, my Celia, let us prove ..." (included by Mr. Ebsworth, with the remark that "there is no external evidence to confirm the attribution of this song to Carew") was written by Ben Jonson, and is to be found in _Volpone_, Act III., sc. 7, 1607.

But, with some imperfections, this is a sound edition--sadly needed--of one of the most brilliant lyrical writers of his time. It contains a charming portrait; and the editor's enthusiasm, when it does not lead him too far, is also charming.

"ROBINSON CRUSOE"

April 13, 1895. Robinson Crusoe.

Many a book has produced a wide and beneficent effect and won a great reputation, and yet this effect and this reputation have been altogether wide of its author's aim. Swift's _Gulliver_ is one example. As Mr. Birrell put it the other day, "Swift's gospel of hatred, his testament of woe--his _Gulliver_, upon which he expended the treasures of his wit, and into which he instilled the concentrated essence of his rage--has become a child's book, and has been read with wonder and delight by generations of innocents."

How far is the tale a parable?

Generations of innocents in like manner have accepted _Robinson Crusoe_ as a delightful tale about a castaway mariner, a story of adventure pure and simple, without sub-intention of any kind. But we know very well that Defoe in writing it intended a parable--a parable of his own life. In the first place, he distinctly affirms this in his preface to the _Serious Reflections_ which form Part iii. of his great story:--

"As the design of everything is said to be first in the intention, and last in the execution, so I come now to acknowledge to my reader that the present work is not merely a product of the two first volumes, but the two first volumes may rather be called the product of this. The fable is always made for the moral, not the moral for the fable...."

He goes on to say that whereas "the envious and ill-disposed part of the world" have accused the story of being feigned, and "all a romance, formed and embellished by invention to impose upon the world," he declares this objection to be an invention scandalous in design, and false in fact, and affirms that the story, "though allegorical, is also historical"; that it is

"the beautiful representation of a life of unexampled misfortunes, and of a variety not to be met with in the world, sincerely adapted to and intended for the common good of mankind, and _designed at first_, as it is now further applied, to the most serious use possible. Farther, that there is a man alive, and well known too, the actions of whose life are the just subject of these volumes, _and to whom all or most part of the story most directly alludes_; this may be depended upon, for truth, and to this I set my name."

He proceeds to a.s.sert this in detail of several important pa.s.sages in the book, and obviously intends us to infer that the adventures of Robinson Crusoe of York, Mariner, were throughout and from the beginning designed as a story in parable of the life and adventures of Daniel Defoe, Gentleman. "But Defoe may have been lying?" This was never quite flatly a.s.serted. Even his enemy Gildon admitted an a.n.a.logy between the tale of Crusoe and the stormy life of Defoe with its frequent shipwrecks "more by land than by sea." Gildon admitted this implicitly in the t.i.tle of his pamphlet, _The Life and Strange Surprising 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._ But the question has always been, To what extent are we to accept Defoe's statement that the story is an allegory? Does it agree step by step and in detail with the circ.u.mstances of Defoe's life? Or has it but a general allegorical resemblance?

Hitherto, critics have been content with the general resemblance, and have agreed that it would be a mistake to accept Defoe's statement too literally, to hunt for minute allusions in _Robinson Crusoe_, and search for exact resemblances between incidents in the tale and events in the author's life. But this at any rate may be safely affirmed, that recent discoveries have proved the resemblance to be a great deal closer than anyone suspected a few years ago.

Mr. Wright's hypothesis.

Mr. Aitken supplied the key when he announced in the _Athenaeum_ for August 23rd, 1890, his discovery that Daniel Defoe was born, not in 1661 (as had hitherto been supposed), but earlier, and probably in the latter part of the year 1659. The story dates Crusoe's birth September 30th, 1632, or just twenty-seven years earlier. Now Mr. Wright, Defoe's latest biographer,[A] maintains that if we add these twenty-seven years to the date of any event in Crusoe's life we shall have the date of the corresponding event in Defoe's life. By this simple calculation he finds that Crusoe's running away to sea corresponds in time with Defoe's departure from the academy at Newington Green; Crusoe's early period on the island (south side) with the years Defoe lived at Tooting; Crusoe's visit to the other side of the island with a journey of Defoe's into Scotland; the footprint and the arrival of the savages with the threatening letters received by Defoe, and the physical a.s.saults made on him after the Sacheverell trial; while Friday stands for a collaborator who helped Defoe with his work.

Defoe expressly states in his _Serious Reflections_ that the story of Friday is historical and true in fact--

"It is most real that I had ... such a servant, a savage, and afterwards a Christian, and that his name was called Friday, and that he was ravished from me by force, and died in the hands that took him, which I represent by being killed; this is all literally true, and should I enter into discoveries many alive can testify them. His other conduct and a.s.sistance to me also have just references in all their parts to the helps I had from that faithful savage in my real solitudes and disasters."

It may be added that there are strong grounds for believing Defoe to have had about this time a.s.sistance in his literary work.

All this is very neatly worked out; but of course the really important event in Crusoe's life is his great shipwreck and his long solitude on the island. Now of what events in Defoe's life are these symbolical?

The 'Silence.'

Well, in the very forefront of his _Serious Reflections_, and in connection with his long confinement in the island, Defoe makes Crusoe tell the following story:--

"I have heard of a man that, upon some extraordinary disgust which he took at the unsuitable conversation of some of his nearest relations, whose society he could not avoid, suddenly resolved never to speak any more. He kept his resolution most rigorously many years; not all the tears or entreaties of his friends--no, not of his wife and children--could prevail with him to break his silence. It seems it was their ill-behaviour to him, at first, that was the occasion of it; for they treated him with provoking language, which frequently put him into undecent pa.s.sions, and urged him to rash replies; and he took this severe way to punish himself for being provoked, and to punish them for provoking him. But the severity was unjustifiable; it ruined his family and broke up his house. His wife could not bear it, and after endeavouring, by all the ways possible, to alter his rigid silence, went first away from him, and afterwards from herself, turning melancholy and distracted. His children separated, some one way and some another way; and only one daughter, who loved her father above all the rest, kept with him, tended him, talked to him by signs, and lived almost dumb like her father _near twenty-nine years with him; till being very sick, and in a high fever, delirious as we call it, or light-headed, he broke his silence_, not knowing when he did it, and spoke, though wildly at first. He recovered of his illness afterwards, and frequently talked with his daughter, but not much, and very seldom to anybody else."

I italicise some very important words in the above story. Crusoe was wrecked on his island on September 30th, 1659, his twenty-seventh birthday. We are told that he remained on the island twenty-eight years, two months and nineteen days. (Compare with duration of the man's silence in the story.) This puts the date of his departure at December 19th, 1687.

Now add twenty-seven years. We find that Defoe left _his_ solitude--whatever that may have been--on December 19th, 1714. Just at that date, as all his biographers record, Defoe was struck down by a fit of apoplexy and lay ill for six weeks. Compare this again with the story.

You divine what is coming. Astounding as it may be, Mr. Wright contends that Defoe himself was the original of the story: that Defoe, provoked by his wife's irritating tongue, made a kind of vow to live a life of silence--and kept it for more than twenty-eight years!

So far back as 1859 the egregious Chadwick nibbled at this theory in his _Life and Times of Daniel Defoe, with Remarks Digressive and Discursive_. The story, he says, "would be very applicable" to Defoe himself, and again, "is very likely to have been taken from his own life"; but at this point Chadwick maunders off with the remark that "perhaps the domestic fireside of the poet or book-writer is not the place we should go to in search of domestic happiness." Perhaps not; but Chadwick, tallyhoing after domestic happiness, misses the scent.

Mr. Wright sticks to the scent and rides boldly; but is he after the real fox?

April 20, 1895.

Can we believe it? Can we believe that on the 30th of September, 1686, Defoe, provoked by his wife's nagging tongue, made a vow to live a life of complete silence; that for twenty-eight years and a month or two he never addressed a word to his wife or children; and that his resolution was only broken down by a severe illness in the winter of 1714?

Mr. Aitken on Mr. Wright's hypothesis.

Mr. Aitken,[B] who has handled this hypothesis of Mr. Wright's, brings several arguments against it, which, taken together, seem to me quite conclusive. To begin with, several children were born to Defoe during this period. He paid much attention to their education, and in 1713, the penultimate year of this supposed silence, we find his sons helping him in his work. Again, in 1703 Mrs. Defoe was interceding for her husband's release from Newgate. Let me add that it was an age in which personalities were freely used in public controversy; that Defoe was continuously occupied with public controversy during these twenty-eight years, and managed to make as many enemies as any man within the four seas; and I think the silence of his adversaries upon a matter which, if proved, would be discreditable in the extreme, is the best of all evidence that Mr. Wright's hypothesis cannot be sustained. Nor do I see how Mr. Wright makes it square with his own conception of Defoe's character. "Of a forgiving temper himself," says Mr. Wright on p. 86, "he (Defoe) was quite incapable of understanding how another person could nourish resentment." This of a man whom the writer a.s.serts to have sulked in absolute silence with his wife and family for twenty-eight years, two months, and nineteen days!

An inherent improbability.

At all events it will not square with _our_ conception of Defoe's character. Those of us who have an almost unlimited admiration for Defoe as a master of narrative, and next to no affection for him as a man, might pa.s.s the heartlessness of such conduct. "At first sight,"

Mr. Wright admits, "it may appear monstrous that a man should for so long a time abstain from speech with his own family." Monstrous, indeed--but I am afraid we could have pa.s.sed that. Mr. Wright, who has what I may call a purfled style, tells us that--

"To narrate the career of Daniel Defoe is to tell a tale of wonder and daring, of high endeavour and marvellous success. To dwell upon it is to take courage and to praise G.o.d for the splendid possibilities of life.... Defoe is always the hero; his career is as thick with events as a cornfield with corn; his fortunes change as quickly and as completely as the shapes in a kaleidoscope--he is up, he is down, he is courted, he is spurned; it is shine, it is shower, it is _couleur de rose_, it is Stygian night. Thirteen times he was rich and poor. Achilles was not more audacious, Ulysses more subtle, aeneas more pious."

That is one way of putting it. Here is another way (as the cookery books say):--"To narrate the career of Daniel Defoe is to tell a tale of a hosier and pantile maker, who had a hooked nose and wrote tracts indefatigably--he was up, he was down, he was in the Pillory, he was at Tooting; it was _poule de soie_, it was leather and prunella; and it was always tracts. aeneas was not so pious a member of the Butchers'

Company; and there are a few milestones on the Dover Road; but Defoe's life was as thick with tracts as a cornfield with corn." These two estimates may differ here and there; but on one point they agree--that Defoe was an extremely restless, pushing, voluble person, who could as soon have stood on his head for twenty-eight years, two months, and nineteen days as have kept silence for that period with any man or woman in whose company he found himself frequently alone. Unless we have entirely misjudged his character--and, I may add, unless Mr.

Wright has completely misrepresented the rest of his life--it simply was not _in_ the man to keep this foolish vow for twenty-four hours.

No, I am afraid Mr. Wright's hypothesis will not do. And yet his plan of adding twenty-seven years to each important date in Crusoe's history has revealed so many coincident events in the life of Defoe that we cannot help feeling he is "hot," as they say in the children's game; that the wreck upon the island and Crusoe's twenty-eight years odd of solitude do really correspond with some great event and important period of Defoe's life. The wreck is dated 30th September, 1659. Add the twenty-seven years, and we come to September 30th, 1686.

Where was Defoe at that date, and what was he doing? Mr. Wright has to confess that of his movements in 1686 and the two following years "we know little that is definite." Certainly we know of nothing that can correspond with Crusoe's shipwreck.