Compare the ways in which crime is presented in Moll Flanders Essay Example

traditional gender responsibilities like taking part in household chores, and rather isolate themselves from widespread ethical principles. They enrich their existence either by manipulating men or pursuing valuable belongings to satiate their cravings.

The novels have an autobiographical style wherein the two main characters narrate a chronological sequence of events in their lives. This style is consistently maintained throughout the novels, making it easier for contemporary readers to connect with the stories and perceive the lives of Roxana and Moll as if they were watching a soap opera. This creates a sense of intimacy between the reader and the protagonists. Both novels follow Roxana and Moll Flanders as they reflect on their lives filled with sinfulness and opportunism. This life has shaped their identity and they must fully accept it.

Defoe is present in the novels he wrote, expressing his views on topics such as marriage. He coined the term "Matrimonial Whoredom" to describe women who marry for monetary reasons. This reveals Defoe's perspective on the character of women through his main characters. It can be argued that temptation is the ultimate reason for Moll and Roxana to engage in criminal activities. Their desires revolve around material possessions and a longing for social standing. For instance, Roxana, influenced by Amy, resorts to prostitution with her landlord.

Amy manipulates Roxana by employing reverse psychology: "Dear madam," Amy tells Roxana, "if I will starve for your sake, I will be a whore." Roxana is faced with the temptation of trading her chastity for her former life of comfort. Despite giving in eventually, Roxana still displays a hint of self-respect when she states, "A woman ought rather to die, than to

prostitute herself." However, her actions contradict her words as she succumbs to temptation.

On the contrary, Moll justifies her crimes by stating that 'the silver tankard calls out to her.' This metaphor suggests that her desire for a luxurious lifestyle somehow beckoned her, as if the tankard itself were a person. This use of pathetic fallacy implies that the silver tankard acted as a tempting force, leading Moll to commit crimes in order to live comfortably. The quote also alludes to the allure of consumer goods that are valued by society, which captivate Moll's attention and entice her.

Moll confesses that she grew increasingly confused by money, hinting that her desire for wealth would eventually drive her to desperation and tempt her to commit crimes. The author also portrays crime as a result of social pressures and personal situations. Defoe presents his prostitutes as ordinary individuals who are products of their surroundings, victims of circumstances that anyone could have faced. This prompts the same moral dilemmas between ways and ends as experienced by other members of society.

With her husband absent and the daunting task of caring for five children on her shoulders, Roxana finds herself in a challenging position. In order to avoid falling into complete destitution, she reluctantly turns to prostituting herself to her landlord. At the beginning of the novel, Amy puts forth a compelling argument to Roxana. Roxana initially questions the idea of engaging in such acts for survival, but Amy counters by asserting that it would only be acceptable for sustenance, as starvation is not an option.

Roxana is persuaded by Amy's argument and declares, "If he offered me a place to live, I

would sleep with him." Roxana carefully considers the situation and chooses to sacrifice her chastity. However, it is distressing that women in this era had little else to offer men in exchange for financial security. Thus, one must empathize with Roxana's difficult predicament. It is important for readers not to judge her negatively, especially when individuals like Amy remind her that "nobody will go hungry."

After the violent death of her lover and landlord, Roxana attempts to sell the jewels he had entrusted to her. This raises questions about her integrity, as it reveals the extent to which people will go to maintain their material possessions. Despite Roxana's intelligence and ability to improve her life through legal means, Defoe suggests that women still faced disadvantages. In Moll Flanders, the character quotes 'The market is against our sex', reflecting Defoe's interest in women's oppression and his belief that women were particularly oppressed within the institution of marriage.

Roxana and Moll Flanders share a refusal to marry and a belief in the disadvantages of marriage for women. Roxana sees marriage as a patriarchal institution that puts women at a disadvantage, while Moll only marries for financial gain, a concept Defoe calls 'Matrimonial Whoredom.' Both women are victims of societal and circumstantial issues. Moll, born into poverty, is keenly aware of her low status but still sees herself as a 'Gentlewoman,' aspiring to have a luxurious lifestyle and gain acceptance by society.

In this paragraph, it can be argued that Moll desires the same social status that Roxana achieves. Similar to Rastigmac and Julien Soreal, Moll Flanders exemplifies the essence of modern individualism by believing that she has a responsibility to

attain the utmost economic and social benefits, and by utilizing any means necessary to fulfill her determination. Moll herself acknowledges that she resorts to committing crimes due to the dire circumstances she faces. As an example, there is an instance where Moll starts sewing lace for a wealthy woman, despite her own relatively impoverished state.

The wealthy woman has two brothers whom Moll befriends, and she engages in prostitution with both of them. Both brothers lavish her with luxurious clothes and jewelry. On one occasion, she mentions, "He had given me enough money to cover the expenses of my pregnancy. I had everything I needed." One might judge Moll as a prostitute, but it is important to consider that she lacks education like Roxana, and her desire to become a respectable lady is still unfulfilled. Thus, she had to seize this opportunity.

The fact that Moll unknowingly prostitutes herself to her own brothers adds an element of horror to her story. This strange experience of engaging in incest without being aware of the relation holds a continuing appeal for modern readers. It is both bizarre and hilarious to think that Moll ends up laying with two brothers who turn out to be her own siblings. This aspect captivates modern readers because incest usually occurs when both parties are aware of their relation, which is not the case for Moll. Furthermore, Moll's desire for fine clothes and ornaments drives her to commit crimes beyond mere survival. She explains that dressing well is necessary for her to fit in and socialize appropriately.

Defoe highlights the shift towards capitalism in society through both novels, indicating that Roxana and Moll had to

adapt in order to gain respect and acceptance. The luxurious attire, including Moll's fine clothes and ornaments and Roxana's expensive Turkish dress, serve as symbols of societal pressure to live extravagantly. However, their motivations for resorting to criminal activities are not grounded in strong sociological arguments like those we might present today. Instead, they are solely concerned with avoiding destitution and not questioning the reasons behind societal inequalities.

However, their determination not to be destitute demonstrates their survival instincts, as Defoe portrays the emergence of an individualistic society where people rely less on religion for answers and instead take matters into their own hands. The connection between crime and identity must be examined, such as when Moll's name is a slang term used at the time to refer to a woman of questionable reputation, often the girlfriend of a professional thief. Similarly, "Flanders" was a term used to describe women engaged in prostitution. In Roxana, when Roxana briefly abandons her luxurious lifestyle, she adopts Quaker dressing.

The way Roxana dresses now is a complete departure from her extravagant and beautiful dresses. This change emphasizes her transition from a life of luxury and sexual encounters to a more simple way of living. Her Turkish dress serves as a revealing symbol of her criminal identity as a courtesan. It is interesting how both Roxana and Moll Flanders use names and costumes to conceal their true selves. These hidden identities suggest that they are unwilling to accept who they truly are and are afraid of how others will perceive them, much like in the novel Robinson Crusoe.

Defoe's portrayal of characters in his novels reflects his own self-perception, evident in his

decision to change his name from Foe to Defoe. Both of these novels associate crime with the devil's actions. It is important to note that during the 16th century, crime was commonly attributed to the influence of the devil, as people held superstitious beliefs. In Moll Flanders, the protagonist herself believes that her criminal activities are prompted by a devil, as stated in the text: 'She had enough to work on but the devil sends her out unto the streets.'

It is intriguing how Moll characterizes the Devil as a human being, while also labeling herself as a 'busy devil'. What makes this language captivating is that the term busy typically conveys industriousness or commitment to work, whereas the term devil contradicts busy by suggesting malevolence or negative actions. This creates an overall ironic effect. Similarly, in Roxana, when Roxana arranges for Amy to be prostituted to her landlord, she later acknowledges the immorality and sinfulness of her actions by stating that she is merely an 'instrument of the devil's works'.

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The enduring appeal of this story lies in the shocking act perpetrated by Roxana, who is supposed to be a virtuous woman. She compels her closest friend, Amy, to become a prostitute for her landlord. This raises doubts about Roxana's integrity. Despite admitting that she was the instrument of evil, one cannot help but be astounded by the lengths people will go to satisfy their own selfish desires. A similar situation occurs in Ben Jonson's play, Volpone, where the character Corvino abandons all sense of virtuous behavior and opts to exploit his own wife as a prostitute.

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might contend that both Moll and Roxana employ the symbolism of the 'devil' to intensify their self-inflicted guilt. The interpretation of the devil during Defoe's era is also crucial to consider. At this period, the devil was typically depicted as a horrific beast with horns and sharp teeth. Nonetheless, in the literary works Roxana and Moll Flanders, it could be suggested that 'the devil' represents pervasive poverty undermining their community, compelling them towards criminal endeavors. However, it's important to highlight that modern society tends to downplay the link between individuals involved in criminal acts and 'the devil'.

Both modern and historical perspectives place great importance on the individual's sense of morality and their decision to engage in criminal activities or not. Nevertheless, during the 16th century, criminals were under the impression that a devil was controlling their actions. Looking at both novels, Moll stands out with her potent and abundant criminal activities, unlike Roxana who does not purposefully involve herself in crimes. In "Moll Flanders," Moll is unyielding and resolute; she is ready to use any method required to satisfy her ambitions.

In the novel, there is a situation that exemplifies irony: Moll cunningly persuades an accountant to end his marriage, claiming his wife is a whore, which is hypocritical since Moll herself is a prostitute. The accountant seeks advice from Moll, and she sees this as an opportunity since she knows he is attracted to her. He asks her, "What should I do?" Moll responds, "You should leave her and search for a morally upright woman" (referring to herself). Taking advantage of the accountant's vulnerability, Moll then asks him, "Will you come with me, madam?"

Here, Moll exploits the gentleman's weakness once more in order to marry into wealth.

Although not considered a crime legally, Moll Flanders' cunning and sneaky behavior can be seen as deviant rather than criminal. These types of episodes continue to captivate as one marvels at her cleverness and how she, despite being in a lower social status than men, fully controls the situation through manipulation. As she ages and realizes her fading attractiveness, Moll turns to stealing. She becomes highly skilled and prolific in her thieving endeavors. The point I want to make is that Moll Flanders is undeniably drawn to crime, as evidenced by her willingness to seize any opportunity that will benefit her.

This passage showcases Moll's cunning and desperation as she steals a lace and later returns it to claim the reward money. This act resonates with contemporary readers who marvel at Moll's determination and resourcefulness. In contrast, Roxana receives tempting offers from her landlord who offers support during her difficult times and enters into a relationship with her. However, Roxana succumbs to adultery despite being married to her first husband.

In addition to committing a crime against the state, she admits to committing a crime against herself by stating "we were no more than two adulterers." She also acknowledges her guilt by saying "I sinn'd with open eyes, and thereby had a double guilt upon me." The phrase "open eyes" indicates her clear awareness of the seriousness of her offenses. Unlike Moll, Roxana regrets the choices she made in her life. Returning to my initial argument, Roxana is presented with another tempting offer following the death of her landlord. The Prince of France

takes advantage of the situation to provide comfort, care, and court Roxana. Later on, she encounters a Dutch Merchant who also tries to propose marriage to her, but she declines.

In summary, Moll seems to be a woman who is drawn towards criminal activities, whereas Roxana appears to be unfortunate in attracting crime and alluring proposals. Another intriguing element that I noticed in Defoe's portrayal of crime is the pronounced emphasis on prostitution. Roxana considers herself a prostitute due to her sexual involvement with her landlord even though she is still legally married to an absent husband. She starts developing affection for her landlord while also appreciating the comfortable life she has with him. Yet, she persistently views herself as a prostitute.

Roxana, to a certain degree, indulges in extramarital affairs yet manages to build a secure family and an enjoyable lifestyle with her landlord. In our time, such actions wouldn't be classified as prostitution or whoring, and legally adultery is not seen as a crime. Unlike the modern definitions of prostitution or whoring that involve the emotionless monetary exchange for sexual gratification, Roxana experiences real affection. However, these outside relationships introduce an element of thrill and anxiety into her life. It's during a minor dinner gathering when she first spots her initial husband but chooses not to confront him.

Defoe's portrayal of Moll's predicament can be viewed as a criminal affair since her potential capture would result in public disgrace and maybe even death, especially considering her clandestine relationship with the Prince of France. This storyline maintains its allure for contemporary readers due to Defoe's creation of a classic soap opera scenario, where the main character finds

themselves entangled in a challenging situation. Consequently, readers are captivated and constantly speculate about the subsequent events, ultimately leading to sustained engagement. Furthermore, Defoe's portrayal of crime in these novels includes intriguing minutiae that add an extra layer of interest.

The text discusses the irony surrounding Moll Flanders being born in a prison and how it suggests that a life of crime was predetermined for her. The quote "the vanity of the mother is blamed for the child wearing the necklace" implies a connection between family and criminal behavior, as if Moll inherited a predisposition for crime from her mother. It can be argued that Moll's life mirrored her mother's, as she too was sent to Virginia. This leads to the conclusion that readers may sympathize with Moll, believing that her criminal tendencies are genetic and beyond her control.

Another intriguing aspect of the novel involves crime, specifically the scene in which Moll kidnaps a child and considers murdering them. This moment marks a pivotal turning point as it unveils Moll's sinister nature. Up until this point, the reader has witnessed Moll's previous encounters as a thief and prostitute, yet the contemplation of murder is shocking to a modern-day audience. These episodes captivate and maintain their appeal because they not only reveal Moll's dark side but also elicit sympathy for the antagonist rather than the victim. Roxana presents crime in a distinct and peculiar manner.

When Roxana and Amy are caught in a violent storm and facing imminent death, Roxana exclaims 'Heaven! Go to heaven', which is surprising because one would expect her to mention going to hell, given her past crimes. Conversely, Amy starts saying

'Lord have Mercy upon me!' and expresses her willingness to 'lead a new life, if God would spare her but this time'. Despite their survival, they go back to their miserable life of crime. It appears that the boat incident might have been a sign urging them to abandon their immoral ways.

In Christopher Marlowe's Dr. Faustus, similar to Roxana, the protagonist is presented with several chances to abandon his sinful ways but chooses not to. This perplexing and frustrating situation captivates the audience. Roxana, despite achieving a revered status throughout Europe, also commits a crime against herself by refusing to abandon her life of vice even in her comfortable circumstances.

In considering the presentation of crime, it is important to examine the endings of both stories. Despite Moll's numerous crimes, it is ironic that she ultimately has a happy ending. It is as if her criminal actions were necessary for her to avoid imprisonment in Virginia, which adds another layer of irony considering her mother's death sentence for theft. However, Moll fortunately escapes prison with her new lover.

It appears that sometimes crime is profitable, but in Roxana, the protagonist suffers greatly for her criminal actions and ultimately succumbs to a severe illness and death. Defoe may have included this storyline to convey his belief that individuals who have no justification for engaging in criminal behavior should steer clear of it. Despite Roxana's high level of education and potential for acquiring wealth through alternative means, some argue that she unnecessarily chose a life of crime.

Both of these novels have a strong appeal to modern audiences due to the suspense, intrigue, and tension that arises when readers contemplate

whether the characters will be discovered. Roxana, in particular, grapples with a fatal inner conflict between embracing the mundane respectability of her middle-class background and succumbing to the allure of the city's wicked charms. Similarly, Moll Flanders, as a determined woman, perceives crime as her sole means to attain a comfortable life, much like many other women in similar circumstances.