Shahzeen Jahangir

BS-ENG

Relationship between Literature and Society

We all know that literature mirrors society. What happens in a society is reflected in literary
works in one form or another. The literal meaning of literature is the art of written work in
different forms, such as, poetry, plays, stories, prose, fiction, etc. It may also consist of texts
based on information as well as imagination.
A society is a group of people related to each other through their continuous and uninterrupted
relations. It is also a group of likeminded people largely governed by their own norms and
values. Human society, it is observed, is characterized by the patterns of relationship between
individuals who share cultures, traditions, beliefs and values, etc.
If one looks at the history of society, one will find that the nature of different societies has gone
through changes from the Palaeolithic period to the present age of Information Technology. The
people’s living style, faiths, beliefs, cultures, etc., have never remained uniformly consistent.
With the passage of time, owing to changes taking place in environment and with emergence of
new technologies, we observe that the societies have not remained stubborn with regards to their
norms and values, the reflections of which can be found in different forms of literature.
The influence of literature on society is felt directly or indirectly. Thus Miss Stowe's "Uncle
Tom's Cabin' was directly responsible for a movement against slavery in literature and life in
USA of those days. The novels of Dickens had an indirect influence in creating in society a
feeling for regulating and removing social wrongs, calling for necessary reforms. It is, however,
clear that if we are interested in literature, and its influence is bound to move us amply.
Literature is made out of the lore of life. No doubt, the realistic artist brings to a focus the
oddities and cruder aspects of life overmuch. But to know life fully, not only the bright side but
also the seamy and dark side of life is to be known. Thus, society creates literature. It may be
described as the mirror of the society. But the quality and nature of the reflection depends upon
the writer's attitude of mind, whether he is progressive in his outlook or reactionary.
The Rape of the Lock
The Rape of the Lock is a poem which shows the greater bonding between the Literature and
society. In this poem Alexander Pope shows himself emphatically as the spokesman of his age.
This poem pictures the artificial tone of the age and the frivolous aspect of femininity[8].We see
in this poem the elegance and the emptiness, the meanness and the vanity, the jealousies,
treacheries and intrigues of the social life of the aristocracy of the eighteenth century in its real
form.
The poem shows that how we become acquainted with the idleness, late-rising, and fondness for
domestic pets of the aristocratic ladies of the time. Belinda wakes up at the hour of twelve and
then falls asleep again. We also become acquainted in the very beginning of the poem with the
superficiality of the ladies who loved gilded chariots, and affected a love of the game of ombre.
Their ambition to marry peers and dukes, or men holding other high titles, is indicated, too, in
the opening Canto
Then gay ideas crowd the vacant brain,
While peers and dukes, and all their sweeping train….
An Image of Alexander Pope
The poem brings out the coquetry, the art, the artifice, and the “varying vanities” of the ladies of
the time. These ladies learnt early in their life how to roll their eyes and to blush in an intriguing
manner. Their hearts were like toy-shops which moved from one gallant to another.
Inter-Relation of Individual Personality and National Interests
Literature has a national as well as a personal character and interest. Literature can be
observed from age to age and it’s various transformations. It is not only as account of work done
by a number of separate writers, but it is also an account of great body of literature which in its
totality is to be regarded as the production of the genius of the people. Everything that for good
or evil has entered into the making of our nation‘s life has also entered into the texture of its
literature. Ordinary English history is English nation‘s biography and its literature is its
autobiography. As we survey the history of English literature through all its transformations, we
are brought into direct and living contact with the motive forces of the inner life of each
successive generation and learn at first-hand how it looks at life and what it thought about it,
what were the things in which it was most interested and by which it was most willing to be
amused, by what passions it was most deeply stirred, by what standards of conduct and of taste
it was governed, and what types of character it deemed most worthy of its admiration. Thus,
literature is the revelation of the progressive mind as well as the spirit of the people
Reflection Theory
Traditionally, the central perspective for sociologists studying literature has been the use of
literature as information about society. To a much lesser degree, traditional work has focused
on the effect of literature in shaping and creating social action. The former approach, the idea
that literature can be "read" as information about social behavior and values, is generally
referred to as reflection theory. Literary texts have been variously described as reflecting the
"economics, family relationships, climate and landscapes, attitudes, morals, races, social
classes, political events, wars, and religion" of the society that produced the texts.
Most people are familiar with an at least implicit reflection perspective from journalistic social
commentary. Unfortunately, "reflection" is a metaphor, not a theory. The basic idea behind
reflection, that the social context of a cultural work affects the cultural work, is obvious and
fundamental to a sociological study of literature. But the metaphor of reflection is misleading.
 Reflection assumes a simple mimetic theory of literature in which literary works transparently
and unproblematically document the social world for the reader. In fact, however, literature is a
construct of language; its experience is symbolic and mediating rather than direct. Convincing
research arguing for literary evidence of social patterns now requires the careful specification
of how and why certain social patterns are incorporated in literature while others are not.

Conclusion
Literature is only one of the many channels in which the energy of an age discharges itself; in its
political movements, religious thought, philosophical speculation, art, we have the same energy
overflowing into other forms of expression.
The study of English literature, for example, will thus take us out into the wide field of English
history, by which we mean the history of English politics and society, manners and customs,
culture and learning, and philosophy and religion. However diverse the characteristics which
make up the sum-total of the life of an epoch, these, like the qualities which combine in an
individual, are not, as Taine puts it merely juxtaposed‖ they are interrelated and interdependent.
Question 2
How society produce literature and literature produce society?
Literature

Society
Society produce literature:
The Canterbury tales is the best example of how society produce literature. It reflects the 14th
century in England. The tales could be described both as social realism and as estates satire. At
the same time that Chaucer takes care to honestly show the perspective of each of his characters,
he also aims to critique the hypocrisy of the church and the social problems posed by medieval
politics and social custom.
The Canterbury Tales begins with the introduction of each of the pilgrims making their journey
to Canterbury to the shrine of Thomas a Becket. These pilgrims include a Knight, his son the
Squire, the Knight's Yeoman, a Prioress, a Second Nun, a Monk, a Friar, a Merchant, a Clerk, a
Man of Law, a Franklin, a Weaver, a Dyer, a Carpenter, a Tapestry-Maker, a Haberdasher, a
Cook, a Shipman, a Physician, a Parson, a Miller, a Manciple, a Reeve, a Summoner, a
Pardoner, the Wife of Bath, and Chaucer himself. Congregating at the Tabard Inn, the pilgrims
decide to tell stories to pass their time on the way to Canterbury. The Host of the Tabard Inn sets
the rules for the tales. Each of the pilgrims will tell two stories on the way to Canterbury, and
two stories on the return trip. The Host will decide whose tale is best for meaningfulness and for
fun. They decide to draw lots to see who will tell the first tale, and the Knight receives the honor.
The Knight’s Tale describes how two kinsmen Arcite and Palamon fall in love with the same
woman named Emily whom they first see out of their prison window. Emily is the niece of King
Theseus. Arcite gains his freedom but is banished from Athens. He comes back in a disguise
since he cannot bear to live away from Emily. In the meanwhile Palamon breaks out of prison
and coincidentally meets Arcite in a forest grove. Here Theseus discovers them fighting a bloody
duel. Theseus puts an end to their fight and organizes a contest to resolve their quarrel about
Emily. Before the contest Arcite prays to Mars for victory while Palamon prays to Venus for the
sole possession of Emily. This creates uproar in heaven and finally both the wishes are granted.
Arcite emerges victorious in the joust but falls from his horse and dies and eventually Palamon
marries Emily.

The Miller’s Tale relates how Old John, an Oxford carpenter, was deceived by a clerk named
Nicholas. That is, he had an affair with the carpenter’s wife. Nicholas deceives the carpenter
into believing that Noah’s flood is about to recur and makes him hang three tubs from the
ceiling to escape the deluge. The carpenter sleeps fitfully in one tub while his wife Alison spends
the night with Nicholas. The young parish clerk Absolon who is also trying to woo Alison arrives
beneath her bedroom window only to be humiliated. When Absolon desperately begs Alison for a
kiss she thrusts her posterior out of the window. He is angry and returns to take revenge. But
now Nicholas extends his backside out of the window and Absolon brands him with a red-hot
iron. Nicholas’s screams wakes the carpenter who cuts the cord and plunges down breaking his
arm.
The Merchant’s Tale recounts how old January marries a young maiden named May and is
deceived by Damian. January suddenly loses his vision and becomes intensely jealous and
possessive of his young wife. He is unaware of his wife’s affair with Damian. One day January
and May go for a walk in the garden and May asks him to help her up into a pear tree to pick
pears to satisfy her intense craving. Damian is hiding in the tree and they make love. Pluto who
disapproves of women’s fickleness restores at this point January’s sight. However Prosperina,
Pluto’s wife, gives May the ability to convince January that she was only struggling with
Damian and had done so only because she had been led to believe that it would restore
January’s sight.
The Squire’s Tale is an unfinished fragment. King Cambyuskan receives a magic horse, sword,
mirror and ring as gifts from the king of Araby and India. The horse has the ability to transport
a man anywhere he wants to go in a flash. The sword could magically cut through the thickest
armor and even heal wounds. The mirror can reveal future misfortunes and tragedies and the
ring imparts to its wearer the power to understand the speech of birds. The king’s daughter
wears the ring and hears a falcon miserably lamenting her betrayal by her fickle lover. She takes
the poor falcon to court and nurses its self-inflicted wounds.
 In the prologue, Chaucer represented adequately different strata of the English community
under the feudal hierarchy. He presents here different character to represent different classes of
medieval English society. His triumph lies in his power of observation and analysis that makes
his characters typical of the age or society they represent.
Literature produces society
Sir Muhammad Iqbal (9th Nov 1877 – 21st April 1938) also renowned as Allama Iqbal was an
Islamic Scholar, Philosopher, Poet, Political Visionary, Statesman, and Social Reformist.

Religious scholar and Sufi Master, Iqbal’s literary works in Urdu and Persian are largely based
on teachings of the Holy Quran. He propagated self-respect and self-realization and reiterated
the need to revert to Islamic values.Allama Iqbal is officially regarded as National Poet of
Pakistan, Shayir-e-Mashriq (Poet of the East), and Hakeem-ul-Ummat (Sage of Ummah).A
Barrister from Lincoln’s Inn, England and a Ph.D in Philosophy from Munich University,
Allama Iqbal was a strong proponent of the political and spiritual revival of Islamic civilization
across the world, for which he travelled and delivered lectures at length across the continents.
His famous speeches have been collected and published under the title: “The Reconstruction of
Religious Thought in Islam”, a collection of esoteric lectures delivered between 1928 –
1930.Allama Iqbal encouraged young generation for fresh interpretation of Quran and the
Sunnah and discover mutual harmonies that would enable Muslims to learn modern science and
use science and technology to improve their material existence.
Allama Iqbal started writing poetry from his school days and was in full swing at the time of
freedom movement in India. His fame started with his poetry which was written in the classical
style for public recitation.Through ‘poetic symposia’, his poetry became widely known, even
among the illiterate masses. Almost all the cultured Muslims of his own and later generations
came under the spell of his poetry, one way or the other.
His first book of poetry Asrar e Khudi (Secrets of Self) appeared in Persian in 1915 and received
instant popularity amongst the down-trodden Muslims of British India. Other great works of
poetry are: Rumuz e Bekhudi (Secrets of Selflessness), Baal e Jibrael (Wings of Jibrael), Payam
e Mashriq (Message of the East), Zabur e Ajam (Persian Psalms), Baang e Dera (Call of the
Marching Bell), Zarb e Kaleem (Blow of Moses), and Javed Nama (Book of Eternity).
In 1922, he was knighted by His Majesty King George V, giving him the illustrious title of
“Sir”.Allama Iqbal passed away on 21st April 1938 but to date millions of fact-finders remain
mesmerised with the beauty and depth of his poetry.He simplified the philosophy of life,
demystified the purpose of our human existence, and turned the teachings of Islam into an
eternal message ready to be interpreted by the masses.
YOUTH
 Muslim Youth’s spiritual deterioration and distancing from Islamic teachings was of utmost
concern to Allama Iqbal. Youth being the architects of our future, Allama Iqbal addressed the
Youth of Islam as follows
It’s such a pity you have no correlation with your ancestors,
You are talk, they were action, you are stars, and they were planets,
Alas we have wasted the heritage obtained from our ancestors,
The sky has thrown us down from the Thurayyah to the Earth
ISLAMIC RENAISSANCE – KHILAFAH

The aftermath of World War I brought down the Ottomon Caliphate and placed the Muslim
Ummah in stark adversity. Allama Iqbal vehemently protested against subjugation of Arabia by
the Western Christian authorities. He encouraged the Muslim Ummah to wake up from deep
sombre and have faith in their strengths. He spread the message of hope and courage to stand-
up and struggle collectively for “The Renaissance of Islam”:
Life-blood has started flowing through dead arteries of the East,
This secret is in-comprehensible to likes of Sani and Farabi,
The storm of the West has made the Muslim into a real Muslim,
Only upheavals of the sea bring the pearl’s beauty to its perfection,
The Muslim is to be endowed again from the God’s Court with,
Turkoman’s dignity, Indian’s intellect, Arab’s eloquence,
If some slumber is lurking still in the flower buds
KHUDI – SELF REALISATION
Allama Iqbal was of the firm belief that “self-respect and self-realization” can mobilise our
inner energies and provide us the real dynamics of success. His poetic calls can still warm up
blood in the dead. His mesmerising poems can still light up the spark into the lives of the gloomy
and the depressed.
The falcon’s heart in the pigeon’s frail body be produced,
Concealed within your heart is the secret of life,
Relate to the Muslim the traditions of pathos of life,
You are the potent hand and the word of the Eternal God,
O imprudent one! Develop Faith as you overcome with doubts,
 The Muslim’s destination is beyond the azure coloured sky,
You are the caravan the dust of whose trail are stars,
You are the Final Message of God and you are eternal,
FAITH IN ALLAH SWT
According to Allama Iqbal, Faith in Allah SWT is divine enough to energise our conscious
abilities and sub-conscious capacities. Through inner faith we can achieve the impossible.
Sainthood, sovereignty, universality of material knowledge,
What are all these except unravelling of the secrets of Faith,
When Faith is created in this earthly ember,
It itself creates wings and plumage of Jibrael,
Neither swords nor plans are of any avail in slavery,
Chains are cast away when taste for Faith is created,
Can anyone assess the strength of his arms ?
Destinies are changed by the Believer’s mere glance !
We all realise the need for Islamic Renaissance in this Millenium. In this respect, Iqbal’s poetry
is more relevant now-a-days than ever.Let us re-evaluate the message of Allama Iqbal and learn
to cure our short comings.
“Given character and healthy imagination, it’s possible to reconstruct this world of sin and
misery into a veritable paradise.
Question no 3
Relationship between psychology and literature
Literature and the human psyche does not need to prove the link. Perhaps the "Aristotle" was
first the design theory "Kartasys" (psychological or mental purification purification) as a
pseudo-scientific link between literature and psychology has given and psychological follow any
of the criticism is poured. Among the literary "Bdalqahr Jarjani" (d. 471 AH.)Including those
that describe the psychological implications for the interpretation of literature is before him,
"Abu Hilal Asgari" (d. 395 AH.) About the psychological impact on the psychological
perspective is the creation of metaphors. The principle of human life and its roots are fixed and
immutable, what will change Manifestations of human life, Poet and literary point of view and
from a psychologist from another angle of vision to see human life.
But both have a side note, I consider both aspects of human life are and any such special
attention to let their curiosity, Thoughts, emotions, feelings and mental problems, he said. Plato
believed that it was Hakim The poet as an "artist" is a sacred creature, And never does he
 allowBsrayd poem, unless he is inspired. There is no doubt that art is something psychological
And to recognize that art should strive to understand the artist's soul, The more complete the
task of all, "Sigmund Freud" Austrian And his disciples that "Karl Gstavyvng"Swiss And Anna
Freud (Sigmund Freud's daughter) have done. Freud says: Children are playing; Games to
escape reality, and then the man leaves behind childhood period, Toescape the harsh reality of
life, in the wake of a game lays employment He is beyond that of ordinary people from
daydreaming, But in a number of artistic vision and ultimately leads to art and artistic creation.
And artists to enjoy the tranquility of the calm children while they play. His views on the origin
of the human imagination to create works of art are. Freud's analysis focuses on the lives of
poets and writers And their animals drowned in the "dream" and caught in the "unconscious"
knows. Human artistic creativity that resorting to try their struggle to make the drop. Freud's
theories in this area was later confirmed by other psychoanalysts The other problem is that the
link between literature and psychology does not specify Is that some of the concepts and
terminology of psychology, psychiatry Kavan, who are employed, Or taken from literature, Or
have literary roots.
Unconscious, ring psychology, and literature links
Perhaps one of the major causes of psychological considerations tend to Poets and writers in the
past, Their understanding of an "unconscious" mental Prior to the project by "Freud" is.With the
discovery of the unconscious mind, Many of his works appear to have mental contention, And
the fact that Freud is a self-confessed repeatedly that I'm not the discoverer of the unconscious,
Poets discovered the unconscious, What I, This was only the scientific method was devised to
explore the unconscious From the perspective of Freud's unconscious reservoir of all desires,
Fears, memories and motives are instinctive Because it did not occur to any opportunity that we
have, and crack down.
Conclusions
With regard to the issues found, Art comes from artists are unconscious. This works as dreams,
myths and stories, back out of an obsessive artist who is hidden in the conscious such a symbolic
expression are they are stylized and promote the cause. Words can be wonderful because it
meant art the mental filter, purification of the soul and conscience to be refined. Poets and
writers of the past9422Dastmard et al., 2012with the discovery of the unconscious mental
conflicts are manifested in their works. Literary images of the collective unconscious fit, are old
patterns. The old patterns are common inherited tendencies Humans in various situations of
their shows. Poets and writers, mental status ranging from sadness and happiness of others,
over all, and most of all I have. Because more people are looking into the soul needs. The
literature is not something outside of psychology, and language can be said that the way to talk
about his mental mining uses And this way, say, literary psychoanalysis. Psychology and
literature have a reciprocal relation, the psychology of the unconscious can be called literature,
and is a dune mining approach to its foreign opinion, very familiar to literature and literary
critics. In Psychological Review in depth stories, and techniques for induction made ploy it is.
This function works the same dream in the literature, and function of the dream and its elements
is in the form which is related to the literature.
 Question no 4
RELATIONSHIP BETWEEN PHILOSOPHY AND LITERATURE
On the first point of relationship, Olusegun argues that both literature and philosophy are
related on two general notes. He argues that they are both forms of “social consciousness and
they are constructions of language.” The first level of their relationship is the fact that both
literature and philosophy are social phenomena. According to Oladipo, they are social not just
in the general sense of being produced by people who make up the society; rather they are social
in majorly two ways: both philosophy and Literature are born out of human experiences of an
individual or groups and they often treat very abstract matters that arise from a reflective
pondering on the phenomena of life. Both are products of culture. Again they are social in
another expression. They are both produced for the intellectual and practical needs of the
society. From the points above, it is lucid that both disciplines focus on the same object which
can be construed as the human person in the various aspects of his experience. They both reflect
the quest for the better understanding and the tackling the problems of human existence. It is on
this reminder that literature must necessarily be engaged as well as philosophy. The second
broad connection of the two disciplines in question is the idea that they are both constructions in
language. Philosophy develops concepts and clarifies them, while literature engages these words
to communicate ideas, figures and moral principles and to enlarge realities. Furthermore,
another point that is crucial and allied to the above is the fact that both philosophy and
literature mirror the society together with the society’s development and state. The philosophy of
an era tells of the nature of that age likewise the literature of an epoch tells of the problems and
realities of that period. They both reflect the beliefs of men about realties. Philosophy is
normative as regards the definition of philosophy above. Hence, through criticism of the ideas
we live by, philosophy dishes out norms that should regulate the thinking and behavior of men in
the society. In the same vein, literature has themes that convey morality pedagogically. For
instance, Achebe’s Things Fall Apart or the Beautiful Ones are not yet Born or Wole Soyinka’s
The Lion and Jewel or Shakespearean’s Hamlet. As an addendum, philosophy and literature are
both systematic presentations. They are not just some zigzagged amalgamation and mishmash of
materials. Finally, philosophy and literature interacts in delving into each other’s area of
discourse. More importantly, philosophy interrogates literature through the device of Literal
Criticism. Literal criticism is the philosophical analyses cum judgments of works of art and
literature.
CONCLUSION
The Associate Professor of philosophy at Stanford University, Lanier Anderson
contributed to this debate of relationship and it is apt to mention it at this juncture. He argues
that: “Great Literature is often deeply philosophical and Great Philosophy is often great
literature.” This is exemplified in some great philosophers and importantly the great
philosophers we revered have presented their materials in literary form, like Plato’s Dialogues.
Nietzsche and Wittgenstein wrote in a dramatic ‘aphoristic style’. Finally, for literature to take
its rightful pace and fulfill its function in the society it has to wear some sorts of philosophy. In
fact, some literatures like Shakespeare’s Romeo and Juliet are widely termed philosophical.
Question no 5
 Character analysis of Friday
A handsome, in about 26 years old, with straight and strong limbs, tall and well-shaped fellow
who bare name Friday which he got for the memory of a day he was rescued. The native who
was saved from a certain death by Robinson Crusoe during one of the cannibal rituals of a local
tribe. By the man who was actually on his way to Africa to buy Negroes! His hair was long and
black but not curled, he had very high forehead and great sparkling sharp eyes. Friday’s
appearance was somewhere in between Negro and European, black but tawny skin, round face
and small but not flat nose as most of the Negroes have. Of course, like all Negroes have, had he
fine teeth well set and white as ivory, but oddly enough – thin lips. To lay his head flat upon
ground, close to person’s foot and set other foot upon his head – this was Friday’s way of
showing the servitude and submission. Robinson understood him in many things and let him
know how very pleased he was with him. This was something Friday understood before he could
speak Robinson` s language. Still he was a cannibal in his nature, full of lot abhorrence. We can
see how the other culture is suppressed from the very beginning. Robinson cures Friday of his
cannibalistic habits and gives him a new Western name. But the first words he taught him in
English were words that one servant has to know and use!
So Friday was domesticated and incorporated into Western society. The main fear and an idea
throughout the book is Crusoe `s goal to re-educate Friday to a civilized human being and if he
wouldn’t have, he would have no mercy but to kill him! Submissive Friday, full of gratitude was
treated with the attitude close to colonial that is – possession. In my opinion, Friday’s total
submission released Robinson from the sort of guilt and the need to use violence. He was
Crusoe` s slave because he was saved by him and lifelong servitude was accepted by Robinson.
The servant-master relationship was symbolically sealed by an oath, a substitute for the written
contract.
Question no 6
Major themes in Robinson Crusoe
Religion
Daniel Defoe's novel is, at its core, the spiritual autobiography of one man: Robinson Crusoe,
mariner of York. He is first rebellious, then atones for his sins, and then converts himself and
others to Christianity. We begin the novel with Crusoe's rebellion: defiance of his father's plan
for him, an act that is framed as going against the authority of God himself. Crusoe then suffers
the vicissitudes of fate – a series of misfortunes that land him on the deserted island. Once there,
he finally atones for his sins and undergoes a serious religious conversion. The novel then
becomes a collection of religious observations. We see Crusoe turn into a teacher, as he
converts Friday upon meeting the guy. Besides the redemptive structure of Robinson Crusoe, we
can see many Biblical themes developed in the novel. For example, Crusoe's own story is very
much like the parable of the parable of the prodigal son. The character of Crusoe is also pretty
similar to such Biblical figures as Jonah (the one who was swallowed by a whale/giant fish) or
Job (the guy who loses everything and everyone he loves) who have their faith tested through
many trials and a tremendous amount of suffering.
 Wealth
As an 18th-century mariner on the high seas, Robinson Crusoe is very interested in commerce,
trade, and the accumulation of wealth. After all, the whole reason that Crusoe is on the ocean in
the first place is to take part in trade. He makes money in Africa and also in the sugar
plantations he buys in Brazil. While a religious theme is present throughout the book, so too is
the idea of Crusoe's economic individualism.
Society and Class
First, class. As Crusoe's father tells us at the opening of the novel, Robinson Crusoe's family is
of the middle class. This class, according to old man Crusoe, is the best since it neither
experiences the extremes of luxury nor poverty. Young Crusoe, though, strains against his
father's class preference and decides to set off on his own.
Second, society. This is a novel very concerned with what makes a society. We begin with Crusoe
alone on an island and gradually we begin to see the social order come together. First, there are
his animal friends (Poll and company), followed by Friday, the Spaniard, Friday's father, and
then the mountaineering Englishmen. Pretty soon the island is its own little society with Crusoe
at the head of it.
Man and the Natural World
What is man's role in the natural world? This is a question Defoe's novel wants you to ask
yourself. Crusoe believes himself to be at the head of the social order. When he looks at the
natural world, he sees its utility and the value of that. Instead of opining on the beauty of things,
he notices production value. He also very much believes in the concept of private property.
When Crusoe gets to the island, notice how he immediately believes that he somehow "owns" the
island.
Rules and Order
How do we organize our world? Robinson Crusoe is a novel that is very interested in hierarchy
and man's place in it. At the top, of course, is God. Next up? Well, Crusoe. He rules all that is
under him. His moral authority – and his allegiance to God – gives him dominion over other
people, places, and things. Xury and Friday, for example, or the animals of the island. For more
on Crusoe's hierarchy, check out "Character Clues.
Family
The idea of the family is a central preoccupation in Robinson Crusoe. Crusoe must sort out his
relationship to his biological father, of course, and his spiritual father (God). His defiance of his
father is one that will haunt him until his eventual repentance, atonement, and conversion to
Christianity. Once on the island, Crusoe must learn how to manage his little family – Friday and
friends. Upon his return to England, we notice that he takes a wife, though her presence in the
book is very limited.
Foreignness and 'the Other'
 Crusoe does a whole lot of thinking about other cultures over the course of the novel. Because
he is a man of trade, he comes into contact with many, many different cultures. He must figure
out his relationship to the natives of the islands. He also thinks about former occupants, such as
the Spanish, whose harsh treatment he condemns. What does it mean to be an Englishman? How
do Englishmen like Crusoe see themselves in relationship to "others"?
Slavery
While the plot of Robinson Crusoe does not explicitly revolve around slavery, the institution of
slavery serves as a basis for much of the action of the novel. When Crusoe heads to Africa, it is
to purchase slaves. He himself becomes a slave and then soon becomes a slave owner. This idea
of ownership and superiority impacts his relations with such people as Xury and Friday. Plus,
Crusoe's wealth from his sugar plantations at the end of the novel would have come from slave
labor.
Question no 7
Psychanalysis of Robinson Crusoe
“The function of Crusoe’s diary, it seems, is not to anatomize the self, but rather to keep track of
it in the modern fashion that Riesman [David Riesman, author of The Lonely Crowd] describes:
“The diary-keeping that is so significant a symptom of the new type of character may be viewed
as an inner time-and-motion study by which the individual records and judges his output day by
day. It is evidence of the separation between the behaving and observing self.”
–Leopold Damrosch, Jr., “Myth and Fiction in Robinson Crusoe”
While reading Crusoe, the highly specialized and refined tension spelled out in the above quote
from Damrosch was continuously on my mind. I could not help but wonder at the severe
discrepancy between the world that Robinson Crusoe allows us to see, and that which I was
convinced was going on inside of his head. From a psychoanalytic perspective, this discrepancy
evidences a severe disconnect. The structure of Robinson Crusoe lends itself to an outpouring of
thought and emotion, or to what Sigmund Freud, father of psychoanalytic theory, would call
free-association. What better forum to bare your soul than in a diary? However, Crusoe leaves
his emotional experiences a mystery throughout the novel, thereby creating a strangely cold,
out-of-body sensation for the reader to experience as s/he reads.
When it comes to keeping the reader informed of Crusoe’s centrality in his own tale, Defoe
leaves little to the imagination. The novel is fraught with phrases like, “in a word” (e.g. 193),
and with Crusoe’s deliberations about what passages and/or anecdotes from which he thinks the
reader would benefit most and which he should therefore include in his tale. For example, in
determining which of his adventures to transmit, Crusoe writes:
“As I have troubled you with none of my Sea-Journals, so I shall trouble you now with none of
my Land-Journal: But some Adventures that happened to us in this tedious and difficult Journey,
I must not omit.”
These elements afford the reader a clear window into Crusoe’s thoughts. He is utterly aware of
the story he is telling, and of the fact that he is telling over a story.
However, the impression Defoe gives the reader of Crusoe’s feelings is conveyed in a highly
catalogic, sterile, and disconnected way. For example, near the end of the novel, Crusoe
describes his realization that he’s been saved with a very external perspective:
“I was at first ready to sink down with Surprize. For I saw my Deliverance indeed visibly put
into my hands, all things easy, and a large ship just ready to carry me away whither I pleased to
go. At first, for some time, I was not able to answer him one Word; but as he had taken me in his
Arms, I held fast by him, or I should have fallen to the Ground.”
This paragraph, which describes what is perhaps the most significant and potentially emotional
moment in the entire novel, is told in a way that makes the reader feel like he was watching, not
feeling, the dawning of the realization take place in Crusoe.
Defoe provides a narrative that would function as a top-rate template for a playwright; it would
be no difficult task to cast and direct a play about the events of Crusoe’s life. However, the novel
grants little to no evidence for a psychological understanding or analysis of Crusoe. He merely
“records and judges his output” (Damrosch), and he leaves the reader to wonder whether he
even feels it at all