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Style
Definition of Tone
The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical or mournful, praising or critical, and so on. For instance... read full definition
The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical or mournful, praising or critical... read full definition
The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical... read full definition
Tone
Explanation and Analysis:
In line with the novel's literary realism and Defoe's journalistic style, the tone for the most part remains open, honest, and direct. During the book's exposition, the speaker's tone is reminiscent of that of an old man shaking his head over the foolish decisions of a young man who consistently obeys "fancy rather than reason." With the benefit of hindsight, Robinson does not simply recount the events of the story but inserts his own commentary on moments in which he made poor decisions, as well as moments in which he is impressed with his former self's strength or contrivance.
The novel's tone is connected to the speaker's various goals for telling the story. One of these goals is to compose a journalistic report of how he ended up on the island and how he survived nearly three decades on it. Certain parts of the novel almost feel like an instruction manual—Robinson is so precise that it seems as though he wants his readers to know exactly how to live on a desert island if they happen to be marooned like he was.
Related to the goal of composing a report is his goal of shocking and impressing the reader. Although he frequently claims that he was clumsy and ill-prepared for life on the island, and further that anyone in his position would have succeeded in doing what he did to survive, he does appear to be quite proud of himself. This smugness occasionally shines through in his tone and diction. He seeks a response of shock and awe from his reader.
Another one of Robinson's goals is proselytizing. As the editor insists in the preface, Robinson's narrative teaches a Christian lesson about deliverance, repentance, and providence. Robinson does not simply instruct his reader on ways to survive in the wilderness, he also emphasizes that his survival is the will of God and that his own determination to survive was built upon his eventual turn to God and the Bible. In so doing, he encourages the reader to adopt a repentant attitude toward God as well.
Storytelling is itself another one of his goals—both a means and an end in the narrative. There is something very self-aware in the speaker's narrative style and tone. He reveals a keen awareness of the pacing and trajectory of the narrative, as well as of the aims and structures of storytelling. In addition to this, he often acknowledges the reader. He may not address the reader in the second person, but he does seem to indirectly ask for the reader's permission or forgiveness in formulating his ideas in a certain way. Especially in the context of his direct and self-aware tone, Robinson does not conceal the fact that he has written this account for it to be read.
