The Pilgrim's Progress undoubtedly is not a perfect allegory. The types are often inconsistent with each other; and sometimes the allegorical disguise is altogether thrown off. The river, for example, is emblematic of death; and we are told that every human being must pass through the river. But Faithful does not pass through it. He is martyred, not in shadow, but in reality, at Vanity Fair. Hopeful talks to Christian about Esau's birthright, and about his own convictions of sin, as Bunyan might have talked with one of his own congregation. The damsels at the House Beautiful catechise Christiana's boys, as any good ladies might catechise any boys at a Sunday School. But we do not believe, that any man, whatever might be his genius, and whatever his good luck, could long continue a figurative history without falling into many inconsistencies.
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 the Interpreter's Garden. Yet even these passages, though we will not undertake to defend them against the objection 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.
The style of Bunyan is delightful to every reader, and invaluable as a study to every person who wishes to obtain a wide command over the English language. The vocabulary is the vocabulary of the common people. There is not an expression, if we except a few technical terms of theology, which would puzzle the rudest peasant. We have observed several pages which do not contain a single word of more than two syllables. Yet no writer has said more exactly what he meant to say. For magnificence, for pathos, for vehement exhortation, for subtle disquisition, for every purpose of the poet, the orator, and the divine, this homely dialect—the dialect of plain working men—was perfectly sufficient. There is no book in our literature on which we would so readily stake the fame of the old unpolluted English language—no book which shows so well how rich that language is in its own proper wealth, and how little it has been improved by all that it has borrowed.
Cowper said, forty or fifty years ago, that he dared not name John Bunyan in his verse, for fear of moving a sneer. To our refined forefathers, we suppose, Lord Roscommon's Essay on Translated Verse, and the Duke of Buckinghamshire's Essay on Poetry, appeared to be compositions infinitely superior to the allegory of the preaching tinker. We live in better times; and we are not afraid to say, that, though there were many clever men in England during the latter half of the seventeenth century, there were only two great creative minds. One of those minds produced the Paradise Lost, the other the Pilgrim's Progress.—Edinburgh Review.
THE GATHERER.
A London publisher advertises a collection of Nursery Tales as a "handsome present for youth." Here the schoolmaster is surely behind-hand.