in the midst of a bower of sun-flowers and tulips, which completely drew away all attention from the central figure. {252}All who looked at the portrait took it for a flower-piece. Mr. Martin, we think, introduces his immeasurable spaces, his innumerable multitudes, 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 {253}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.