lay morals-第26章

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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　discounted。

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　out…stripped　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。



SKETCHES　CHAPTER　I　…　THE　SATIRIST



MY　companion　enjoyed　a　cheap　re