lay morals-第34章
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t 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 FAERY 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…A…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
