should be "undervalued and slighted" was "no new Thing, all the Histories of the World are full of Examples to this purpose" and his greatness provides but a mark at which the envious may shoot. In Atalantis Major Defoe elaborates on the causes of the nation's ingratitude: the debt was too great for payment and resentment was the natural result. A second interest was the military hero; much of Defoe's fiction Memoirs of a Cavalier , Captain Singleton , for instance involved military men, and Marlborough along with King Gustavus Adolphus of Sweden, another soldier who scorned the conventional seventeenth century chess game tactics, furnished a model. The "finish'd Hero" described includes all of the virtues of Defoe's fictional leaders from Robinson Crusoe to John in Journal of the Plague Year to the Cavalier "Prudent, and Vigilant, and Temperate, Alert, and industrious, with an humble Submission to the Will of the Almighty" (26), "Temperate, Sober, Careful, Couragious, Politick, Skilful, so he is Courteous, Mild, Affable, Humble, and Condescending to People of the meanest Condition" (45). The Duke's virtues as well as Gustavus's enable the reader of Memoirs of a Cavalier and The Memoirs of Captain George Carlton to judge the commanders as Defoe would have. Above all, the "assured Skill" and "daring Courage" appealed to Defoe Robinson Crusoe's campaigns against the cannibals and in the Far East repeat the daring, risk-all quality of Ramilles. Defoe's enjoyment of marching vicariously over great battles has led biographers such as J. R. Moore to say that it was unfortunate his military genius was never used, and is obvious in almost all of his fiction. So skillful are his descriptions that J. H. Burton pauses to note "the character and claims of a book (Memoirs of Capt. George Carlton , 1728) that has afforded him valuable instruction on the general character of the war, along with special instructions in its leading events."
Defoe's Life was his first biography; other "memoirs" of the Duke of Melfort (1714), Daniel Williams (1718), and Major Ramkins (1719) suggest the progression to The Life and Strange Surprizing Adventures of Robinson Crusoe (1719) and two other lives in that same year. Defoe's sometimes troublesome skill with narrative voices is, in the Life , a shadow of the competence displayed in Moll Flanders . Although the "old Officer's" voice is sustained and there are excellent touches, the distinctiveness and absorbing intimacy are only hinted at. The polemist appeals too apparently to his readers while the opening pages approach a declamation. The persona protests that he doesn't "pretend in this Narrative to Inform the great People at Court, concerning this thing," and that he writes only for the common people. Defoe does limit carefully his material to events which were common knowledge or would have been open to an old soldier while he describes the key maneuver of Ramilles, he certainly lacks a complete overview. Many of the virtues praised would appeal most strongly to men who might have been common foot concerned with regular bread, a well-run camp, and a conscientious strategist, or to simple, pious women glad to hear that their general prayed and provided Sunday sermons. Allusions to Satan, "the cunning engineer," Solomon, and Moses were common enough, while those to Hannibal and Raleigh had been exploited in Defoe's other writing. Perhaps the most graphic section in this voice is the description of the common soldier's misery in a rainy season march and siege. A few passages have the confidential, gossipy tone of ordinary people around a tavern table Sarah was admired abroad, but in her own country it was said she was "guilty of more Folly than a Retainer to the College in Moore-Fields," an experienced old general knows more coffeehouse quarterbacks, and the soldier naively speculates with relish how "my Lord" narrowly escaped being "torn in Pieces" for the rumor that he spoke words which would be "brutal from the mouth of a Porter." Naive arguments (no man would continue in so hard an undertaking from selfish motives), sincere patriotism (defense of his King and Queen and praise for a nation "with a generous Race of Warlike People" ready to risk their lives), and honest indignation
at "barbarous Lies" authenticate the narrator.
Defoe's writing fiction and non-fiction is all of a piece. The same subjects and opinions reoccur and the techniques and style are nearly indistinguishable. Expository material alternates with narrative examples (which may in turn be followed by a paragraph or two drawing a conclusion or a "moral") in all of his writing. The primary difference is in the length of the narrative examples in the fiction they are naturally much longer. Over the years, they become increasingly dramatic as may be seen in books such as The Fortunate Mistress and Conjugal Lewdness . A Short Narrative conforms to this structural pattern. Sentences which direct the reader's attention to this structure are common. For instance, Defoe defends Marlborough's courage with descriptions of the battle of Brabant, Ramilles, references to Hannibal, and concludes, "And thus then you see, that our General wants neither Conduct or Courage." Defoe's skill with these short, dramatic, illustrative examples developed with the years. Defoe was always concerned with presenting a case clearly and persuasively. Clearly marked structure and "reasonable" conclusions alternate with anecdotes and reminiscences intended to hold the reader's interest and dramatize Defoe's points.