without any reference to Drelincourt. It was not printed with
Drelincourt's _Fear of Death_ till the fourth edition of that work,
which was already popular. Further, the sale of Drelincourt does not
appear to have been increased by the addition of Defoe's pamphlet to the
book, and of Mrs. Veal's recommendation to the pamphlet.]

Defoe's novel-writing thus grew naturally out of his general literary
trade, and had not a little in common with the rest of his abundant
stock. All his productions in this line, his masterpiece, _Robinson
Crusoe_, as well as what Charles Lamb calls his "secondary novels,"
_Captain Singleton_, _Colonel Jack_, _Moll Flanders_, and _Roxana_, were
manufactured from material for which he had ascertained that there was a
market; the only novelty lay in the mode of preparation. From writing
biographies with real names attached to them, it was but a short step to
writing biographies with fictitious names. Defoe is sometimes spoken of
as the inventor of the realistic novel; realistic biography would,
perhaps, be a more strictly accurate description. Looking at the
character of his professed records of fact, it seems strange that he
should ever have thought of writing the lives of imaginary heroes, and
should not have remained content with "forging stories and imposing them
on the world for truth" about famous and notorious persons in real life.
The purveyors of news in those days could use without fear of detection
a licence which would not be tolerated now. They could not, indeed,
satisfy the public appetite for news without taking liberties with the
truth. They had not special correspondents in all parts of the world, to
fill their pages with reports from the spot of things seen and heard.
The public had acquired the habit of looking to the press, to periodical
papers and casual books and pamphlets, for information about passing
events and prominent men before sufficient means had been organized for
procuring information which should approximate to correctness. In such