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17. 7 :J ll.s. 5 .>/.. i:t dwts. at 



18. 814 IbH. 9 oz. 16 dwts. at 



1 3 y <ls. 2 qrs. 3 nn. ut 

 20. 130 yd*. 3 qrs. 1 na. at 

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22. 87 qrs. 4 bush. 2 pks. at 



23. 996 qrs. 7 bush. 1 pk. at 



15 94 porowt. 

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1 3 

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1 19 8 



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9A per cwt 

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KKV TO EXERCISE 47, LESSON XXVIII. (Vol. II., page 142 )' 



1. 16s. ; 17s. 6d. ; 

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2. 58. lOd. ; 5,'d. ; 



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3. 6 oz. !.'>; drnis. ; 



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7. 2 at. 9 far.SU yds. 



2 ft. 6} in. ; 3 d. 

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9. Is. Gil. 

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13. 12s. 9d. 



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23. 1. 



24. JW. 



25. rJib. 



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27. VA- 



28. 2688 minutes. 



29. A. 



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31. 9 12s. 



32. 335160 square feet. 



33. 61 yds. 2 ft. 4 in. 



GREAT BOOKS. 



VII. THE PILGRIM'S PROGRESS. 



PROBABLY the most universally-read book in the world, after 

 the Bible, is " The Pilgrim's Progress " of John Bunyan, tinker, 

 itinerant preacher, enthusiast, and visionary. Of this famous 

 work it is recorded that it has been reproduced in every 

 language, and in almost every dialect, of civilised Europe ; 

 while at the same time it has been translated into the speech 

 of many savage races. 



Bunyau was a man of very h amble origin, born at Elstow, 

 near Bedford, in the year 1628. His family had been tinkers 

 for several generations, and as tinkers in those days were 

 often gipsies, it has been inferred from this circumstance 

 that the author of "The Pilgrim's Progress" belonged to 

 the so-called Bohemian race. However this may have been 

 (and the fact seems far from established), it is certain that 

 the education of Bunyan, though not entirely neglected, was 

 very slight, and that his surroundings were of a nature 

 rather to extinguish than to develop any literary capabilities 

 which may have lain dormant within him. His early life, 

 if we may rely on the account which he himself afterwards 

 gave of it, was passed in the midst of coarse indulgences, 

 and he appears to have been generally regarded as a vaga- 

 bond. Doubtless he was not nearly so bad as his awakened 

 conscience supposed ; yet it can hardly be questioned that his 

 manners were sufficiently objectionable. A woman of profligate 

 life told him one day that he was the nngodliest fellow for 

 swearing that she had ever heard in her life, and that his oaths 

 made her tremble. At an early age, however, his mind was 

 directed to religious topics, and it was not long before he was 

 drawn into the full vortex of that Puritan excitement which 

 distinguished the middle of the seventeenth century. 



It was in Bedford Jail that the First Part of " The Pilgrim's 

 Progress " was composed, and it is apparently to this circum- 

 stance that the author alludes in the opening sentence of the 

 allegory : "As I walked through the wilderness of this world, 

 I lighted on a certain place where was a den ; and I laid me 

 down in that place to sleep ; and as I slept I dreamed a dream." 

 He was imprisoned for unlawful preaching, and lay in Bedford 

 Jail from 1660 to 1672. After his release, he employed him- 

 self, for the remainder of his life, in the duties of the ministry, 

 and died in 1688, at the age of sixty. That a man of mean 

 acquirements, whose knowledge of literature must have been 

 small indeed, should yet have been able to compose a work full 

 of such powerful and impressive writing as the story of Christian 

 and his trials, is surprising until we consider all the facts of the 

 case. It should be borne in mind that the Elstow tinker lived 

 in an age of strong intellectual excitement an age, moreover, 

 in which the English language had not yet lost the native force 

 and vigour by which it had been characterised in the days of 



ii. The purely literary ntylo of the eighteenth century 

 had not arisen. Miltuu and Sir Thomas Browne, it U true, 

 W..TU introducing a more scholarly and academic manner into 

 our prose ; but such examples were probably unknown to 

 Bunyan, or at any rate did not influence him. Hu power over 

 the language wan derived from the same itource which supplied 

 him with his principles from the Eiiglieh Bible of the reign of 

 James I. His incessant study of the Old and New Testament* 

 not merely fashioned his mind, but prompted bin utterance; 

 and it may bo safely affirmed that no other course of reading 

 could have given him so thorough a mastery of the kind of 

 expression that he needed for his purpose. " Bunyan," Bays 

 Hallam, " saw and makes us see what ho describes ; he in 

 circumstantial without prolixity, and in the variety and fre- 

 quent changes of his incidents never loses sight of the unity of 

 his allegorical fable. His invention was enriched, or rather his 

 device determined, by one rule he had laid down to himself 

 the adaptation of all the incidental language of Scripture to his 

 own use. There is scarcely a circumstance or metaphor in the 

 Old Testament which does not find a place, bodily and literally, 

 in the story of ' The Pilgrim's Progress ; ' and this parti- 

 cular artifice has made his own imagination appear more 

 creative than it really is." "The style of Bunyan," says 

 Macanlay, " is delightful to every reader, and invaluable as 

 a study to every person who wishes to obtain a wide com- 

 mand over the English language. The vocabulary is the 

 vocabulary of the common people. There is not an expres- 

 sion, if we except a few technical terms of theology, which 

 would puzzle the rudest peasant." In that fact lies one of the 

 principal secrets of the immense popularity enjoyed for two 

 centuries by " The Pilgrim's Progress." Bunyan knew exactly 

 what he wanted to say, and he knew exactly how to say it. 



It is certainly a rare testimony to a work of fiction when it 

 can be said that it has attracted the regards both of the 

 illiterate and the cultured. Such is the case with the narrative 

 of Bunyan. It has been read in countless cottages ; it has been 

 equally the delight of scholars. Dr. Johnson ranked " The 

 Pilgrim's Progress " among the very few books of which the 

 reader, when he comes to the conclusion, wishes they had been 

 longer. Cowper spoke of it in terms of the highest praise. 

 Southey admired it for its imagination and its style. Sir Walter 

 Scott preferred its allegory to the allegory of Spenser. Macaulay 

 said that the latter half of the seventeenth century produced only 

 two great creative minds Milton's and Bunyan's. And these 

 judgments have been ratified by general consent. With artists, 

 also, "The Pilgrim's Progress" has long been a favourite, and 

 the subjects of some of the beat book-illustrations have been 

 derived from its marvellous pages. 



Bunyan wrote several works besides that by which he is 

 mainly known. The number of his tracts on doctrinal subjects 

 is very large, and ho has given an account of his religious 

 experiences in the book entitled " Grace Abounding to the Chief 

 of Sinners." This is in fact an autobiography, and contains a 

 vivid and interesting picture of the writer's mental struggles in 

 pursuit of what he regarded as a state of sanctification. His 

 opinions were those of the most extreme Calvinism ; but his 

 great allegory will always be read even by many who disagree 

 with some of the theological conclusions which it is designed 

 to recommend. 



LESSONS IN DRAWING. XIX. 



THE HUMAN FIGURE. 



WE now enter upon the study of the human figure, a subject 01 

 quite a different character to any which have gone before one 

 that requires the closest attention and all the energies of the 

 draughtsman to accomplish. No one must entertain a slight 

 idea of the necessary amount of perseverance it demands. \V.- 

 have frequently heard it remarked that " he who can draw the 

 figure well, can draw anything else besides.*' This may be true 

 to a certain extent, but it does not follow, as a necessary conse- 

 quence, that they who are capable of drawing the form of mau 

 are always equally successful with landscape. The above asser- 

 tion in the abstract may be considered true with this addition 

 " he who can draw the figure well may very toon be able to 

 draw anything else besides," for in connection with free-hand 

 drawing and figure drawing is purely free hand there is no 



