Read JUVENILIA AND OTHER PAPERS: CRITICISMS - CHAPTER III. BAGSTER’S “PILGRIM’S PROGRESS” of The Works of Robert Louis Stevenson Vol 22, free online book, by Andrew Lang., on ReadCentral.com.

I have here before me an edition of the “Pilgrim’s Progress,” bound in green, without a date, and described as “illustrated by nearly three hundred engravings, and memoir of Bunyan.”  On the outside it is lettered “Bagster’s Illustrated Edition,” and after the author’s apology, facing the first page of the tale, a folding pictorial “Plan of the Road” is marked as “drawn by the late Mr. T. Conder,” and engraved by J. Basire.  No further information is anywhere vouchsafed; perhaps the publishers had judged the work too unimportant; and we are still left ignorant whether or not we owe the woodcuts in the body of the volume to the same hand that drew the plan.  It seems, however, more than probable.  The literal particularity of mind which, in the map, laid down the flower-plots in the devil’s garden, and carefully introduced the court-house in the town of Vanity, is closely paralleled in many of the cuts; and in both, the architecture of the buildings and the disposition of the gardens have a kindred and entirely English air.  Whoever he was, the author of these wonderful little pictures may lay claim to be the best illustrator of Bunyan. They are not only good illustrations, like so many others; but they are like so few, good illustrations of Bunyan.  Their spirit, in defect and quality, is still the same as his own.  The designer also has lain down and dreamed a dream, as literal, as quaint, and almost as apposite as Bunyan’s; and text and pictures make but the two sides of the same homespun yet impassioned story.  To do justice to the designs, it will be necessary to say, for the hundredth time, a word or two about the masterpiece which they adorn.

All allegories have a tendency to escape from the purpose of their creators; and as the characters and incidents become more and more interesting in themselves, the moral, which these were to show forth, falls more and more into neglect.  An architect may command a wreath of vine-leaves round the cornice of a monument; but if, as each leaf came from the chisel, it took proper life and fluttered freely on the wall, and if the vine grew, and the building were hidden over with foliage and fruit, the architect would stand in much the same situation as the writer of allegories.  The “Faëry Queen” was an allegory, I am willing to believe; but it survives as an imaginative tale in incomparable verse.  The case of Bunyan is widely different; and yet in this also Allegory, poor nymph, although never quite forgotten, is sometimes rudely thrust against the wall.  Bunyan was fervently in earnest; with “his fingers in his ears, he ran on,” straight for his mark.  He tells us himself, in the conclusion to the first part, that he did not fear to raise a laugh; indeed, he feared nothing, and said anything; and he was greatly served in this by a certain rustic privilege of his style, which, like the talk of strong uneducated men, when it does not impress by its force, still charms by its simplicity.  The mere story and the allegorical design enjoyed perhaps his equal favour.  He believed in both with an energy of faith that was capable of moving mountains.  And we have to remark in him, not the parts where inspiration fails and is supplied by cold and merely decorative invention, but the parts where faith has grown to be credulity, and his characters become so real to him that he forgets the end of their creation.  We can follow him step by step into the trap which he lays for himself by his own entire good faith and triumphant literality of vision, till the trap closes and shuts him in an inconsistency.  The allegories of the Interpreter and of the Shepherds of the Delectable Mountains are all actually performed, like stage-plays, before the pilgrims.  The son of Mr. Great-grace visibly “tumbles hills about with his words.”  Adam the First has his condemnation written visibly on his forehead, so that Faithful reads it.  At the very instant the net closes round the pilgrims, “the white robe falls from the black man’s body.”  Despair “getteth him a grievous crab-tree cudgel”; it was in “sunshiny weather” that he had his fits; and the birds in the grove about the House Beautiful, “our country birds,” only sing their little pious verses “at the spring, when the flowers appear and the sun shines warm.”  “I often,” says Piety, “go out to hear them; we also ofttimes keep them tame on our house.”  The post between Beulah and the Celestial City sounds his horn, as you may yet hear in country places.  Madam Bubble, that “tall, comely dame, something of a swarthy complexion, in very pleasant attire, but old,” “gives you a smile at the end of each sentence” ­a real woman she; we all know her.  Christiana dying “gave Mr. Stand-fast a ring,” for no possible reason in the allegory, merely because the touch was human and affecting.  Look at Great-heart, with his soldierly ways, garrison ways, as I had almost called them; with his taste in weapons; his delight in any that “he found to be a man of his hands”; his chivalrous point of honour, letting Giant Maul get up again when he was down, a thing fairly flying in the teeth of the moral; above all, with his language in the inimitable tale of Mr. Fearing:  “I thought I should have lost my man” ­“chicken-hearted” ­“at last he came in, and I will say that for my lord, he carried it wonderful lovingly to him.”  This is no Independent minister; this is a stout, honest, big-busted ancient, adjusting his shoulder-belts, twirling his long moustaches as he speaks.  Last and most remarkable, “My sword,” says the dying Valiant-for-Truth, he in whom Great-heart delighted, “my sword I give to him that shall succeed me in my pilgrimage, and my courage and skill to him that can get it.”  And after this boast, more arrogantly unorthodox than was ever dreamed of by the rejected Ignorance, we are told that “all the trumpets sounded for him on the other side.”

In every page the book is stamped with the same energy of vision and the same energy of belief.  The quality is equally and indifferently displayed in the spirit of the fighting, the tenderness of the pathos, the startling vigour and strangeness of the incidents, the natural strain of the conversations, and the humanity and charm of the characters.  Trivial talk over a meal, the dying words of heroes, the delights of Beulah or the Celestial City, Apollyon and my Lord Hate-good, Great-heart, and Mr. Worldly-Wiseman, all have been imagined with the same clearness, all written of with equal gusto and precision, all created in the same mixed element, of simplicity that is almost comical, and art that, for its purpose, is faultless.

It was in much the same spirit that our artist sat down to his drawings.  He is by nature a Bunyan of the pencil.  He, too, will draw anything, from a butcher at work on a dead sheep, up to the courts of Heaven.  “A Lamb for Supper” is the name of one of his designs, “Their Glorious Entry” of another.  He has the same disregard for the ridiculous, and enjoys somewhat of the same privilege of style, so that we are pleased even when we laugh the most.  He is literal to the verge of folly.  If dust is to be raised from the unswept parlour, you may be sure it will “fly abundantly” in the picture.  If Faithful is to lie “as dead” before Moses, dead he shall lie with a warrant ­dead and stiff like granite; nay (and here the artist must enhance upon the symbolism of the author), it is with the identical stone tables of the law that Moses fells the sinner.  Good and bad people, whom we at once distinguish in the text by their names, Hopeful, Honest, and Valiant-for-Truth, on the one hand, as against By-ends, Sir Having Greedy, and the Lord Old-man on the other, are in these drawings as simply distinguished by their costume.  Good people, when not armed cap-à-pie, wear a speckled tunic girt about the waist, and low hats, apparently of straw.  Bad people swagger in tail-coats and chimney-pots, a few with knee-breeches, but the large majority in trousers, and for all the world like guests at a garden-party.  Worldly-Wiseman alone, by some inexplicable quirk, stands before Christian in laced hat, embroidered waistcoat, and trunk-hose.  But above all examples of this artist’s intrepidity, commend me to the print entitled “Christian Finds it Deep.”  “A great darkness and horror,” says the text, have fallen on the pilgrim; it is the comfortless deathbed with which Bunyan so strikingly concludes the sorrows and conflicts of his hero.  How to represent this worthily the artist knew not; and yet he was determined to represent it somehow.  This was how he did:  Hopeful is still shown to his neck above the water of death; but Christian has bodily disappeared, and a blot of solid blackness indicates his place.

As you continue to look at these pictures, about an inch square for the most part, sometimes printed three or more to the page, and each having a printed legend of its own, however trivial the event recorded, you will soon become aware of two things:  first, that the man can draw, and, second, that he possesses the gift of an imagination.  “Obstinate reviles,” says the legend; and you should see Obstinate reviling.  “He warily retraces his steps”; and there is Christian, posting through the plain, terror and speed in every muscle.  “Mercy yearns to go” shows you a plain interior with packing going forward, and, right in the middle, Mercy yearning to go ­every line of the girl’s figure yearning.  In “The Chamber called Peace” we see a simple English room, bed with white curtains, window valance and door, as may be found in many thousand unpretentious houses; but far off, through the open window, we behold the sun uprising out of a great plain, and Christian hails it with his hand: 

  “Where am I now! is this the love and care
   Of Jesus, for the men that pilgrims are! 
   Thus to provide!  That I should be forgiven! 
   And dwell already the next door to heaven!”

A page or two further, from the top of the House Beautiful, the damsels point his gaze toward the Delectable Mountains:  “The Prospect,” so the cut is ticketed ­and I shall be surprised, if on less than a square of paper you can show me one so wide and fair.  Down a cross road on an English plain, a cathedral city outlined on the horizon, a hazel shaw upon the left, comes Madam Wanton dancing with her fair enchanted cup, and Faithful, book in hand, half pauses.  The cut is perfect as a symbol; the giddy movement of the sorceress, the uncertain poise of the man struck to the heart by a temptation, the contrast of that even plain of life whereon he journeys with the bold, ideal bearing of the wanton ­the artist who invented and portrayed this had not merely read Bunyan, he had also thoughtfully lived.  The Delectable Mountains ­I continue skimming the first part ­are not on the whole happily rendered.  Once, and once only, the note is struck, when Christian and Hopeful are seen coming, shoulder-high, through a thicket of green shrubs ­box, perhaps, or perfumed nutmeg; while behind them, domed or pointed, the hills stand ranged against the sky.  A little further, and we come to that masterpiece of Bunyan’s insight into life, the Enchanted Ground; where, in a few traits, he has set down the latter end of such a number of the would-be good; where his allegory goes so deep that, to people looking seriously on life, it cuts like satire.  The true significance of this invention lies, of course, far out of the way of drawing; only one feature, the great tedium of the land, the growing weariness in welldoing, may be somewhat represented in a symbol.  The pilgrims are near the end:  “Two Miles Yet,” says the legend.  The road goes ploughing up and down over a rolling heath; the wayfarers, with outstretched arms, are already sunk to the knees over the brow of the nearest hill; they have just passed a milestone with the cipher two; from overhead a great, piled, summer cumulus, as of a slumberous summer afternoon, beshadows them:  two miles! it might be hundreds.  In dealing with the Land of Beulah the artist lags, in both parts, miserably behind the text, but in the distant prospect of the Celestial City more than regains his own.  You will remember when Christian and Hopeful “with desire fell sick.”  “Effect of the Sunbeams” is the artist’s title.  Against the sky, upon a cliffy mountain, the radiant temple beams upon them over deep, subjacent woods; they, behind a mound, as if seeking shelter from the splendour ­one prostrate on his face, one kneeling, and with hands ecstatically lifted ­yearn with passion after that immortal city.  Turn the page, and we behold them walking by the very shores of death; Heaven, from this nigher view, has risen half-way to the zenith, and sheds a wider glory; and the two pilgrims, dark against that brightness, walk and sing out of the fulness of their hearts.  No cut more thoroughly illustrates at once the merit and the weakness of the artist.  Each pilgrim sings with a book in his grasp ­a family Bible at the least for bigness; tomes so recklessly enormous that our second impulse is to laughter.  And yet that is not the first thought, nor perhaps the last.  Something in the attitude of the manikins ­faces they have none, they are too small for that ­something in the way they swing these monstrous volumes to their singing, something perhaps borrowed from the text, some subtle differentiation from the cut that went before and the cut that follows after ­something, at least, speaks clearly of a fearful joy, of Heaven seen from the deathbed, of the horror of the last passage no less than of the glorious coming home.  There is that in the action of one of them which always reminds me, with a difference, of that haunting last glimpse of Thomas Idle, travelling to Tyburn in the cart.  Next come the Shining Ones, wooden and trivial enough; the pilgrims pass into the river; the blot already mentioned settles over and obliterates Christian.  In two more cuts we behold them drawing nearer to the other shore; and then, between two radiant angels, one of whom points upward, we see them mounting in new weeds, their former lendings left behind them on the inky river.  More angels meet them; Heaven is displayed, and if no better, certainly no worse, than it has been shown by others ­a place, at least, infinitely populous and glorious with light ­a place that haunts solemnly the hearts of children.  And then this symbolic draughtsman once more strikes into his proper vein.  Three cuts conclude the first part.  In the first the gates close, black against the glory struggling from within.  The second shows us Ignorance ­alas! poor Arminian! ­hailing, in a sad twilight, the ferryman Vain-Hope; and in the third we behold him, bound hand and foot, and black already with the hue of his eternal fate, carried high over the mountain-tops of the world by two angels of the anger of the Lord.  “Carried to Another Place,” the artist enigmatically names his plate ­a terrible design.

Wherever he touches on the black side of the supernatural his pencil grows more daring and incisive.  He has many true inventions in the perilous and diabolic; he has many startling nightmares realised.  It is not easy to select the best; some may like one and some another; the nude, depilated devil bounding and casting darts against the Wicket Gate; the scroll of flying horrors that hang over Christian by the Mouth of Hell; the horned shade that comes behind him whispering blasphemies; the daylight breaking through that rent cave-mouth of the mountains and falling chill adown the haunted tunnel; Christian’s further progress along the causeway, between the two black pools, where, at every yard or two, a gin, a pitfall, or a snare awaits the passer-by ­loathsome white devilkins harbouring close under the bank to work the springes, Christian himself pausing and pricking with his sword’s point at the nearest noose, and pale discomfortable mountains rising on the farther side; or yet again, the two ill-favoured ones that beset the first of Christian’s journey, with the frog-like structure of the skull, the frog-like limberness of limbs ­crafty, slippery, lustful-looking devils, drawn always in outline as though possessed of a dim, infernal luminosity.  Horrid fellows are they, one and all; horrid fellows and horrific scenes.  In another spirit that Good-Conscience “to whom Mr. Honest had spoken in his lifetime,” a cowled, grey, awful figure, one hand pointing to the heavenly shore, realises, I will not say all, but some at least of the strange impressiveness of Bunyan’s words.  It is no easy nor pleasant thing to speak in one’s lifetime with Good-Conscience; he is an austere, unearthly friend, whom maybe Torquemada knew; and the folds of his raiment are not merely claustral, but have something of the horror of the pall.  Be not afraid, however; with the hand of that appearance Mr. Honest will get safe across.

Yet perhaps it is in sequences that this artist best displays himself.  He loves to look at either side of a thing:  as, for instance, when he shows us both sides of the wall ­“Grace Inextinguishable” on the one side, with the devil vainly pouring buckets on the flame, and “The Oil of Grace” on the other, where the Holy Spirit, vessel in hand, still secretly supplies the fire.  He loves, also, to show us the same event twice over, and to repeat his instantaneous photographs at the interval of but a moment.  So we have, first, the whole troop of pilgrims coming up to Valiant, and Great-heart to the front, spear in hand and parleying; and next, the same cross-roads, from a more distant view, the convoy now scattered and looking safely and curiously on, and Valiant handing over for inspection his “right Jerusalem blade.”  It is true that this designer has no great care after consistency:  Apollyon’s spear is laid by, his quiver of darts will disappear, whenever they might hinder the designer’s freedom; and the fiend’s tail is blobbed or forked at his good pleasure.  But this is not unsuitable to the illustration of the fervent Bunyan, breathing hurry and momentary inspiration.  He, with his hot purpose, hunting sinners with a lasso, shall himself forget the things that he has written yesterday.  He shall first slay Heedless in the Valley of the Shadow, and then take leave of him talking in his sleep, as if nothing had happened, in an arbour on the Enchanted Ground.  And again, in his rhymed prologue, he shall assign some of the glory of the siege of Doubting Castle to his favourite Valiant-for-the-Truth, who did not meet with the besiegers till long after, at that dangerous corner by Deadman’s Lane.  And, with all inconsistencies and freedoms, there is a power shown in these sequences of cuts:  a power of joining on one action or one humour to another; a power of following out the moods, even of the dismal subterhuman fiends engendered by the artist’s fancy; a power of sustained continuous realisation, step by step, in nature’s order, that can tell a story, in all its ins and outs, its pauses and surprises, fully and figuratively, like the art of words.

One such sequence is the fight of Christian and Apollyon ­six cuts, weird and fiery, like the text.  The pilgrim is throughout a pale and stockish figure; but the devil covers a multitude of defects.  There is no better devil of the conventional order than our artist’s Apollyon, with his mane, his wings, his bestial legs, his changing and terrifying expression, his infernal energy to slay.  In cut the first you see him afar off, still obscure in form, but already formidable in suggestion.  Cut the second, “The Fiend in Discourse,” represents him, not reasoning, railing rather, shaking his spear at the pilgrim, his shoulder advanced, his tail writhing in the air, his foot ready for a spring, while Christian stands back a little, timidly defensive.  The third illustrates these magnificent words:  “Then Apollyon straddled quite over the whole breadth of the way, and said, I am void of fear in this matter:  prepare thyself to die; for I swear by my infernal den that thou shalt go no farther:  here will I spill thy soul!  And with that he threw a flaming dart at his breast.”  In the cut he throws a dart with either hand, belching pointed flames out of his mouth, spreading his broad vans, and straddling the while across the path, as only a fiend can straddle who has just sworn by his infernal den.  The defence will not be long against such vice, such flames, such red-hot nether energy.  And in the fourth cut, to be sure, he has leaped bodily upon his victim, sped by foot and pinion, and roaring as he leaps.  The fifth shows the climacteric of the battle; Christian has reached nimbly out and got his sword, and dealt that deadly home-thrust, the fiend still stretched upon him, but “giving back, as one that had received his mortal wound.”  The raised head, the bellowing mouth, the paw clapped upon the sword, the one wing relaxed in agony, all realise vividly these words of the text.  In the sixth and last, the trivial armed figure of the pilgrim is seen kneeling with clasped hands on the betrodden scene of contest and among the shivers of the darts; while just at the margin the hinder quarters and the tail of Apollyon are whisking off, indignant and discomfited.

In one point only do these pictures seem to be unworthy of the text, and that point is one rather of the difference of arts than the difference of artists.  Throughout his best and worst, in his highest and most divine imaginations as in the narrowest sallies of his sectarianism, the human-hearted piety of Bunyan touches and ennobles, convinces, accuses the reader.  Through no art beside the art of words can the kindness of a man’s affections be expressed.  In the cuts you shall find faithfully parodied the quaintness and the power, the triviality and the surprising freshness of the author’s fancy; there you shall find him outstripped in ready symbolism and the art of bringing things essentially invisible before the eyes:  but to feel the contact of essential goodness, to be made in love with piety, the book must be read and not the prints examined.

Farewell should not be taken with a grudge; nor can I dismiss in any other words than those of gratitude a series of pictures which have, to one at least, been the visible embodiment of Bunyan from childhood up, and shown him, through all his years, Great-heart lungeing at Giant Maul, and Apollyon breathing fire at Christian, and every turn and town along the road to the Celestial City, and that bright place itself, seen as to a stave of music, shining afar off upon the hill-top, the candle of the world.