where we know that neither can harm the other, though we are tempted to wish he might.
bids us not mind the allegory, and says that it won't bite us nor meddle with us if we do not meddle with it. But how if it bore us, which after all is the fatal question?
The truth is that it is too often forced upon us against our will, as people were formerly driven to church till they began to look on a day of rest as a penal institution, and to transfer to the Scriptures that suspicion of defective inspiration which was awakened in them by the preaching.
The true type of the allegory is the Odyssey, which we read without suspicion as pure poem, and then find a new pleasure in divining its double meaning, as if we somehow got a better bargain of our author than he meant to give us. But this complex feeling must not be so exacting as to prevent our lapsing into the old Arabian Nights
simplicity of interest again.
The moral of a poem should be suggested, as when in some medieval church we cast down our eyes to muse over a fresco of Giotto, and are reminded of the transitoriness of life by the mortuary tablets under our feet.
The vast superiority of Bunyan
lies in the fact that we help make his allegory out of our own experience.
Instead of striving to embody abstract passions and temptations, he has given us his own in all their pathetic simplicity.
He is the Ulysses of his own prose-epic.
This is the secret of his power and his charm, that, while the representation of what may
happen to all men comes home to none of us in particular, the story of any one man's real experience finds its startling parallel in that of every one of us. The very homeliness of Bunyan
's names and the everydayness of his scenery, too, put us off our guard, and we soon find ourselves on as easy a footing with his allegorical beings as we might be with Adam
in a dream.