6 INTRODUCTION.

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from every part, are so many testimonies to the good design of making it public, and
must legitimate all the part that may be called invention or parable in the story.

The second part, if the Editor’s opinion may pass, is (contrary to the usage of
second parts) every way as entertaining as the first; contains as strange and sur-
prising incidents, and as great a variety of them; nor is the application less serious
or suitable ; and doubtless will, to the sober as well as ingenious reader, be every
way as profitable and diverting.

In so far as Selkirk passed a certain number of years on an uninha-
bited island, he may be truly said to have furnished the idea of Crusoe;
but the subordinate figures, the grouping, and the scenery are altogether
due to the genius of De Foe. Herein he affords an exact parallel to
Shakespeare, who derived the plots of his immortal dramas, now from an
Italian romance, now from passing events.

Whatever may have been the origin of the tale, however virulent may
have been the attacks made against its author, as he himself says, by
political enemies and senseless critics, the judgment of the most enlight-
ened men of all nations has placed “ Robinson Crusoe” upon a height
which no sounds of animosity can now reach. What pleasure has this
wonderful tale given, and still gives, to all readers! Young and old,
rich and poor, find in its pages an unfailing source of pure delight.

It blends instruction with amusement in a way no other production of
human intellect has ever succeeded in doing. While depicting a solitary
individual struggling against misfortune, it indicates the justice and the
mercy of Providence; and while inculeating the duty of self-help, asserts
the complete dependence of man upon a higher power for all he stands
in need of.

If we consider novels in their relation to life, “Robinson Crusoe”
must win the prize for truthfulness and reality. How naturally the in-
cidents occur! There is no deference shown by the author to the exi-
gencies of his story, nor to dramatic effect. The characters appear as
they do in real life—exercise some influence for good or evil on the
principal figure in the tale—and then disappear, to be seen no more.
Take, for instance, Xury. Would not a novelist of less power have
brought him forward, over and over again, after he had once introduced
him as the faithful friend of the hero? But De Foe saw fit to do other-
wise. Xury is brought upon the stage; assists the escape of the chief
personage in the drama; and is seen no more. Is not this the way of
real life?

Nor does the effect of reality stop here. So natural are all the cha-
racters, that we seem to know them personally—to be ourselves assisting
at the scenes recorded in it.

For these excellencies the learned and the good have uniformly per-
sisted in singling out “Robinson Crusoe” for special commendation. To
mention only two—Rousseau held that it was the book a boy should read
first and read longest. Dr. Johnson remarked, “Was there ever any-
thing written by mere man that was wished longer by its readers, except-
ing ‘Don Quixote,’ ‘Robinson Crusoe,’ and the ‘ Pilgrim’s Progress ?’”