an author. But I doubt whether the allegory can be pushed into such
details. Defoe's fancy was quick enough to give an allegorical meaning
to any tale. He might have found in Moll Flanders, with her five
marriages and ultimate prostitution, corresponding to his own five
political marriages and the dubious conduct of his later years, a closer
allegory in some respects than in the life of the shipwrecked sailor.
The idea of calling _Robinson Crusoe_ an allegory was in all probability
an after-thought, perhaps suggested by a derisive parody which had
appeared, entitled _The life and strange surprising adventures of Daniel
de Foe, of London, Hosier, who lived all alone in the uninhabited island
of Great Britain_, and so forth.

If we study any writing of Defoe's in connexion with the circumstances
of its production, we find that it is many-sided in its purposes, as
full of side aims as a nave is full of spokes. These supplementary moral
chapters to _Robinson Crusoe_, admirable as the reflections are in
themselves, and naturally as they are made to arise out of the incidents
of the hero's life, contain more than meets the eye till we connect them
with the author's position. Calling the tale an allegory served him in
two ways. In the first place, it added to the interest of the tale
itself by presenting it in the light of a riddle, which was left but
half-revealed, though he declared after such explanation as he gave that
"the riddle was now expounded, and the intelligent reader might see
clearly the end and design of the whole work." In the second place, the
allegory was such an image of his life as he wished, for good reasons,
to impress on the public mind. He had all along, as we have seen, while
in the secret service of successive governments, vehemently protested
his independence, and called Heaven and Earth to witness that he was a
poor struggling, unfortunate, calumniated man. It was more than ever
necessary now when people believed him to be under the insuperable