Front Page Titles (by Subject) JOHN BUNYAN. (December, 1830.) - Critical and Historical Essays, Vol. 1
The Online Library of Liberty
A project of Liberty Fund, Inc.
Search this Title:
JOHN BUNYAN. (December, 1830.) - Thomas Babington, Lord Macaulay, Critical and Historical Essays, Vol. 1 
Critical and Historical Essays contributed to the Edinburgh Review, 5th ed. in 3 vols. (London: Longman, Brown, Green, and Longmans, 1848). Vol. 1.
About Liberty Fund:
Liberty Fund, Inc. is a private, educational foundation established to encourage the study of the ideal of a society of free and responsible individuals.
The text is in the public domain.
Fair use statement:
This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.
JOHN BUNYAN. (December, 1830.)
The Pilgrim’s Progress, with a Life of John Bunyan. By Robert Southey, Esq. LL.D. Poet-Laureate. Illustrated with Engravings. 8vo. London: 1830.
This is an eminently beautiful and splendid edition of a book which well deserves all that the printer and the engraver can do for it. The Life of Bunyan is, of course, not a performance which can add much to the literary reputation of such a writer as Mr. Southey. But it is written in excellent English, and, for the most part, in an excellent spirit. Mr. Southey propounds, we need not say, many opinions from which we altogether dissent; and his attempts to excuse the odious persecution to which Bunyan was subjected have sometimes moved our indignation. But we will avoid this topic. We are at present much more inclined to join in paying homage to the genius of a great man than to engage in a controversy concerning church-government and toleration.
We must not pass without notice the engravings with which this volume is decorated. Some of Mr. Heath’s wood-cuts are admirably designed and executed. Mr. Martin’s illustrations do not please us quite so well. His Valley of the Shadow of Death is not that Valley of the Shadow of Death which Bunyan imagined. At all events, it is not that dark and horrible glen which has from childhood been in our mind’s eye. The valley is a cavern: the quagmire is a lake: the straight path runs zigzag: and Christian appears like a speck in the darkness of the immense vault. We miss, too, those hideous forms which make so striking a part of the description of Bunyan, and which Salvator Rosa would have loved to draw. It is with unfeigned diffidence that we pronounce judgment on any question relating to the art of painting. But it appears to us that Mr. Martin has not of late been fortunate in his choice of subjects. He should never have attempted to illustrate the Paradise Lost. There can be no two manners more directly opposed to each other than the manner of his painting and the manner of Milton’s poetry. Those things which are mere accessories in the descriptions become the principal objects in the pictures; and those figures which are most prominent in the descriptions can be detected in the pictures only by a very close scrutiny. Mr. Martin has succeeded perfectly in representing the pillars and candelabras of Pandæmonium. But he has forgotten that Milton’s Pandæmonium is merely the background to Satan. In the picture, the Archangel is scarcely visible amidst the endless colonnades of his infernal palace. Milton’s Paradise, again, is merely the background to his Adam and Eve. But in Mr. Martin’s picture the landscape is every thing. Adam, Eve, and Raphael, attract much less notice than the lake and the mountains, the gigantic flowers, and the giraffes which feed upon them. We read that James the Second sat to Varelst, the great flower-painter. When the performance was finished, his Majesty appeared in the midst of a bower of sun-flowers and tulips, which completely drew away all attention from the central figure. All who looked at the portrait took it for a flower-piece. Mr. Martin, we think, introduces his immeasurable spaces, his innumerable multitude, his gorgeous prodigies of architecture and landscape, almost as unseasonably as Varelst introduced his flower-pots and nosegays. If Mr. Martin were to paint Lear in the storm, we suspect that the blazing sky, the sheets of rain, the swollen torrents, and the tossing forest, would draw away all attention from the agonies of the insulted king and father. If he were 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 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 genius of Bunyan bore a great resemblance to that of a man who had very little else in common with him, Percy Bysshe Shelley. The strong imagination of Shelley made him an idolater in his own despite. Out of the most indefinite terms of a hard, cold, dark, metaphysical system, he made a gorgeous Pantheon, full of beautiful, majestic, and life-like forms. He turned atheism itself into a mythology, rich with visions as glorious as the gods that live in the marble of Phidias, or the virgin saints that smile on us from the canvass of Murillo. The Spirit of Beauty, the Principle of Good, the Principle of Evil, when he treated of them, ceased to be abstractions. They took shape and colour. They were no longer mere words; but “intelligible forms;” “fair humanities;” objects of love, of adoration, or of fear. As there can be no stronger sign of a mind destitute of the poetical faculty than that tendency which was so common among the writers of the French school to turn images into abstractions, Venus, for example, into Love, Minerva into Wisdom, Mars into War, and Bacchus into Festivity, so there can be no stronger sign of a mind truly poetical than a disposition to reverse this abstracting process, and to make individuals out of generalities. Some of the metaphysical and ethical theories of Shelley were certainly most absurd and pernicious. But we doubt whether any modern poet has possessed in an equal degree some of the highest qualities of the great ancient masters. The words bard and inspiration, which seem so cold and affected when applied to other modern writers, have a perfect propriety when applied to him. He was not an author, but a bard. His poetry seems not to have been an art, but an inspiration. Had he lived to the full age of man, he might not improbably have given to the world some great work of the very highest rank in design and execution. But, alas!
But we must return to Bunyan. 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 catechize Christiana’s boys, as any good ladies might catechize 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. We are sure that inconsistencies, scarcely less gross than the worst into which Bunyan has fallen, may be found in the shortest and most elaborate allegories of the Spectator and the Rambler. The Tale of a Tub and the History of John Bull swarm with similar errors, if the name of error can be properly applied to that which is unavoidable. It is not easy to make a simile go on all-fours. But we believe that no human ingenuity could produce such a centipede as a long allegory in which the correspondence between the outward sign and the thing signified should be exactly preserved. Certainly no writer, ancient or modern, has yet achieved the adventure. The best thing, on the whole, that an allegorist can do, is to present to his readers a succession of analogies, each of which may separately be striking and happy, without looking very nicely to see whether they harmonize with each other. This Bunyan has 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 with destruction. To the gloomy regularity of one intolerant Church had succeeded the license of innumerable sects, drunk with the sweet and heady must of their new liberty. Fanaticism, engendered by persecution, and destined to engender persecution in turn, spread rapidly through society. Even the strongest and most commanding minds were not proof against this strange taint. Any time might have produced George Fox and James Naylor. But to one time alone belong the frantic delusions of such a statesman as Vane, and the hysterical tears of such a soldier as Cromwell.
The history of Bunyan is the history of a most excitable mind in an age of excitement. By most of his biographers he has been treated with gross injustice. They have understood in a popular sense all those strong terms of self-condemnation which he employed in a theological sense. They have, therefore, represented him as an abandoned wretch, reclaimed by means almost miraculous, or, to use their favourite metaphor, “as a brand plucked from the burning.” Mr. Ivimey calls him the depraved Bunyan and the wicked tinker of Elstow. Surely Mr. Ivimey ought to have been too familiar with the bitter accusations which the most pious people are in the habit of bringing against themselves, to understand literally all the strong expressions which are to be found in the Grace Abounding. It is quite clear, as Mr. Southey most justly remarks, that Bunyan never was a vicious man. He married very early; and he solemnly declares that he was strictly faithful to his wife. He does not appear to have been a drunkard. He owns, indeed, that, when a boy, he never spoke without an oath. But a single admonition cured him of this bad habit for life; and the cure must have been wrought early; for at eighteen he was in the army of the Parliament; and, if he had carried the vice of profaneness into that service, he would doubtless have received something more than an admonition from Serjeant Bind-their-kings-in-chains, or Captain Hew-Agag-in-pieces-before-the-Lord. Bell-ringing and playing at hockey on Sundays seem to have been the worst vices of this depraved tinker. They would have passed for virtues with Archbishop Laud. It is quite clear that, from a very early age, Bunyan was a man of a strict life and of a tender conscience. “He had been,” says Mr. Southey, “a blackguard.” Even this we think too hard a censure. Bunyan was not, we admit, so fine a gentleman as Lord Digby; but he was a blackguard no otherwise than as every labouring man that ever lived has been a blackguard. Indeed Mr. Southey acknowledges this. “Such he might have been expected to be by his birth, breeding, and vocation. Scarcely indeed, by possibility, could he have been otherwise.” A man whose manners and sentiments are decidedly below those of his class deserves to be called a blackguard. But it is surely unfair to apply so strong a word of reproach to one who is only what the great mass of every community must inevitably be.
Those horrible internal conflicts which Bunyan has described with so much power of language prove, not that he was a worse man than his neighbours, but that his mind was constantly occupied by religious considerations, that his fervour exceeded his knowledge, and that his imagination exercised despotic power over his body and mind. He heard voices from heaven. He saw strange visions of distant hills, pleasant and sunny as his own Delectable Mountains. From those abodes he was shut out, and placed in a dark and horrible wilderness, where he wandered through ice and snow, striving to make his way into the happy region of light. At one time he was seized with an inclination to work miracles. At another time he thought himself actually possessed by the devil. He could distinguish the blasphemous whispers. He felt his infernal enemy pulling at his clothes behind him. He spurned with his feet and struck with his hands at the destroyer. Sometimes he was tempted to sell his part in the salvation of mankind. Sometimes a violent impulse urged him to start up from his food, to fall on his knees, and to break forth into prayer. At length he fancied that he had committed the unpardonable sin. His agony convulsed his robust frame. He was, he says, as if his breastbone would split; and this he took for a sign that he was destined to burst asunder like Judas. The agitation of his nerves made all his movements tremulous; and this trembling, he supposed, was a visible mark of his reprobation, like that which had been set on Cain. At one time, indeed, an encouraging voice seemed to rush in at the window, like the noise of wind, but very pleasant, and commanded, as he says, a great calm in his soul. At another time, a word of comfort “was spoke loud unto him; it showed a great word; it seemed to be writ in great letters.” But these intervals of ease were short. His state, during two years and a half, was generally the most horrible that the human mind can imagine. “I walked,” says he, with his own peculiar eloquence, “to a neighbouring town; and sat down upon a settle in the street, and fell into a very deep pause about the most fearful state my sin had brought me to; and, after long musing, I lifted up my head; but methought I saw as if the sun that shineth in the heavens did grudge to give me light; and as if the very stones in the street, and tiles upon the houses, did band themselves against me. Methought that they all combined together to banish me out of the world. I was abhorred of them, and unfit to dwell among them, because I had sinned against the Saviour. Oh, how happy now was every creature over I! for they stood fast, and kept their station. But I was gone and lost.” Scarcely any madhouse could produce an instance of delusion so strong, or of misery so acute.
It was through this Valley of the Shadow of Death, overhung by darkness, peopled with devils, resounding with blasphemy and lamentation, and passing amidst quagmires, snares, and pitfalls, close by the very mouth of hell, that Bunyan journeyed to that bright and fruitful land of Beulah, in which he sojourned during the latter period of his pilgrimage. The only trace which his cruel sufferings and temptations seem to have left behind them was an affectionate compassion for those who were still in the state in which he had once been. Religion has scarcely ever worn a form so calm and soothing as in his allegory. The feeling which predominates through the whole book is a feeling of tenderness for weak, timid, and harassed minds. The character of Mr. Fearing, of Mr. Feeble-Mind, of Mr. Despondency and his daughter Miss Muchafraid, the account of poor Littlefaith who was robbed by the three thieves, of his spending money, the description of Christian’s terror in the dungeons of Giant Despair and in his passage through the river, all clearly show how strong a sympathy Bunyan felt, after his own mind had become clear and cheerful, for persons afflicted with religious melancholy.
Mr. Southey, who has no love for the Calvinists, admits that, if Calvinism had never worn a blacker appearance than in Bunyan’s works, it would never have become a term of reproach. In fact, those works of Bunyan with which we are acquainted are by no means more Calvinistic than the articles and homilies of the Church of England. The moderation of his opinions on the subject of predestination gave offence to some zealous persons. We have seen an absurd allegory, the heroine of which is named Hephzibah, written by some raving supralapsarian preacher who was dissatisfied with the mild theology of the Pilgrim’s Progress. In this foolish book, if we recollect rightly, the Interpreter is called the Enlightener, and the House Beautiful is Castle Strength. Mr. Southey tells us that the Catholics had also their Pilgrim’s Progress, without a Giant Pope, in which the Interpreter is the Director, and the House Beautiful Grace’s Hall. It is surely a remarkable proof of the power of Bunyan’s genius, that two religious parties, both of which regarded his opinions as heterodox, should have had recourse to him for assistance.
There are, we think, some characters and scenes in the Pilgrim’s Progress, which can be fully comprehended and enjoyed only by persons familiar with the history of the times through which Bunyan lived. The character of Mr. Greatheart, the guide, is an example. His fighting is, of course, allegorical; but the allegory is not strictly preserved. He delivers a sermon on imputed righteousness to his companions; and, soon after, he gives battle to Giant Grim, who had taken upon him to back the lions. He expounds the fifty-third chapter of Isaiah to the household and guests of Gaius; and then he sallies out to attack Slaygood, who was of the nature of flesh-eaters, in his den. These are inconsistencies; but they are inconsistencies which add, we think, to the interest of the narrative. We have not the least doubt that Bunyan had in view some stout old Greatheart of Naseby and Worcester, who prayed with his men before he drilled them, who knew the spiritual state of every dragoon in his troop, and who, with the praises of God in his mouth, and a two-edged sword in his hand, had turned to flight, on many fields of battle, the swearing, drunken bravoes of Rupert and Lunsford.
Every age produces such men as By-ends. But the middle of the seventeenth century was eminently prolific of such men. Mr. Southey thinks that the satire was aimed at some particular individual; and this seems by no means improbable. At all events, Bunyan must have known many of those hypocrites who followed religion only when religion walked in silver slippers, when the sun shone, and when the people applauded. Indeed he might have easily found all the kindred of By-ends among the public men of his time. He might have found among the peers my Lord Turn-about, my Lord Time-server, and my Lord Fair-speech; in the House of Commons, Mr. Smooth-man, Mr. Anything, and Mr. Facingboth-ways; nor would “the parson of the parish, Mr. Two-tongues,” have been wanting. The town of Bedford probably contained more than one politician who, after contriving to raise an estate by seeking the Lord during the reign of the saints, contrived to keep what he had got by persecuting the saints during the reign of the strumpets, and more than one priest who, during repeated changes in the discipline and doctrines of the church, had remained constant to nothing but his benefice.
One of the most remarkable passages in the Pilgrim’s Progress is that in which the proceedings against Faithful are described. It is impossible to doubt that Bunyan intended to satirise the mode in which state trials were conducted under Charles the Second. The license given to the witnesses for the prosecution, the shameless partiality and ferocious insolence of the judge, the precipitancy and the blind rancour of the jury, remind us of those odious mummeries which, from the Restoration to the Revolution, were merely forms preliminary to hanging, drawing, and quartering. Lord Hategood performs the office of counsel for the prisoners as well as Scroggs himself could have performed it.
“Judge. Thou runagate, heretic, and traitor, hast thou heard what these honest gentlemen have witnessed against thee?
“Faithful. May I speak a few words in my own defence?
“Judge. Sirrah, sirrah! thou deservest to live no longer, but to be slain immediately upon the place; yet, that all men may see gentleness to thee, let us hear what thou, vile runagate, hast to say.”
No person who knows the state trials can be at a loss for parallel cases. Indeed, write what Bunyan would, the baseness and cruelty of the lawyers of those times “sinned up to it still,” and even went beyond it. The imaginary trial of Faithful, before a jury composed of personified vices, was just and merciful, when compared with the real trial of Alice Lisle before that tribunal where all the vices sat in the person of Jefferies.
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 minds which possessed the imaginative faculty in a very eminent degree. One of those minds produced the Paradise Lost, the other the Pilgrim’s Progress.