DEFOE
only intended them to speak some very modern doctrines upon the subject, but placed them in circumstances where their peculiar hardships are displayed in such a way as to elicit our sympathy. Courage, said Moll Flanders, was what women needed, and the power to “stand their ground”; and at once gave practical demonstration of the benefits that would result. Roxana, a lady of the same profession, argues more subtly against the slavery of marriage. She “had started a new thing in the world” the merchant told her; “it was a way of arguing contrary to the general practise”. But Defoe is the last writer to be guilty of bald preaching. Roxana keeps our attention because she is blessedly unconscious that she is in any good sense an example to her sex and is thus at liberty to own that part of her argument is “of an elevated strain which was really not in my thoughts at first, at all”. The knowledge of her own frailties and the honest questioning of her own motives, which that knowledge begets, have the happy result of keeping her fresh and human when the martyrs and pioneers of so many problem novels have shrunken and shrivelled to the pegs and props of their respective creeds.
But the claim of Defoe upon our admiration does not rest upon the fact that he can be shown to have anticipated some of the views of Meredith, or to have written scenes which (the odd suggestion occurs) might have been turned into plays by Ibsen. Whatever his ideas upon the position of women, they are an incidental result of his chief virtue, which is that he deals
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