Works of John Bunyan — Complete

by John Bunyan

'I have used similitudes.'—Hosea 12:10.

London: Printed for Dorman Newman, at the King's Arms in the Poultry; and Benjamin Alsop, at the Angel and Bible in the Poultry, 1682.

ADVERTISEMENT BY THE EDITOR.

Bunyan's account of the Holy War is indeed an extraordinary book, manifesting a degree of genius, research, and spiritual knowledge, exceeding even that displayed in the 'Pilgrim's Progress.' To use the words of Mr. J. Montgomery, 'It is a work of that master intelligence, which was privileged to arouse kindred spirits from torpor and inactivity, to zeal, diligence, and success.'

It was first published in 1682, in a small octavo volume, and, like the first edition of the Pilgrim, it was printed in a very superior manner to all the subsequent editions, to a recent period. The portrait of the author, by White, which faced the title-page, is without doubt the best likeness that has ever appeared of our great allegorist.[1] In addition to this is a whole length figure of the author, with a representation of Heart-castle on his left breast; the town of Mansoul, behind, being partly seen through him; Emmanuel and his army on the heart side, and Diabolus with his dragons on his right. From the publication of this popular book in 1682, it has been constantly kept in print, so that it is impossible to calculate the numbers that have been circulated. As time rolls on, the 'Holy War,' allegorized by John Bunyan, becomes more and more popular; nor can there be a doubt, but that so long as the internal conflict and spiritual warfare between the renewed soul and its deadly enemies are maintained, this book will become increasingly popular.

The 'Holy War,' although so very extraordinary an allegory, has not been translated into so many languages, nor has it been so much read in English, as the 'Pilgrim's Progress.' This would naturally arise from the Pilgrimage being a more simple narrative. It is a journey full of the most striking scenery and incidents, which is read with the deepest interest by all classes, from the children in a work-house to the profoundest Christian philosopher. The facts which are intended to be impressed upon the mind by the force of the allegory, are seen and appreciated by the Christian without requiring much investigation; while the 'Holy War' is carried on under an allegorical representation by no means so transparent. Man's soul is figured under the simile of a town, which having surrendered to an insidious and mortal enemy, is besieged by its lawful Sovereign with all the 'pomp and circumstances' of war; the arch-enemy is driven out, the town retaken, new-modelled, and garrisoned by Emmanuel.

To the Christian, whose aim and end is peace, war presents a most forbidding aspect. He loves not to see the garments rolled in blood, nor to hear the dying groans of the wounded, nor the heart-rending cries of the bereaved, especially those of the widow and the orphan. Spoliation and robbery are not the pastimes of the child of God, nor is cruelty the element of his happiness or peace. To read of such scenes, produces painfully interesting sensations; but even these are not so strong or intense as those delightful feelings which pervade the mind while watching the poor pilgrim in his struggles to get through the Slough of Despond, his terror under the flames of Mount Sinai, his passing unhurt the darts from Beelzebub's castle, and his finding refuge at the Wicket Gate. It is true, that the most delicate Christian must become a stern warrior—the most sensitive ear must be alarmed with the sound of Diabolus' drum, and at times feel those inward groanings which cannot be uttered—pass through 'the fiery trial,' and 'endure hardness, as a good soldier of Jesus Christ'; while at other periods of his experience, flushed with victory, he will cry out, 'Who shall separate us from the love of Christ?' We must fight the good fight of faith, or we can never lay hold on eternal life. We must be engaged in this holy war, and FIGHT or PERISH. There is no neutrality, no excuse that can be awaiting at the day of judgment. The servant of Christ is therefore found trusting in the Captain of salvation, furnished with the whole armour of God, with which his soul is clothed by the Holy Spirit—having the shield of faith, the helmet, the breastplate, the two-edged sword. It was being thus mysteriously, invulnerably armed, that gave the delicate, learned, pious Lady Anne Askew strength to triumph over her agonies, when the Papists disjointed every bone and sinew of her body on the rack. Her spiritual armour enabled her with patience to bless God at the stake, when, for refusing to worship Antichrist, she was burned in Smithfield, and her soul ascended to heaven in a flaming fiery chariot. It is the same spiritual armour, the same Captain to guide, the same Spirit to sanctify, the same Father to bless us, by which alone we can become more than conquerors over our vigilant and powerful enemies. The Holy War is in this volume presented to us by an old, experienced, faithful warrior; it is an allegorical narrative, written by a master hand, guided by deeply penetrating, searching powers of mind. It is his own severe brunts with the great enemy, who is aided by his army of pomps, vanities, lusts, and allurements, many lurking within, disguised to appear like angels, while under their masquerade dress they are very devils. It is written by one who possessed almost boundless resources of imagination. It is more profound, more deeply spiritual than the pilgrimage from Destruction to the Celestial City; and to understand its hidden meaning, requires the close and mature application of the renewed mind. There are, alas! comparatively few that are blessed with spiritual discernment; and even of these, there are but few inclined to mental investigation and research. These are reasons why it has not been so popular a book as the 'Pilgrim's Progress.' To aid those whose time for reading is limited, notes are given, by which obsolete words and customs are explained, and the reader assisted to appreciate the beauties, and to understand the meaning of this allegory. It is earnestly hoped that many will richly enjoy the comforts, instructions, consolations, and strength which the author ardently wished to convey to Zion's warriors, by the study of this important subject.

I have already, in my long Introduction to the 'Pilgrim's Progress,' noticed the peculiar genius and originality which are conspicuous in all Bunyan's works, and which most resplendently appear in his allegorical writings. That genius became hallowed and sanctified by prison discipline, by an intense study of the Sacred Scriptures, and by his controversies with great men of various sects and parties. In the 'Holy War' Bunyan's peculiar genius shines forth in its most beauteous lustre; the whole is new, genuine, flowing forth from his own deep and rich experience. It is, in fact, the same narrative that he had published under the title of 'Grace Abounding to the Chief of Sinners, or a brief and faithful relation of the exceeding mercy of God, in Christ, to his poor servant John Bunyan.' This simple, heart-affecting narrative, is here related under the allegorical representation of the 'Holy War.' In this, all the circumstances of his conviction of sin, and his conversion to God, are narrated with startling interest from the first alarm—his being roused from a state of death-like lethargy, his opposition to the grace of God, his refusals of the invitations of Emmanuel, and his being at length conquered to become a monument of divine mercy—a temple of the Holy Ghost. Then came his declension by carnal security, and his misery in that state, until he was finally reconquered; and his heart is permanently occupied by Emmanuel. The 'Grace Abounding,' aided by the marginal notes of the author to the 'Holy War,' forms a very valuable key to the mysteries of this allegory; without their aid some passages would be found deeply mysterious, and hard to be understood. Nor can this be considered extraordinary, when it is recollected that the whole of the allegory is a revelation of scenes, feelings, hopes, fears, and enjoyments, which are unknown, unfelt, and invisible to all except to those whose minds are enlightened by Divine truth; and even of these, very few have had the deep and trying experience with which the author was exercised.

That the 'Holy War' allegorically represents Bunyan's personal feelings, is clearly declared by him in the poetical Introduction or Address to the Reader, prefixed to the book. He adverts to books of fiction, and solemnly declares—

'I have somewhat else to do,
Than with vain stories thus to trouble you,
For my part, I (myself) was in the town,
Both when 'twas set up, and when pulling down;
I saw Diabolus in his possession,—
Yea, I was there when she own'd him for Lord.'