The Life, Adventures and Piracies of the Famous Captain Singleton

蘆

The Life, Adventures and Piracies of the Famous Captain Singleton

The Project Gutenberg EBook of The Life, Adventures & Piracies of the
Famous Captain Singleton, by Daniel Defoe #10 in our series by Daniel Defoe
Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission.
Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971**
*****These eBooks Were Prepared By Thousands of Volunteers!*****
Title: The Life, Adventures & Piracies of the Famous Captain Singleton
Author: Daniel Defoe
Release Date: September, 2004 [EBook #6422] [Yes, we are more than one year ahead of schedule] [This file was first posted on December 10, 2002]
Edition: 10
Language: English
Character set encoding: ASCII
*** START OF THE PROJECT GUTENBERG EBOOK CAPTAIN SINGLETON ***

Produced by Tom Allen, Charles Franks and the Online Distributed Proofreading Team.

CAPTAIN SINGLETON
WITH AN INTRODUCTION BY EDWARD GARNETT

[Transcriber's Note: In the print copy, the following words and those of the title page are written in intricate, illuminated calligraphy.]
A TALE WHICH HOLDETH CHILDREN FROM PLAY AND OLD MEN FROM THE CHIMNEY CORNER
SIR PHILIP SIDNEY

THE LIFE ADVENTURES AND PIRACIES OF THE FAMOUS CAPTAIN SINGLETON
BY DANIEL DEFOE

PREFACE
That all Defoe's novels, with the exception of "Robinson Crusoe," should have been covered with the dust of neglect for many generations, is a plain proof of how much fashions in taste affect the popularity of the British classics. It is true that three generations or so ago, Defoe's works were edited by both Sir Walter Scott and Hazlitt, and that this masterly piece of realism, "Captain Singleton," was reprinted a few years back in "The Camelot Classics," but it is safe to say that out of every thousand readers of "Robinson Crusoe" only one or two will have even heard of the "Memoirs of a Cavalier," "Colonel Jack," "Moll Flanders," or "Captain Singleton." It is indeed distressing to think that while many scores of thousands of copies of Lord Lytton's flashy romance, "Paul Clifford," have been devoured by the public, "Captain Singleton" has remained unread and almost forgotten. But the explanation is simple. Defoe's plain and homely realism soon grew to be thought vulgar by people who themselves aspired to be refined and genteel. The rapid spread of popular education, in the middle of last century, was responsible for a great many aberrations of taste, and the works of the two most English of Englishmen, Defoe and Hogarth, were judged to be hardly fitting for polite society, as we may see from Lamb's Essay on Hogarth, and from an early edition of Chambers's "Cyclopaedia of English Literature" (1843), where we are told: "Nor is it needful to show how elegant and reflective literature, especially, tends to moralise, to soften, and to adorn the soul and life of man." "Unfortunately the taste or circumstances of Defoe led him mostly into low life, and his characters are such as we cannot sympathise with. The whole arcana of roguery and villany seems to have been open to him.... It might be thought that the good taste which led Defoe to write in a style of such pure and unpretending English, instead of the inflated manner of vulgar writers, would have dictated a more careful selection of his subjects, and kept him from wandering so frequently into the low and disgusting purlieus of vice. But this moral and tasteful discrimination seems to have been wholly wanting," &c. The 'forties were the days when critics still talked learnedly of the "noble style," &c., "the vulgar," of "sinking" or "rising" with "the subject," the days when Books of Beauty were in fashion, and Rembrandt's choice of beggars, wrinkled faces and grey hairs, for his favourite subjects seemed a low and reprehensible taste in "high art." Though critics to-day still ingenuously confound an artist's subject with his treatment of it, and prefer scenes of life to be idealised rather than realised by writers, we have advanced a little since the days of the poet Montgomery, and it would be difficult now to find anybody writing so confidently--"Unfortunately the taste or circumstances of Defoe led him mostly into low life," however much the critic might believe it. But let us glance at a few passages in "Captain Singleton," which may show us why Defoe excels