to paint the death of Lear, the old man, asking the by-standers to undo his button, would be thrown into the shade by a vast blaze of pavilions, standards, armour, and heralds' coats. Mr. Martin would illustrate the Orlando Furioso well, the Orlando Innamorato still better, the Arabian Nights best of all. Fairy palaces and gardens, porticoes of agate, and groves flowering with emeralds and rubies, inhabited by people for whom nobody cares, these are his proper domain. He would succeed admirably in the enchanted ground of Alcina, or the mansion of Aladdin. But he should avoid Milton and Bunyan.

The characteristic peculiarity of the Pilgrim's Progress is that it is the only work of its kind which possesses a strong human interest. Other allegories only amuse the fancy. The allegory of Bunyan has been read by many thousands with tears. There are some good allegories in Johnson's works, and some of still higher merit by Addison. In these performances there is, perhaps, as much wit and ingenuity as in the Pilgrim's Progress. But the pleasure which is produced by the Vision of Mirza, the Vision of Theodore, the genealogy of Wit, or the contest between Rest and Labour, is exactly similar to the pleasure which we derive from one of Cowley's odes or from a canto of Hudibras. It is a pleasure which belongs wholly to the understanding, and in which the feelings have no part whatever. Nay, even Spenser himself, though assuredly one of the greatest poets that ever lived, could not succeed in the attempt to make allegory interesting. It was in vain that he lavished the riches of his mind on the House of Pride and the House of Temperance. One unpardonable fault, the fault of tediousness, pervades the whole of the Fairy Queen. We become sick of cardinal virtues and deadly sins, and long for the society of plain men and women. Of the persons who read

the first canto, not one in ten reaches the end of the first book, and not one in a hundred perseveres to the end of the poem. Very few and very weary are those who are in at the death of the Blatant Beast. If the last six books, which are said to have been destroyed in Ireland, had been preserved, we doubt whether any heart less stout than that of a commentator would have held out to the end.

It is not so with the Pilgrim's Progress. That wonderful book, while it obtains admiration from the most fastidious critics, is loved by those who are too simple to admire it. Doctor Johnson, all whose studies were desultory, and who hated, as he said, to read books through, made an exception in favour of the Pilgrim's Progress. That work was one of the two or three works which he wished longer. It was by no common merit that the illiterate sectary extracted praise like this from the most pedantic of critics and the most bigoted of Tories. In the wildest parts of Scotland the Pilgrim's Progress is the delight of the peasantry. In every nursery the Pilgrim's Progress is a greater favourite than Jack the Giant-killer. Every reader knows the straight and narrow path as well as he knows a road in which he has gone backward and forward a hundred times. This is the highest miracle of genius, that things which are not should be as though they were, that the imaginations of one mind should become the personal recollections of another. And this miracle the tinker has wrought. There is no ascent, no declivity, no resting-place, no turn-stile, with which we are not perfectly acquainted. The wicket gate, and the desolate swamp which separates it from the City of Destruction, the long line of road, as straight as a rule can make it, the Interpreter's house and all its fair shows, the prisoner in the iron cage, the palace. at the doors of which armed men kept guard, and on

the battlements of which walked persons clothed all in gold, the cross and the sepulchre, the steep hill and the pleasant harbour, the stately front of the House Beautiful by the wayside, the chained lions crouching in the porch, the low green valley of Humiliation, rich with grass and covered with flocks, all are as well known to us as the sights of our own street. Then we come to the narrow place where Apollyon strode right across the whole breadth of the way, to stop the journey of Christian, and where afterwards the pillar was set up to testify how bravely the pilgrim had fought the good fight. As we advance, the valley becomes deeper and deeper. The shade of the precipices on both sides falls blacker and blacker. The clouds gather overhead. Doleful voices, the clanking of chains, and the rushing of many feet to and fro, are heard through the darkness. The way, hardly discernible in gloom, runs close by the mouth of the burning pit, which sends forth its flames, its noisome smoke, and its hideous shapes, to terrify the adventurer. Thence he goes on, amidst the snares and pitfalls, with the mangled bodies of those who have perished lying in the ditch by his side. At the end of the long dark valley he passes the dens in which the old giants dwelt, amidst the bones of those whom they had slain.

Then the road passes straight on through a waste moor, till at length the towers of a distant city appear before the traveller; and soon he is in the midst of the innumerable multitudes of Vanity Fair. There are the jugglers and the apes, the shops and the puppet-shows. There are Italian Row, and French Row, and Spanish Row, and Britain Row, with their crowds of buyers, sellers, and loungers, jabbering all the languages of the earth.

Thence we go on by the little hill of the silver mine, and through the meadow of lilies, along the

bank of that pleasant river which is bordered on both sides by fruit-trees. On the left branches off the path leading to the horrible castle, the court-yard of which is paved with the skulls of pilgrims; and right onward are the sheepfolds and orchards of the Delectable Mountains.

From the Delectable Mountains, the way lies through the fogs and briers of the Enchanted Ground, with here and there a bed of soft cushions spread under a green arbour. And beyond is the land of Beulah, where the flowers, the grapes, and the songs of birds never cease, and where the sun shines night and day. Thence are plainly seen the golden pavements and streets of pearl, on the other side of that black and cold river over which there is no bridge.

All the stages of the journey, all the forms which cross or overtake the pilgrims, giants, and hobgoblins, ill-favoured ones, and shining ones, the tall, comely, swarthy Madam Bubble, with her great purse by her side, and her fingers playing with the money, the black man in the bright vesture, Mr. Worldly Wiseman and my Lord Hategood, Mr. Talkative, and Mrs. Timorous, all are actually existing beings to us. We follow the travellers through their allegorical progress with interest not inferior to that with which we follow Elizabeth from Siberia to Moscow, or Jeanie Deans from Edinburgh to London. Bunyan is almost the only writer who ever gave to the abstract the interest of the concrete. In the works of In the works of many celebrated authors, men are mere personifications. We have not a jealous man, but jealousy, not a traitor, but perfidy; not a patriot, but patriotism. The mind of Bunyan, on the contrary, was so imaginative that personifications, when he dealt with them, became men. A dialogue between two qualities, in his dream, has more dramatic effect than a dialogue between two human beings in most plays. In this respect the

done; and, though a minute scrutiny may detect inconsistencies in every page of his Tale, the general effect which the Tale produces on all persons, learned and unlearned, proves that he has done well. The passages which it is most difficult to defend are those in which he altogether drops the allegory, and puts into the mouth of his pilgrims religious ejaculations and disquisitions, better suited to his own pulpit at Bedford or Reading than to the Enchanted Ground or to the Interpreter's Garden. Yet even these passages, though we will not undertake to defend them against the objections of critics, we feel that we could ill spare. We feel that the story owes much of its charm to these occasional glimpses of solemn and affecting subjects, which will not be hidden, which force themselves through the veil, and appear before us in their native aspect. The effect is not unlike that which is said to have been produced on the ancient stage, when the eyes of the actor were seen flaming through his mask, and giving life and expression to what would else have been an inanimate and uninteresting disguise

It is very amusing and very instructive to compare the Pilgrim's Progress with the Grace Abounding. The latter work is indeed one of the most remarkable pieces of autobiography in the world. It is a full and open confession of the fancies which passed through the mind of an illiterate man, whose affections were warm, whose nerves were irritable, whose imagination was ungovernable, and who was under the influence of the strongest religious excitement. In whatever age Bunyan had lived, the history of his feelings would, in all probability, have been very curious. But the time in which his lot was cast was the time of a great stirring of the human mind. A tremendous burst of public feeling, produced by the tyranny of the hierarchy, menaced the old ecclesiastical institutions