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 sepulcher, the steep hill and the pleasant arbor, 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 traveler; 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-yar

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 arbor. 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-favored ones, and shining ones, the tall, comely, swarthy Madame 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 travelers 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 canvas 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 color. 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!

ὁ Δάφνις ἔβα ῥόον· ἔκλυσε δίνα

τὸν Μώσαις φίλον ἄνδρα, τὸν οὐ Νύμφαισιν ἀπεχθῆ.

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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 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. 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 cen