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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.

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. Facing-both-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 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.

"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 our 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.

THE CONTROVERSY ABOUT THE EPISTLES OF PHALARIS.

(Essay on Sir William Temple.)

THE chief amusement of Temple's declining years was literature. After his final retreat from business, he wrote his very agreeable Memoirs, corrected and transcribed many of his letters, and published several miscellaneous treatises, the best of which, we think, is that on Gardening. The style of his essays is, on the whole, excellent, almost always pleasing, and now and then stately and splendid. The matter is generally of much less value; as our readers will readily believe when we inform them that Mr. Courtenay, a biographer, that is to say, a literary vassal, bound by the immemorial law of his tenure to render homage, aids, reliefs, and all other customary services to his lord, avows that he cannot give an opinion about the essay on Heroic Virtue, because he cannot read it without skipping; a circumstance which strikes us as peculiarly strange, when we consider how long Mr. Courtenay was at the India Board, and how many thousand paragraphs of the copious official eloquence of the East he must have perused.

One of Sir William's pieces, however, deserves notice, not, indeed, on account of its intrinsic merit, but on account of the light which it throws on some curious weaknesses of his character, and on account of the extraordinary effects which it produced in the republic of letters. A most idle and contemptible controversy had arisen in France touching the comparative merit of the ancient and modern writers. It was certainly not to be expected that, in that age, the question would be tried according to those large and philosophical principles of criticism which guided the judgments of Lessing and of Herder. But it might have been expected that those

Lessing, the great German writer on Art, author of the Laocoön, which Macaulay was never tired of reading, lived between 1729 and 1781. Herder died in 1803.

who undertook to decide the point would at least take the trouble to read and understand the authors on whose merits they were to pronounce. Now, it is no exaggeration to say that, among the disputants who clamoured, some for the ancients and some for the moderns, very few were decently acquainted with either ancient or modern literature, and hardly one was well acquainted with both. In Racine's amusing preface to the Iphigénie the reader may find noticed a most ridiculous mistake into which one of the champions of the moderns fell about a passage in the Alcestis of Euripides. Another writer is so inconceivably ignorant as to blame Homer for mixing the four Greek dialects, Doric, Ionic, Æolic, and Attic, just, says he, as if a French poet were to put Gascon phrases and Picard phrases into the midst of his pure Parisian writing. On the other hand, it is no exaggeration to say that the defenders of the ancients were entirely unacquainted with the greatest productions of later times; nor, indeed, were the defenders of the moderns better informed. The parallels which were instituted in the course of this dispute are inexpressibly ridiculous. Balzac was selected as the rival of Cicero. Corneille was said to unite the merits of Eschylus, Sophocles, and Euripides. We should like to see a Prometheus after Corneille's fashion. The Provincial Letters, masterpieces undoubtedly of reasoning, wit, and eloquence, were pronounced to be superior to all the writings of Plato, Cicero, and Lucian together, particularly in the art of dialogue, an art in which, as it happens, Plato far excelled all men, and in which Pascal, great and admirable in other respects, is notoriously very deficient.

This childish controversy spread to England; and some mischievous demon suggested to Temple the thought of undertaking the defence of the ancients. As to his qualifications for the task, it is sufficient to say, that he knew not a word of Greek. But his vanity which, when he was engaged in the conflicts of active life and surrounded by rivals, had been kept in tolerable order by his discretion, now, when he had long Balzac was a writer of the seventeenth century, patronised by Richelieu.

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