"Earless on high stood unabashed Defoe."
What are the exact terms Defoe made with the ministry, and on exactly what conditions he was released from Newgate, have not been ascertained. It is certain he never ceased to write, even while in prison, both anonymously and under his own name. For some years, in addition to pamphlet after pamphlet, he published a newspaper which he called the "Review,"[1] in which he generally sided with the moderate Whigs, advocated earnestly the union with Scotland, and gave the English people a vast deal of good advice upon foreign policy and domestic trade. There is no doubt that during this time he was in the secret service of the government. When the Tories displaced the Whigs in 1710, he managed to keep his post, and took his "Review" over to the support of the new masters, justifying his turncoating by a disingenuous plea of preferring country to party. His pamphleteering pen was now as active in the service of the Tory prime minister Harley as it had been in that of the Whig Godolphin. The party of the latter rightly regarded him as a traitor to their cause, and secured an order from the Court of Queen's Bench, directing the attorneygeneral to prosecute Defoe for certain pamphlets, which they declared were directed against the Hanoverian succession. Before the trial took place, Harley, at whose instigation the pamphlets had been written, secured his henchman a royal pardon.
When the Tories fell from power at the death of Queen Anne (1714), and the Whigs again obtained possession of the government, only one of two courses was open to Defoe: he must either retire permanently from politics, or again change sides. He unhesitatingly chose the latter. But his political reputation had now sunk so low, that no party could afford the disgrace of his open support. He was accordingly employed as a literary and political spy, ostensibly opposing the government, worming himself into the confidence of Tory editors and politicians, using his influence as an editorial writer to suppress items obnoxious to the government, and suggesting the timely prosecution of such critics as he could not control. He was able to play this double part for eight years, until his treachery was discovered by one Mist, whose "Journal" Defoe had, in his own words, "disabled and enervated, so as to do no mischief, or give any offense to the government." Mist hastened to disclose Defoe's real character to his fellow newspaper proprietors; and in 1726 we find the good Daniel sorrowfully complaining, "I had not published my project in this pamphlet, could I have got it inserted in any of the journals without feeing the journalists or publishers. I have not only had the mortification to find what I sent rejected, but to lose my originals, not having taken copies of what I wrote."[2] Heavyfooted justice had at last overtaken the arch liar of his age.
Of the two hundred and fifty odd books and pamphlets written by Defoe, it may fairly be said that only two"Robinson Crusoe" and the "History of the Plague in London"are read by any but the special students of eighteenthcentury literature. The latter will be discussed in another part of this Introduction. Of the former it may be asserted, that it arose naturally out of the circumstances of Defoe's trade as a journalist. So long as the papers would take his articles, nobody of distinction could die without Defoe's rushing out with a biography of him. In these biographies, when facts were scanty, Defoe supplied them from his imagination, attributing to his hero such sentiments as he thought the average Londoner could understand, and describing his appearance with that minute fidelity of which only an eyewitness is supposed to be capable. Long practice in this kind of composition made Defoe an adept in the art of "lying like truth." When, therefore, the actual and extraordinary adventures of Alexander Selkirk came under his notice, nothing was more natural and more profitable for Defoe than to seize upon this material, and work it up, just as he worked up the lives of Jack Sheppard the highwayman, and of Avery the king of the pirates. It is interesting to notice also that the date of publication of "Robinson Crusoe" (1719) corresponds with a time at which Defoe was playing the desperate and dangerous game of a political spy. A single false move might bring him a stab in the dark, or might land him in the hulks for transportation to some tropical island, where he might have abundant need for the exercise of those mental resources that interest us so much in Crusoe. The secret of Defoe's life at this time was known only to himself and to the minister that paid him. He was almost as much alone in London as was Crusoe on his desert island.
The success which Defoe scored in "Robinson Crusoe" he never repeated. His entire lack of artistic conscience is shown by his adding a dull second part to "Robinson Crusoe," and a duller series of serious reflections such as might have passed through Crusoe's mind during his island captivity. Of even the best of Defoe's other novels,"Moll Flanders," "Roxana," "Captain Singleton,"the writer must confess that his judgment coincides with that of Mr. Leslie Stephen, who finds two thirds of them "deadly dull," and the treatment such as "cannot raise [the story] above a very moderate level."[3]