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 ****** 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 thus enlarged on his own experience, he calls on his spiritual children, for whose use the work was originally composed and to whom it is dedicated, - "those whom God had counted him worthy to beget to Faith by his ministry in the Word" - to survey their own religious history, to "work diligently and leave no corner unsearched." He would have them "remember their tears and prayers to God; how they sighed under every hedge for mercy. Had they never a hill Mizar (Psa. xlii. 6) to remember? Had they forgotten the close, the milkhouse, the stable, the barn, where God visited their souls? Let them remember the Word on which the Lord had caused them to hope. If they had sinned against light, if they were tempted to blaspheme, if they were down in despair, let them remember that it had been so with him, their spiritual father, and that out of them all the Lord had delivered him." This dedication ends thus: "My dear children, the milk and honey is beyond this wilderness. God be merciful to you, and grant you be not slothful to go in to possess the land."This remarkable book, as we learn from the title-page, was "written by his own hand in prison." It was first published by George Larkin in London, in 1666, the sixth year of his imprisonment, the year of the Fire of London, about the time that he experienced his first brief release. As with "The Pilgrim's Progress," the work grew in picturesque detail and graphic power in the author's hand after its first appearance. The later editions supply some of the most interesting personal facts contained in the narrative, which were wanting when it first issued from the press. His two escapes from drowning, and from the supposed sting of an adder; his being drawn as a soldier, and his providential deliverance from death;the graphic account of his difficulty in giving up bell-ringing at Elstow Church, and dancing on Sundays on Elstow Green - these and other minor touches which give a life and colour to the story, which we should be very sorry to lose, are later additions. It is impossible to over-estimate the value of the "Grace Abounding,"both for the facts of Bunyan's earlier life and for the spiritual experience of which these facts were, in his eyes only the outward framework. Beginning with his parentage and boyhood, it carries us down to his marriage and life in the wayside-cottage at Elstow, his introduction to Mr. Gifford's congregation at Bedford, his joining that holy brotherhood, and his subsequent call to the work of the ministry among them, and winds up with an account of his apprehension, examinations, and imprisonment in Bedford gaol. The work concludes with a report of the conversation between his noble-hearted wife and Sir Matthew Hale and the other judges at the Midsummer assizes, narrated in a former chapter, "taken down," he says, "from her own mouth." The whole story is of such sustained interest that our chief regret on finishing it is that it stops where it does, and does not go on much further. Its importance for our knowledge of Bunyan as a man, as distinguished from an author, and of the circumstances of his life, is seen by a comparison of our acquaintance with his earlier and with his later years. When he laid down his pen no one took it up, and beyond two or three facts, and a few hazy anecdotes we know little or nothing of all that happened between his final release and his death.
