By far the most important of these prison works--"The Pilgrim's Progress," belonging, as will be seen, to a later period--is the "Grace Abounding," in which with inimitable earnestness and simplicity Bunyan gives the story of his early life and his religious history. This book, if he had written no other, would stamp Bunyan as one of the greatest masters of the English language of his own or any other age. In graphic delineation of the struggles of a conscience convicted of sin towards a hardly won freedom and peace, the alternations of light and darkness, of hope and despair, which chequered its course, its morbid self-torturing questionings of motive and action, this work of the travelling tinker, as a spiritual history, has never been surpassed. Its equal can hardly be found, save perhaps in the "Confessions of St. Augustine." These, however, though describing a like spiritual conflict, are couched in a more cultured style, and rise to a higher metaphysical region than Bunyan was capable of attaining to. His level is a lower one, but on that level Bunyan is without a rival. Never has the history of a soul convinced of the reality of eternal perdition in its most terrible form as the most certain of all possible facts, and of its own imminent danger of hopeless, irreversible doom--seeing itself, to employ his own image, hanging, as it were, over the pit of hell by a thin line, which might snap any moment--been portrayed in more nervous and awe-inspiring language. And its awfulness is enhanced by its self-evident truth. Bunyan was drawing no imaginary picture of what others might feel, but simply telling in plain unadorned language what he had felt. The experience was a very tremendous reality to him. Like Dante, if he had not actually been in hell, he had been on the very threshold of it; he had in very deed traversed "the Valley of the Shadow of Death," had heard its "hideous noises," and seen "the Hobgoblins of the Pit." He "spake what he knew and testified what he had seen." Every sentence breathes the most tremendous earnestness. His words are the plainest, drawn from his own homely vernacular. He says in his preface, which will amply repay reading, as one of the most characteristic specimens of his style, that he could have stepped into a higher style, and adorned his narrative more plentifully. But he dared not. "God did not play in convincing him. The devil did not play in tempting him. He himself did not play when he sunk as into a bottomless pit, and the pangs of hell caught hold on him. Nor could he play in relating them. He must be plain and simple and lay down the thing as it was. He that liked it might receive it. He that did not might produce a better." The remembrance of "his great sins, his great temptations, his great fears of perishing for ever, recalled the remembrance of his great help, his great support from heaven, the great grace God extended to such a wretch as he was." Having