Critical, Historical, and Miscellaneous Essays; Vol. 2: With a Memoir and IndexMacaulay, Thomas Babington Macaulay, Baron
Philosophy
Critical, Historical, and Miscellaneous Essays; Vol. 2: With a Memoir and Index
Macaulay, Thomas Babington Macaulay, Baron
English literature -- History and criticism; Great Britain -- History
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 Runyan 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
{264}who was dissatisfied with the mild theology of the Pilgrim’s
Progress. In this foolish hook, 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 Interpeter 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.
Public-domain text, read in full here on John Shaqi.
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