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Forms and Functions of Fictional Autobiographical

Narrator Crusoe

Ashik Istiak1

Noor-E-Saiara2

Abstract

Robinson Crusoe presents the old self of the hero as the narrator of the story of the younger self making it a fictional autobiographical novel. The moral dimension of the novel is emphasized with Crusoe, the narrator, evaluating and judging the past behavior of Crusoe, the character. The young character Crusoe is intolerant, adventurous and a dreamer whereas the old narrator is an experienced wise man and well-composed personality. But the character develops through a journey within along with the external journey of

28 years and finally morphs into the self of the narrator. The initial hierarchy

between the narrator and the character dissolves through the struggles and self- education of the character while living a long solitary life on the island. The paper first discusses how the presence of the voice of the narrator within the text creates a contrast between the two forms: the character and the narrator, extracting examples where the narrator proves to be philosophically sound and greatly advanced from the character. Secondly, the paper points out how the character functions within many virtues that reduces and finally eliminates the psychological gap or the hierarchy as the novel progresses. Keywords: Narrator, Character, Contrast, Metamorphosis

1. Introduction

Robinson Crusoe depicts an extraordinary transformation of a man full of passion but short of patience to a man full of patience accomplished through pathos. Robinson Crusoe, an adventurous young man, sacrificing certain harmless life and prosperity, finds a long life of uncertainty. Yet, whilst struggling for survival he achieves fulfillment as a human being through forced learning of all sorts of technical necessities involved in life. In the novel, Defoe makes a clear distinction between the intolerant youth and the experienced man. With this paradoxical formation of two selves in one

1. Senior Lecturer (Study Leave), Department of English, Green University of Bangladesh, MA in North

American Studies (3rd Semester), University of Cologne, Germany

2. Lecturer, Department of English, Varendra University, Rajshahi

persona, a fictional autobiographical narrative (Harlan, 1931, p. 55). The story of Robinson Crusoe, the character, has been narrated by Robinson Crusoe, the narrator and this technique of involving a narrator who illuminates his reflections nearly after every incident of the narration gives Defoe the opportunity to extricate himself from artifice. Thus, instead of the writer, the narrator takes over the fate of the character. Mary E. Butler (1983) calls the narrator realistic and independent of its author (p. 77-78). The incidents are beautifully woven and the story was written in a realistic manner, a manner calculated to make the reader believe he was reading a record of facts (Howes,

1927, p. 34). However, in the novel, Robinson Crusoe, the character, grows through

sufferings and finally, morphs into the mature self of the narrator. As a character, Crusoe is prone to make mistakes since he lacks foresight. On the contrary, the narrator Crusoe proves his ripeness giving self-criticism, self-correction and philosophical generalization along with the narration of many events of the journey. The narrator is not only a story-teller but also a close observer. This paper explains the examples where the two forms: the narrator and the character have hierarchic differences. The aim is to extract where the narrator proves to be philosophically and psychologically greatly advanced from the character and also how this hierarchy is perished with time. The paper identifies two phases of this metamorphosis. First of all, loneliness is observed. The second phase on the island citing instances occurred in the 28 years 2 months and 19 days in which he educates himself in all sorts of technical skills, discovers himself in the path of God and becomes mature as a human being. The second phase is subdivided into two other parts to highlight life stages that trigger his transformation from the character to the narrator.

2. Misfortunes Before the Island: the Character Struggles, the Narrator

Philosophizes

At the very beginning of the novel, young, risk-taking, and adventurous

Crusoe appears when he denies his parents

even though his father logically, philosophically and emotionally stopped him

Defoe, 1719/2012, p. 5). First of all, his father

through seafaring (p. 2). Then he philosophizes that life was calculated for all kind of virtues and all kind of enjCrusoe is his bread (p. 2-3). His father tries to bind him emotionally being failed to convince him rationally. Crusoe is reminded of his

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elder brother who was killed in a war. This moves Crusoe for a while only to make him restless and his desire stronger in the coming days. Joseph Campbell (1949/2004) which is irresistible and therefore, denying his its Crusoe as such (p. 47). father plays the role of an experienced man and Crusoe an immature entity. In the course of the novel, all the prophetic father come true and Crusoe meets his destiny of misfortune as Campbell (1949/2004) apparently the merest chance reveals an unsuspected world, and the individual is drawn into a p. 48). The upcoming father is then overtaken by the narrator Crusoe. The rest of the novel has moral and practical judge. The first such instance comes when the novel presents shifting mentality parallel to the shifting of weather in his f (Defoe,

1719/2012, p. 5)

p. p. 7). This appears to be an example of a reckless young man and five or six days got as complete trp. 7). It seems that an old man reflects his youth in hindsight, having obtained more maturity and religious gro undingpassion surpasses fear while the narrator is prone to criticize his former judgment. The second occasion where the character struggles and the experienced narrator critically observes comes right afterwards. This time a terrible storm creates havoc and unsettles not only a green sea-man like Crusoe but also every crew member. The narrator describes the poor mental state of his younger self, uring these first hurries, I was stupid, lying still in my cabin, which was in the steerage, and cap. 8-9). Everyone is going through the same horror as the Master of the ship ensures that the ship may drown any time.

Arguably,

applied to describe the mind of young Crusoe shows that the narrator is harshly judging his younger self. Given the first person narrative, the impression is conveyed that all miseries are overcome afterwards. The intelligent and omniscient narrator serves as the continuous critic of the would behave in the same dire situation. Always remaining one step ahead, the

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narrator is gaining the trust of the reader and giving an impression that the protagonist lacks foresight and he needs to grow up. A different psychological mindset and evaluation of a situation by the character and the narrator appears again when Crusoe decides to stay in

Yarmouth and to not return home. In fact,

characteristics in a hero of a discussed by Campbell (1949/2004) (p. 179). -ruling decree that us, and that we rush upon it with our Defoe, 1719/2012, p. 12). generalization and it seems that an old man is talking about the silly young men who do not know life much. Clearly, the tone of the narrator has an edge over the it is clarified that Crusoe does not want to return because he feels ashamed of being exposed as a failed man in front of the neighbors, the family members, and the society: [H]ow incongruous and irrational the common temper of mankind is, especially of youth, to that reason which ought to guide them in of the action for which they ought rning, which only can (p. 13). This is one of the most significant parts where the distinction between the character Crusoe and the narrator Crusoe is plainly revealed. The narrator is explicitly stating that his young self did not have any problem in disobeying his fath have immense problems in going back to his family and repent for his action. The difference between the immature character who is struggling and making a wrong decision being entrapped by social shame and the , narrator, who is indicating the pointlessness of the action. The is straightforward: were there actions of repentance, there would be lesser calamities in human life. At this stage, it is time for the character, Crusoe, to make mistakes which separate him from his future self, the narrator and at the same time, this also delivers a message that the self of the narrator, Crusoe, is a combination of the numerous mistakes made by the character Crusoe. Soon, p. 16). It is to be noticed that are only taken into account in hindsight as soon as and only for as long as there is any misery. Once one issue is overcome, Crusoe

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seems to forget his father and is doomed to repeat his mistakes and experience further miseries. For the character Crusoe, there is hardly any psychological advancement so far and the hierarchy continues as the narrator p. 17). Through this, the narrator implicitly ensures that the greatest suffering of the character Crusoe is yet to come. And central philosophy - life is about limitless sufferings which one must continue to learn from, gets focused. Indeed, the concept of endless suffering proves to be true for Crusoe when luck brings him to South America. It may seem that he has got everything to be happy in Brazil managing station, or not satisfy Crusoe (p. p. 33). Christopher Flint (1988), explains the condition by arguing, experience difference. He wants to remake a world in his own image, not have the p. 387). In order to experience , the dreamer and risk taker character Crusoe is still struggling and feeling Defoe, 1719/2012, p. 33). This is ironic because Crusoe along with Xury was stuck on an island before coming to Brazil and they saved themselves. They were just two persons alone on a dangerous island. Here in Brazil, there are many people surrounding him yet he feels lonely and no peace inside. He does not think that his misery may return if he commences another voyage. At this very moment, the narrator, Crusoe again finds an opportunity to criticize the character, compare their present conditions with others that are worse, Heaven may oblige them to p. 33). By maintaining the common voice of generalization, the (the character) a narrator). shows how experience rules over innocence extracting the facts.

Soon after Crusoe

get Negro slaves for himself and some other merchants and planters. He takes the p. 36-37). In this midst of foolish advancement towards greed, Crusoe, the character, is again p. 38). By this comment, the narrator is again setting a contrast between his former self (fancy) and the current self (reason). A fanciful mind lacks logic, and emphasizes

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emotion over practicality. The protagonist is no exception. Thus, the psychological gap between these two entities still remains the same. Following fancy instead of reason costs Crusoe the ship and leads him to his long exile. Until now for the passionate wanderer Crusoe, luck has been bested by the dangers of the sea but not this time. At this point, the master who has clear knowledge of the weather condition and skill to predict weather forecast opines that they should head back to the coast of Brazil. But the character Crusoe decides ositively again(p. 39). Crusoe calculates that within 15 days they should reach some English island to find relief. Again the fancy of youth ignores the experience of a man with e similar to the past of Crusoe when he disobeyed his practical decision to make him stay at home. The result of this ignorance is at hand when a giant tornado succeeded by a storm breaks many parts of the ship and finally to ensure the fulfillment of destruction, the ship gets sand-stuck. Crusoe and others having no other means p. 41). After that, when Crusoe i look up p.

However, so

far, he has not been described as a religious man in the periods of comfort. This ubmission to God therefore shows the same nature of an untutored youth, the consistently inconsistent character Crusoe, that is far from the level of the narrator Crusoe. Thus, the two forms: the character and the narrator, are behaving binary as explained by Thomas M. Kavanagh (1978) who makes out two distinct voices: misery and reason (p. 418). This far (misery) has been dominant and he is yet to reach the level of maturity (reason) of the narrator

Crusoe.

3. Struggles on the Island: Transformation into a Mature Self through

Hardship

This discussion throws light on how over the course of more than 28 years, Crusoe learns from his mistakes and the polar opposites of the fancy youth and the mature old converge and how is recognised. Crusoe first masters all the necessary skills and becomes a self- dependent complete human being. Then he steps forward to help fellow distressed others. With the completion of personal development and the growth of intention to help others, the fancy youth is identified with the wise narrator.

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3.1 Crusoe Helps Himself

Robinson Crusoe has come to the island where eventually he has to confront the hardest part of his test as a survivor. Now, this is unlike any other happenstances in the beginning of the novel as it is the first time he stands alone in a desolate foreign land. Here, there is no master of any ship, no Portuguese sailor to take him to Brazil, no fellow businessman to help him settle. Critics applied slate, while (AlTaher & Khaled, p.

65). Being devoid of humans and human society, Crusoe is now in the phase of

Campbell (1949/2004) regarding

protagonists like him (p. 192). Functioning as a metaphorical blank slate, Crusoe needs to adapt and learn all the skills to overcome daily challenges that impede his survival and rescue himself. on the island concerns discovering shelter and nutritious resources. n the island, he is a taker not a provider. For a time Crusoe is having nothing to eat, drink or wear and he runs (Defoe, 1719/2012, p. 44).

However,

in (p. 44). Crusoe being afraid of the night adventures of the wild beasts e (p. 44). It is just the beginning of his life in scarcity but he, as mentioned by adapt to reduced circumstances and to p.

40). This kind of little step promises of a long life of self-improvement and the

future metamorphosis into the mature self of the narrator. With time, Crusoe starts shaking off the fear of loneliness and looks for the means of survival. When the weather settles he discovers

Defoe, 1719/2012, p.

45).
this shipwreck which makes him broken emotionally. It appears as if Crusoe needed to experience this tear-shedding moment of finding the ship ashore to finally come to the conclusion that his many rash decisions had dire consequences. The ship becomes his first resource along with the wilderness. Giving some primary necessary elements to live, the ship also buys him some time to make further progress and move on. This from grief and taking measures of his survival on his own is indeed a sign of the beginning of his maturity.

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The island and the ship are resources for Crusoe but to use them to his benefit, he needs to have the necessary means. Having no ready-made thing to use on this uninhabited island, Crusoe has to to fetch all the necessary elements from the ship (p. 46) p. 46-47). He makes another raft like this later and completes 12 voyages to fetch all he could which ensures a decent living for many days. The loading of goods on his rafts, oaring them safely to the shore, and then unloading them involve huge amount of physical labor and a calculative mind. This is no ordinary action for Crusoe. Out of necessity, he first becomes a carpenter and with the passage of time he gains mastery of several such chores which he had never attempted to do before. Therefore, the central theme of the novel - sufferings teach a man everything - is exposed here. Every suffering is eventually helping Crusoe to be more complete as a human being and gradually develop to become the narrator. Crusoe is, at this juncture, caught between two remote lands, in the middle of nowhere which he -inhabited, except by wild p. 46). There is no fellow for him to discuss on resolutions to be made except for wild animals to his destruction. Moreover, [t]he illegible sounds of the exotic birds provide an aural compone wilderness, which reflects his compromised spiritual state and consequent suffering (Farr, 2017, p. 546). The notion of constant suffering and helplessness, in him, creates an understanding of nature or supremacy - a prospect of being a tells him to make a little tent and fortify it in order to save all the belongings and side his tent (Defoe, 1719/2012, p. 52). Another good example of but compares them with drugs and finds no use of them (p. 54). Indeed, greed for further profit through slave trade in Guinea earns him the current doom. Thus, calling it a drug is fitting and this understanding of the futility makes

Crusoe a changed man.

s after a year long struggle for survival when he builds his secured shelter, continues hunting and storing food, and also begins rationalizing personal condition perhaps because he is not journeying anymore and has ample time to contemplate. Crusoe convinces himself, remember, Where are the rest of you? Did not you come eleven

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of you into the boat, where are the and you lost? Why were you singled out? (p. 59). Quite remarkably after all these questions asked to himself, Crusoe starts seeing the brighter side of everything. Crusoe wonders if he had not got any gun or if he was left on this island without any resources from the ship, what could have happened. He starts comforting himself dissecting the evil and good sides of his condition on the island and provides a list of them where for every evil situation he finds a good replacement. This way of thinking is certainly a huge transformation in Crusoe. No longer behaving like a fanciful youth, Crusoe is trying to find positives in a dire situation. Earlier the immature actions of the character Crusoe used to be passively criticized by the mature narrator Crusoe. But it is to be noted that in the current instance the voice behind these rational judgments is not of the narrator because Crusoe is actively thinking and philosophizing over his own condition. Thus, two selves as misery and reason no longer remains valid because the character Crusoe achieves better judgments as a by-product of constant calamities and gradually the role of the mature critic narrator is being reduced. In other words learns as Crusoe is growing up. Calming his former restless soul, Crusoe occupies himself with more building activities to organize his life o judgment of ]very man may be in time master of every mechanic art. I had never handled a tool in my life, and yet in time by labour, application and contrivance, I found at last that I wanted nothing but I p. 65). The interesting thing here is that the tone of generalization continues rather than a plural pronoun which proves that the self of the character Crusoe is gradually taking control. Tcontagonist which is missing in the earlier events. This growth of confidence is not affected though Crusoe makes a number of unsuccessful attempts. The first example is to tame some pigeons after he becomes successful in taming his first goat. But unlike goats these pigeons have wings. They only need to grow old p.

73). This is very symbolic in fact if compared to

wanted him to be at home quite tamed with the ordinary risk-free life but Crusoe needed to grow enough passion to deny his father and eventually he sailed. Another thing Crusoe fails to make is a candle as he does not have the proper means. Instead, he succeeds in making a lamp in the darkness of night (p. 74). This too has a symbolic connection to

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n almost every journey Crusoe looks for something and ends up getting something better than what he wanted. For example, Crusoe confesses that his life on the island has been a better gift to him than the life he wished for. The next failure comes when he tries to make earthen vessels to store anything dry. He takes up several awkward and only partly successful ways to make them as they are either misshaped or falling to pieces. Nevertheless, Crusoe repeatedlyquotesdbs_dbs35.pdfusesText_40

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