The book had only just been completed when the Indulgence set Bunyan free. Its publication was the earliest result indeed of his deliverance, and the popularity which it enjoyed from the first proves that the religious sympathies of the English people were still mainly Puritan. Before Bunyan's death in 1688 ten editions of the "Pilgrim's Progress" had already been sold; and though even Cowper hardly dared to quote it a century later for fear of moving a smile in the polite world about him, its favour among the middle classes and the poor has grown steadily from its author's day to our own. It is now the most popular and the most widely known of all English books. In none do we see more clearly the new imaginative force which had been given to the common life of Englishmen by their study of the Bible. Its English is the simplest and homeliest English which has ever been used by any great English writer; but it is the English of the Bible. The images of the "Pilgrim's Progress" are the images of prophet and evangelist; it borrows for its tenderer outbursts the very verse of the Song of Songs and pictures the Heavenly City in the words of the Apocalypse. But so completely has the Bible become Bunyan's life that one feels its phrases as the natural expression of his thoughts. He has lived in the Bible till its words have become his own. He has lived among its visions and voices of heaven till all sense of possible unreality has died away. He tells his tale with such a perfect naturalness that allegories become living things, that the Slough of Despond and Doubting Castle are as real to us as places we see every day, that we know Mr. Legality and Mr. Worldly Wiseman as if we had met them in the street. It is in this amazing reality of impersonation that Bunyan's imaginative genius specially displays itself. But this is far from being his only excellence. In its range, in its directness, in its simple grace, in the ease with which it changes from lively dialogue to dramatic action, from simple pathos to passionate earnestness, in the subtle and delicate fancy which often suffuses its childlike words, in its playful humour, its bold character-painting, in the even and balanced power which passes without effort from the Valley of the Shadow of Death to the land "where the Shining Ones commonly walked because it was on the borders of heaven," in its sunny kindliness unbroken by one bitter word, the "Pilgrim's Progress" is among the noblest of English poems. For if Puritanism had first discovered the poetry which contact with the spiritual world awakes in the meanest souls, Bunyan was the first of the Puritans who revealed this poetry to the outer world. The journey of Christian from the City of Destruction to the Heavenly City is simply a record of the life of such a Puritan as Bunyan himself, seen through an imaginative haze of spiritual idealism in which its commonest incidents are heightened and glorified. He is himself the pilgrim who flies from the City of Destruction, who climbs the hill Difficulty, who faces Apollyon, who sees his loved ones cross the river of Death towards the Heavenly City, and how, because "the Hill on which the City was framed was higher than the clouds, they therefore went up through the region of the air, sweetly talking as they went."