Produced by Tom Allen, Charles Franks and the Online Distributed Proofreading Team CAPTAIN SINGLETON By Daniel Defoe With An Introduction By Edward Garnett [Transcriber's Note: In the print copy, the following words and those of the title page are written in intricate, illuminated calligraphy.] A TALE WHICH HOLDETH CHILDREN FROM PLAY AND OLD MEN FROM THE CHIMNEY CORNER SIR PHILIP SIDNEY THE LIFE ADVENTURES AND PIRACIES OF THE FAMOUS CAPTAIN SINGLETON PREFACE That all Defoe's novels, with the exception of "Robinson Crusoe," should have been covered with the dust of neglect for many generations, is a plain proof of how much fashions in taste affect the popularity of the British classics. It is true that three generations or so ago, Defoe's works were edited by both Sir Walter Scott and Hazlitt, and that this masterly piece of realism, "Captain Singleton," was reprinted a few years back in "The Camelot Classics," but it is safe to say that out of every thousand readers of "Robinson Crusoe" only one or two will have even heard of the "Memoirs of a Cavalier," "Colonel Jack," "Moll Flanders," or "Captain Singleton." It is indeed distressing to think that while many scores of thousands of copies of Lord Lytton's flashy romance, "Paul Clifford," have been devoured by the public, "Captain Singleton" has remained unread and almost forgotten. But the explanation is simple. Defoe's plain and homely realism soon grew to be thought vulgar by people who themselves aspired to be refined and genteel. The rapid spread of popular education, in the middle of last century, was responsible for a great many aberrations of taste, and the works of the two most English of Englishmen, Defoe and Hogarth, were judged to be hardly fitting for polite society, as we may see from Lamb's Essay on Hogarth, and from an early edition of Chambers's "Cyclopaedia of English Literature" (1843), where we are told: "Nor is it needful to show how elegant and reflective literature, especially, tends to moralise, to soften, and to adorn the soul and life of man." "Unfortunately the taste or _circumstances of Defoe led him mostly into low life_, and his characters are such _as we cannot sympathise with_. The whole arcana of roguery and villany seems to have been open to him.... It might be thought that the good taste which led Defoe to write in a style of such pure and unpretending English, instead of the inflated manner of vulgar writers, _would have dictated a more careful selection of his subjects_, and kept him from wandering so frequently into the low and disgusting purlieus of vice. But this moral and tasteful discrimination seems to have been wholly wanting," &c. The 'forties were the days when critics still talked learnedly of the "noble style," &c., "the vulgar," of "sinking" or "rising" with "the subject," the days when Books of Beauty were in fashion, and Rembrandt's choice of beggars, wrinkled faces and