While he is no flashy hero or grand epic adventurer, Robinson Crusoe displays character traits that have won him the approval of generations of readers. His perseverance in spending months making a canoe, and in practicing pottery making until he gets it right, is praiseworthy. Additionally, his resourcefulness in building a home, dairy, grape arbor, country house, and goat stable from practically nothing is clearly remarkable. The Swiss philosopher Jean-Jacques Rousseau applauded Crusoe’s do-it-yourself independence, and in his book on education, Emile, he recommends that children be taught to imitate Crusoe’s hands-on approach to life. Crusoe’s business instincts are just as considerable as his survival instincts: he manages to make a fortune in Brazil despite a twenty-eight-year absence and even leaves his island with a nice collection of gold. Moreover, Crusoe is never interested in portraying himself as a hero in his own narration. He does not boast of his courage in quelling the mutiny, and he is always ready to admit unheroic feelings of fear or panic, as when he finds the footprint on the beach. Crusoe prefers to depict himself as an ordinary sensible man, never as an exceptional hero.
But Crusoe’s admirable qualities must be weighed against the flaws in his character. Crusoe seems incapable of deep feelings, as shown by his cold account of leaving his family—he worries about the religious consequences of disobeying his father, but never displays any emotion about leaving. Though he is generous toward people, as when he gives gifts to his sisters and the captain, Crusoe reveals very little tender or sincere affection in his dealings with them. When Crusoe tells us that he has gotten married and that his wife has died all within the same sentence, his indifference to her seems almost cruel. Moreover, as an individual personality, Crusoe is rather dull. His precise and deadpan style of narration works well for recounting the process of canoe building, but it tends to drain the excitement from events that should be thrilling. Action-packed scenes like the conquest of the cannibals become quite humdrum when Crusoe narrates them, giving us a detailed inventory of the cannibals in list form, for example. His insistence on dating events makes sense to a point, but it ultimately ends up seeming obsessive and irrelevant when he tells us the date on which he grinds his tools but neglects to tell us the date of a very important event like meeting Friday. Perhaps his impulse to record facts carefully is not a survival skill, but an irritating sign of his neurosis.
Finally, while not boasting of heroism, Crusoe is nonetheless very interested in possessions, power, and prestige. When he first calls himself king of the island it seems jocund, but when he describes the Spaniard as his subject we must take his royal delusion seriously, since it seems he really does consider himself king. His teaching Friday to call him “Master,” even before teaching him the words for “yes” or “no,” seems obnoxious even under the racist standards of the day, as if Crusoe needs to hear the ego-boosting word spoken as soon as possible. Overall, Crusoe’s virtues tend to be private: his industry, resourcefulness, and solitary courage make him an exemplary individual. But his vices are social, and his urge to subjugate others is highly objectionable. In bringing both sides together into one complex character, Defoe gives us a fascinating glimpse into the successes, failures, and contradictions of modern man.
Probably the first nonwhite character to be given a realistic, individualized, and humane portrayal in the English novel, Friday has a huge literary and cultural importance. If Crusoe represents the first colonial mind in fiction, then Friday represents not just a Caribbean tribesman, but all the natives of America, Asia, and Africa who would later be oppressed in the age of European imperialism. At the moment when Crusoe teaches Friday to call him “Master” Friday becomes an enduring political symbol of racial injustice in a modern world critical of imperialist expansion. Recent rewritings of the Crusoe story, like J. M. Coetzee’s Foe and Michel Tournier’s Friday, emphasize the sad consequences of Crusoe’s failure to understand Friday and suggest how the tale might be told very differently from the native’s perspective.
Aside from his importance to our culture, Friday is a key figure within the context of the novel. In many ways he is the most vibrant character in Robinson Crusoe, much more charismatic and colorful than his master. Indeed, Defoe at times underscores the contrast between Crusoe’s and Friday’s personalities, as when Friday, in his joyful reunion with his father, exhibits far more emotion toward his family than Crusoe. Whereas Crusoe never mentions missing his family or dreams about the happiness of seeing them again, Friday jumps and sings for joy when he meets his father, and this emotional display makes us see what is missing from Crusoe’s stodgy heart. Friday’s expression of loyalty in asking Crusoe to kill him rather than leave him is more heartfelt than anything Crusoe ever says or does. Friday’s sincere questions to Crusoe about the devil, which Crusoe answers only indirectly and hesitantly, leave us wondering whether Crusoe’s knowledge of Christianity is superficial and sketchy in contrast to Friday’s full understanding of his own god Benamuckee. In short, Friday’s exuberance and emotional directness often point out the wooden conventionality of Crusoe’s personality.
Despite Friday’s subjugation, however, Crusoe appreciates Friday much more than he would a mere servant. Crusoe does not seem to value intimacy with humans much, but he does say that he loves Friday, which is a remarkable disclosure. It is the only time Crusoe makes such an admission in the novel, since he never expresses love for his parents, brothers, sisters, or even his wife. The mere fact that an Englishman confesses more love for an illiterate Caribbean ex-cannibal than for his own family suggests the appeal of Friday’s personality. Crusoe may bring Friday Christianity and clothing, but Friday brings Crusoe emotional warmth and a vitality of spirit that Crusoe’s own European heart lacks.
The Portuguese captain is presented more fully than any other European in the novel besides Crusoe, more vividly portrayed than Crusoe’s widow friend or his family members. He appears in the narrative at two very important junctures in Crusoe’s life. First, it is the Portuguese captain who picks up Crusoe after the escape from the Moors and takes him to Brazil, where Crusoe establishes himself as a plantation owner. Twenty-eight years later, it is again the Portuguese captain who informs Crusoe that his Brazilian investments are secure, and who arranges the sale of the plantation and the forwarding of the proceeds to Crusoe. In both cases, the Portuguese captain is the agent of Crusoe’s extreme good fortune. In this sense, he represents the benefits of social connections. If the captain had not been located in Lisbon, Crusoe never would have cashed in on his Brazilian holdings. This assistance from social contacts contradicts the theme of solitary enterprise that the novel seems to endorse. Despite Crusoe’s hard individual labor on the island, it is actually another human being—and not his own resourcefulness—that makes Crusoe wealthy in the end. Yet it is doubtful whether this insight occurs to Crusoe, despite his obvious gratitude toward the captain.
Moreover, the Portuguese captain is associated with a wide array of virtues. He is honest, informing Crusoe of the money he has borrowed against Crusoe’s investments, and repaying a part of it immediately even though it is financially difficult for him to do so. He is loyal, honoring his duties toward Crusoe even after twenty-eight years. Finally, he is extremely generous, paying Crusoe more than market value for the animal skins and slave boy after picking Crusoe up at sea, and giving Crusoe handsome gifts when leaving Brazil. All these virtues make the captain a paragon of human excellence, and they make us wonder why Defoe includes such a character in the novel. In some ways, the captain’s goodness makes him the moral counterpart of Friday, since the European seaman and the Caribbean cannibal mirror each other in benevolence and devotion to Crusoe. The captain’s goodness thus makes it impossible for us to make oversimplified oppositions between a morally bankrupt Europe on the one hand, and innocent noble savages on the other.
Ans: Apart from being an exciting account of a man’s adventures on an uninhabited island, the book, “Robinson Crusoe” has been found to possess a profound allegorical significance. For many, Crusoe's many references to God, to Providence, to sin are extraneous to the real interest of the novel. ... Read the full answer at
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Answer: The narrator of Robinson Crusoe, by Daniel Defoe, has a prominent style of depending on reason. Defoe, as a journalist, makes the novel seem real, not fiction by mentioning many details. There are lists of objects and actions which make the reader think that whatever happens to Crusoe is true. The author produces this impression of complete reality by employing three main methods which are the using of details, the form of biography or the first person narration and the nautical language. >> Read the full answer free at
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Answer: Two divergent views have been expressed by critics about the structure of the novel Robinson Crusoe, One view is that this novel is episodic, and lacks fundamental unity. This novel, according to this view, imitates life in its very shapelessness. According to the other view, this novel possesses a thematic unity and has a close-knit structure. >> Read the full answer free at
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