中小學(xué)英語誦讀名篇47 “Robinson Crusoe” 讀《魯濱孫漂流記》

However we may wind and wriggle, loiter and dally in our approach to books, a lonely battle waits us at the end. There is a piece of business to be transacted between writer and reader before any further dealings are possible, and to be reminded in the middle of this private interview that Defoe sold stockings, had brown hair, and was stood in the pillory is a distraction and a worry. Our first task, and it is often formidable enough, is to master his perspective. Until we know how the novelist orders his world, the ornaments of that world, which the critics press upon us, the adventures of the writer, to which biographers draw attention, are superfluous possessions of which we can make no use. All alone we must climb upon the novelist’s shoulders and gaze through his eyes until we, too, understand in what order he ranges the large common objects upon which novelists are fated to gaze: man and men; behind them Nature; and above them that power which for convenience and brevity we may call God. And at once confusion, misjudgement, and difficulty begin. Simple as they appear to us, these objects can be made monstrous and indeed unrecognizable by the manner in which the novelist relates them to each other. It would seem to be true that people who live cheek by jowl and breathe the same air vary enormously in their sense of proportion; to one the human being is vast, the tree minute; to the other, trees are huge and human beings insignificant little objects in the background. So, in spite of the text-books, writers may live at the same time and see nothing the same size. Here is Scott, for example, with his mountains looming huge and his men therefore drawn to scale; Jane Austen picking out the roses on her teacups to match the wit of her dialogues; while Peacock bends over heaven and earth one fantastic distorting mirror in which a tea-cup may be Vesuvius or Vesuvius a tea-cup. Nevertheless Scott, Jane Austen, and Peacock lived through the same years; they saw the same world; they are covered in the text-books by the same stretch of literary history. It is in their perspective that they are different. If, then, it were granted us to grasp this firmly, for ourselves, the battle would end in victory; and we could turn, secure in our intimacy, to enjoy the various delights with which the critics and biographers so generously supply us.

But here many difficulties arise. For we have our own vision of the world; we have made it from our own experience and prejudices, and it is therefore bound up with our own vanities and loves. It is impossible not to feel injured and insulted if tricks are played and our private harmony is upset. Thus when Jude the Obscure appears or a new volume of Proust, the newspapers are flooded with protests. Major Gibbs of Cheltenham would put a bullet through his head tomorrow if life were as Hardy paints it; Miss Wiggs of Hampstead must protest that though Proust’s art is wonderful, the real world, she thanks God, has nothing in common with the distortions of a perverted Frenchman. Both the gentleman and the lady are trying to control the novelist’s perspective so that it shall resemble and reinforce their own. But the great writer—the Hardy or the Proust—goes on his way regardless of the rights of private property; by the sweat of his brow he brings order from chaos; he plants his tree there, and his man here; he makes the figure of his deity remote or present as he wills. In masterpieces—books, that is, where the vision is clear and order has been achieved—he inflicts his own perspective upon us so severely that as often as not we suffer agonies—our vanity is injured because our own order is upset; we are afraid because the old supports are being wrenched from us; and we are bored—for what pleasure or amusement can be plucked from a brand new idea? Yet from anger, fear, and boredom a rare and lasting delight is sometimes born.

Robinson Crusoe, it may be, is a case in point. It is a masterpiece, and it is a masterpiece largely because Defoe has throughout kept consistently to his own sense of perspective. For this reason he thwarts us and flouts us at every turn. Let us look at the theme largely and loosely, comparing it with our preconceptions. It is, we know, the story of a man who is thrown, after many perils and adventures, alone upon a desert island. The mere suggestion—peril and solitude and a desert island—is enough to rouse in us the expectation of some far land on the limits of the world: of the sun rising and the sun setting; of man, isolated from his kind, brooding alone upon the nature of society and the strange ways of men. Before we open the book we have perhaps vaguely sketched out the kind of pleasure we expect it to give us. We read; and we are rudely contradicted on every page. There are no sunsets and no sunrises; there is no solitude and no soul. There is, on the contrary, staring us full in the face nothing but a large earthenware pot. We are told, that is to say, that it was the 1st of September 1651; that the hero’s name is Robinson Crusoe; and that his father has the gout. Obviously, then, we must alter our attitude. Reality, fact, substance is going to dominate all that follows. We must hastily alter our proportions throughout; Nature must furl her splendid purples; she is only the giver of drought and water; man must be reduced to a struggling, life-preserving animal; and God shrivel into a magistrate whose seat, substantial and somewhat hard, is only a little way above the horizon. Each sortie of ours in pursuit of information upon these cardinal points of perspective—God, man, Nature—is snubbed back with ruthless common sense. Robinson Crusoe thinks of God, “sometimes I would expostulate with myself, why providence should thus completely ruin its creatures. . . . But something always returned swift upon me to check these thoughts.” God does not exist. He thinks of Nature, the fields “adorned with flowers and grass, and full of very fine woods”, but the important thing about a wood is that it harbours an abundance of parrots who may be tamed and taught to speak. Nature does not exist. He considers the dead, whom he has killed himself. It is of the utmost importance that they should be buried at once, for “they lay open to the sun and would presently be offensive”. Death does not exist. Nothing exists except an earthenware pot. Finally, that is to say, we are forced to drop our own preconceptions and to accept what Defoe himself wishes to give us.

Let us then go back to the beginning and repeat again, “I was born in the year 1632 in the city of York of a good family”. Nothing could be plainer, more matter of fact, than that beginning. We are drawn on soberly to consider all the blessings of orderly, industrious middle-class life. There is no greater good fortune we are assured than to be born of the British middle class. The great are to be pitied and so are the poor; both are exposed to distempers and uneasiness; the middle station between the mean and the great is the best; and its virtues—temperance, moderation, quietness, and health—are the most desirable. It was a sorry thing, then, when by some evil fate a middle-class youth was bitten with the foolish love of adventure. So he proses on, drawing, little by little, his own portrait, so that we never forget it—imprinting upon us indelibly, for he never forgets it either, his shrewdness, his caution, his love of order and comfort and respectability; until by whatever means, we find ourselves at sea, in a storm; and, peering out, everything is seen precisely as it appears to Robinson Crusoe. The waves, the seamen, the sky, the ship—all are seen through those shrewd, middle-class, unimaginative eyes. There is no escaping him. Everything appears as it would appear to that naturally cautious, apprehensive, conventional, and solidly matter-of-fact intelligence. He is incapable of enthusiasm. He has a natural slight distaste for the sublimities of Nature. He suspects even Providence of exaggeration. He is so busy and has such an eye to the main chance that he notices only a tenth part of what is going on round him. Everything is capable of a rational explanation, he is sure, if only he had time to attend to it. We are much more alarmed by the “vast great creatures” that swim out in the night and surround his boat than he is. He at once takes his gun and fires at them, and off they swim—whether they are lions or not he really cannot say. Thus before we know it we are opening our mouths wider and wider. We are swallowing monsters that we should have jibbed at if they had been offered us by an imaginative and flamboyant traveller. But anything that this sturdy middle-class man notices can be taken for a fact. He is for ever counting his barrels, and making sensible provisions for his water supply; nor do we ever find him tripping even in a matter of detail. Has he forgotten, we wonder, that he has a great lump of beeswax on board? Not at all. But as he had already made candles out of it, it is not nearly as great on page thirty-eight as it was on page twenty-three. When for a wonder he leaves some inconsistency hanging loose—why if the wild cats are so very tame are the goats so very shy?—we are not seriously perturbed, for we are sure that there was a reason, and a very good one, had he time to give it us. But the pressure of life when one is fending entirely for oneself alone on a desert island is really no laughing matter. It is no crying one either. A man must have an eye to everything; it is no time for raptures about Nature when the lightning may explode one’s gunpowder—it is imperative to seek a safer lodging for it. And so by means of telling the truth undeviatingly as it appears to him—by being a great artist and forgoing this and daring that in order to give effect to his prime quality, a sense of reality—he comes in the end to make common actions dignified and common objects beautiful. To dig, to bake, to plant, to build—how serious these simple occupations are; hatchets, scissors, logs, axes—how beautiful these simple objects become. Unimpeded by comment, the story marches on with magnificent downright simplicity. Yet how could comment have made it more impressive? It is true that he takes the opposite way from the psychologist’s—he describes the effect of emotion on the body, not on the mind. But when he says how, in a moment of anguish, he clinched his hands so that any soft thing would have been crushed; how “my teeth in my head would strike together, and set against one another so strong that for the time I could not part them again”, the effect is as deep as pages of analysis could have made it. His own instinct in the matter is right. “Let the naturalists”, he says, “explain these things, and the reason and manner of them; all I can say to them is, to describe the fact....” If you are Defoe, certainly to describe the fact is enough; for the fact is the right fact. By means of this genius for fact Defoe achieves effects that are beyond any but the great masters of descriptive prose. He has only to say a word or two about “the grey of the morning” to paint vividly a windy dawn. A sense of desolation and of the deaths of many men is conveyed by remarking in the most prosaic way in the world, “I never saw them afterwards, or any sign of them except three of their hats, one cap, and two shoes that were not fellows”. When at last he exclaims, “Then to see how like a king I din’d too all alone, attended by my servants”— his parrot and his dog and his two cats, we cannot help but feel that all humanity is on a desert island alone—though Defoe at once informs us, for he has a way of snubbing off our enthusiasms, that the cats were not the same cats that had come in the ship. Both of those were dead; these cats were new cats, and as a matter of fact cats became very troublesome before long from their fecundity, whereas dogs, oddly enough, did not breed at all.

Thus Defoe, by reiterating that nothing but a plain earthenware pot stands in the foreground, persuades us to see remote islands and the solitudes of the human soul. By believing fixedly in the solidity of the pot and its earthiness, he has subdued every other element to his design; he has roped the whole universe into harmony. And is there any reason, we ask as we shut the book, why the perspective that a plain earthenware pot exacts should not satisfy us as completely, once we grasp it, as man himself in all his sublimity standing against a background of broken mountains and tumbling oceans with stars flaming in the sky?

﹝英﹞伍爾夫（Virginia Woolf）