The Pilgrim's Progress

For the Kula Shaker album, see Pilgrims Progress (album).
The Pilgrim's Progress  
Author(s) John Bunyan
Country England
Language English
Genre(s) Religious allegory
Publication date 1678
Media type Print
Pages 191 pp
ISBN NA

The Pilgrim's Progress from This World to That Which Is to Come is a Christian allegory written by John Bunyan and published in February, 1678. It is regarded as one of the most significant works of religious English literature,[1] has been translated into more than 200 languages, and has never been out of print.[2] Bunyan began his work while in the Bedfordshire county gaol for violations of the Conventicle Act, which prohibited the holding of religious services outside the auspices of the established Church of England. Early Bunyan scholars like John Brown believed The Pilgrim's Progress was begun in Bunyan's second shorter imprisonment for six months in 1675,[3] but more recent scholars like Roger Sharrock believe that it was begun during Bunyan's initial, more lengthy imprisonment from 1660-1672 right after he had written his spiritual autobiography, Grace Abounding to the Chief of Sinners.[4]

The English text comprises 108,260 words and is divided into two parts, each reading as a continuous narrative with no chapter divisions. The first part was completed in 1677 and entered into the stationers' register on December 22, 1677. It was licensed and entered in the "Term Catalogue" on February 18, 1678, which is looked upon as the date of first publication.[5] After the first edition of the first part in 1678, an expanded edition, with additions written after Bunyan was freed, appeared in 1679. The Second Part appeared in 1684. There were eleven editions of the first part in John Bunyan's lifetime, published in successive years from 1678 to 1685 and in 1688, and there were two editions of the second part, published in 1684 and 1686.

Contents

Plot

First Part

Christian, an everyman character, is the protagonist of the allegory, which centers itself in his journey from his hometown, the "City of Destruction" ("this world"), to the "Celestial City" ("that which is to come": Heaven) atop Mt. Zion. Christian is weighed down by a great burden, the knowledge of his sin, which he believed came from his reading "the book in his hand", (the Bible). This burden, which would cause him to sink into Tophet (hell), is so unbearable that Christian must seek deliverance. He meets Evangelist as he is walking out in the fields, who directs him to the "Wicket Gate" for deliverance. Since Christian cannot see the "Wicket Gate" in the distance, Evangelist directs him to go to a "shining light", which Christian thinks he sees.[6] Christian leaves his home, his wife, and children to save himself: he cannot persuade them to accompany him. Obstinate and Pliable go after Christian to bring him back, but Christian refuses. Obstinate returns disgusted, but Pliable is persuaded to go with Christian, hoping to take advantage of the paradise that Christian claims lies at the end of his journey. Pliable's journey with Christian is cut short when the two of them fall into the Slough of Despond. It is there that Pliable abandons Christian after getting himself out. After struggling to the other side of the bog, Christian is pulled out by Help, who has heard his cries.

On his way to the Wicket Gate, Christian is diverted by Mr. Worldly Wiseman into seeking deliverance from his burden through the Law, supposedly with the help of a Mr. Legality and his son Civility in the village of Morality, rather than through Christ, allegorically by way of the Wicket Gate. Evangelist meets the wayward Christian as he stops before Mount Sinai on the way to Legality's home. It hangs over the road and threatens to crush any who would pass it. Evangelist shows Christian that he had sinned by turning out of his way, but he assures him that he will be welcomed at the Wicket Gate if he should turn around and go there, which Christian does.

At the Wicket Gate begins the "straight and narrow" King's Highway, and Christian is directed onto it by the gatekeeper Good Will. In the Second Part, Good-will is shown to be Jesus himself.[7] To Christian's query about relief from his burden, Good Will directs him forward to "the place of deliverance."[4][8]

Christian makes his way from there to the House of the Interpreter, where he is shown pictures and tableaux that portray or dramatize aspects of the Christian faith and life. Roger Sharrock denotes them "emblems."[4][9]

From the House of the Interpreter, Christian finally reaches the "place of deliverance" (allegorically, the cross of Calvary and the open sepulcher of Christ), where the "straps" that bound Christian's burden to him break, and it rolls away into the open sepulchre. This event happens relatively early in the narrative: the immediate need of Christian at the beginning of the story being quickly remedied. After Christian is relieved of his burden, he is greeted by three shining ones, who give him the greeting of peace, new garments, and a scroll as a passport into the Celestial City — these are allegorical figures indicative of Christian Baptism.

Atop the Hill of Difficulty, Christian makes his first stop for the night at the House Beautiful, which is an allegory of the local Christian congregation. Christian spends three days here, and leaves clothed with armour (Eph. 6:11-18),[10] which stands him in good stead in his battle against Apollyon in the Valley of Humiliation. This battle lasts "over half a day" until Christian manages to wound Apollyon with his two-edged sword (a reference to the Bible, Heb. 4:12).[11] "And with that Apollyon spread his dragon wings and sped away."

As night falls Christian enters the Valley of the Shadow of Death. When he is in the middle of the valley amidst the gloom and terror he hears the words of the Twenty-third Psalm, spoken possibly by his friend Faithful:

Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. (Psalms 23:4.)

As he leaves this valley the sun rises on a new day.

Just outside the Valley of the Shadow of Death he meets Faithful, also a former resident of the City of Destruction, who accompanies him to Vanity Fair, where both are arrested and detained because of their disdain for the wares and business of the fair. Faithful is put on trial, and executed as a martyr. Hopeful, a resident of Vanity, takes Faithful's place to be Christian's companion for the rest of the way.

Along a rough stretch of road, Christian and Hopeful leave the highway to travel on the easier By-Path Meadow, where a rainstorm forces them to spend the night. In the morning they are captured by Giant Despair, who takes them to his Doubting Castle, where they are imprisoned, beaten and starved. The giant wants them to commit suicide, but they endure the ordeal until Christian realizes that a key he has, called Promise, will open all the doors and gates of Doubting Castle. Using the key, they escape.

The Delectable Mountains form the next stage of Christian and Hopeful's journey, where the shepherds show them some of the wonders of the place also known as "Immanuel's Land". As at the House of the Interpreter pilgrims are shown sights that strengthen their faith and warn them against sinning. On Mount Clear they are able to see the Celestial City through the shepherd's "perspective glass", which serves as a telescope. This device is given to Mercy in the second part at her request.

On the way, Christian and Hopeful meet a lad named Ignorance, who believes that he will be allowed into the Celestial City through his own good deeds rather than as a gift of God's grace. Christian and Hopeful meet up with him twice and try to persuade him to journey to the Celestial City in the right way. Ignorance persists in his own way that leads to his being cast into hell. After getting over the River of Death on the ferry boat of Vain Hope without overcoming the hazards of wading across it, Ignorance appears before the gates of Celestial City without a passport, which he would have acquired had he gone into the King's Highway through the Wicket Gate. The Lord of the Celestial City orders shining ones to take Ignorance to one of the byways to hell and throw him in.

Christian and Hopeful make it through the dangerous Enchanted Ground into the Land of Beulah, where they ready themselves to cross the River of Death on foot to Mount Zion and the Celestial City. Christian has a rough time of it, but Hopeful helps him over; and they are welcomed into the Celestial City.

Second Part

The Second Part of The Pilgrim's Progress presents the pilgrimage of Christian's wife, Christiana; their sons; and the maiden, Mercy. They visit the same stopping places that Christian visited, with the addition of Gaius' Inn between the Valley of the Shadow of Death and Vanity Fair; but they take a longer time in order to accommodate marriage and childbirth for the four sons and their wives. The hero of the story is Greatheart, the servant of the Interpreter, who is a pilgrim's guide to the Celestial City. He kills four giants and participates in the slaying of a monster that terrorizes the city of Vanity.

The passage of years in this second pilgrimage better allegorizes the journey of the Christian life. By using heroines, Bunyan, in the Second Part, illustrates the idea that women as well as men can be brave pilgrims.

Alexander M. Witherspoon, professor of English at Yale University, writes in a prefatory essay:

Part II, which appeared in 1684, is much more than a mere sequel to or repetition of the earlier volume. It clarifies and reinforces and justifies the story of Part I. The beam of Bunyan's spotlight is broadened to include Christian's family and other men, women, and children; the incidents and accidents of everyday life are more numerous, the joys of the pilgrimage tend to outweigh the hardships; and to the faith and hope of Part I is added in abundant measure that greatest of virtues, charity. The two parts of The Pilgrim's Progress in reality constitute a whole, and the whole is, without doubt, the most influential religious book ever written in the English language.[12]

This is exemplified by the frailness of the pilgrims of the Second Part in contrast to those of the First: women, children, and physically and mentally challenged individuals. When Christiana's party leaves Gaius's Inn and Mr. Feeble-mind lingers in order to be left behind, he is encouraged to accompany the party by Greatheart:

But brother ... I have it in commission, to comfort the feeble-minded, and to support the weak. You must needs go along with us; we will wait for you, we will lend you our help, we will deny ourselves of some things, both opinionative and practical, for your sake; we will not enter into doubtful disputations before you, we will be made all things to you, rather than you shall be left behind.[4]

When the pilgrims end up in the Land of Beulah, they cross over the River of Death by appointment. As a matter of importance to Christians of Bunyan's persuasion reflected in the narrative of The Pilgrim's Progress, the last words of the pilgrims as they cross over the river are recorded. The four sons of Christian and their families do not cross, but remain for the support of the church in that place.

Characters

Main characters are in capital letters.

First Part

Second Part

Places in The Pilgrim's Progress

Geographical and topographical features behind the fictional places

Scholars have pointed out that Bunyan may have been influenced in the creation of places in The Pilgrim's Progress by his own surrounding environment. Albert Foster[13] describes the natural features of Bedfordshire that apparently turn up in The Pilgrim's Progress. Vera Brittain in her thoroughly researched biography of Bunyan,[14] identifies seven locations that appear in the allegory. Other connections are suggested in books not directly associated with either John Bunyan or The Pilgrim's Progress.

At least twenty-one natural or man-made geographical or topographical features from The Pilgrim's Progress have been identified—places and structures John Bunyan regularly would have seen in his travels on foot or horseback. The entire journey from The City of Destruction to the Celestial City may have been based on Bunyan's own usual journey from Bedford, on the main road that runs less than a mile behind his Elstow cottage, through Ampthill, Dunstable and St Albans, to London.

In the same sequence as these subjects appear in The Pilgrim's Progress, the geographical realities are as follows:

  1. The plain (across which Christian fled) is Bedford Plain, which is fifteen miles wide with the town of Bedford in the middle and the river Ouse meandering through the northern half;
  2. The "Slough of Despond" (a major obstacle for Christian and Pliable: "a very miry slough") is the large deposits of gray clay, which supplied London Brick's works in Stewartby, which was closed in 2008. On either side of the Bedford to Ampthill road these deposits match Bunyan's description exactly. Presumably, the road was built on the "twenty thousand cart loads" of fill mentioned in The Pilgrim's Progress;[15]
  3. "Mount Sinai", the high hill on the way to the village of Morality, whose side "that was next the way side, did hang so much over,"[16] is the red, sandy, cliffs just north of Ridgmont (i.e. "Rouge Mont");
  4. The "Wicket Gate" is the wooden gate at the entrance to the Elstow parish church;[17]
  5. The castle from which arrows were shot at those who would enter the Wicket Gate is the stand-alone tower, the remnant of an abbey that stood beside the church.
  6. The "House of the Interpreter" is the rectory of St John's church in the south end of Bedford, where Bunyan was mentored by the pastor John Gifford;
  7. The wall "Salvation" that fenced in the King's Highway coming after the House of the Interpreter[18] is the red brick wall, over four miles long, beside the Ridgmont to Woburn road, marking the boundary of the Duke of Bedford's estate;
  8. The "place somewhat ascending ... [with] a cross ... and a sepulchre"[18] is the village cross and well that stands by the church at opposite ends of the sloping main street of Stevington, a small village five miles west of Bedford. Bunyan would often preach in a wood by the River Ouse just outside the village.
  9. The "Hill Difficulty" is Ampthill Hill, on the main Bedford road, the steepest hill in the county. A sandy range of hills stretches across Bedfordshire from Woburn through Ampthill to Potton. These hills are characterized by dark, dense and dismal woods reminiscent of the byways "Danger" and "Destruction", the alternatives to the way "Difficulty" that goes up the hill;[19]
  10. The pleasant arbour on the way up the Hill Difficulty is a small "lay-by", part way up Ampthill Hill, on the east side. A photo, taken in 1908, shows a cyclist resting there;[20]
  11. The "very narrow passage" to the "Palace Beautiful"[21] is an entrance cut into the high bank by the roadside to the east at the top of Ampthill Hill;
  12. The "Palace Beautiful" is Houghton (formerly Ampthill) House, built in 1621 but a ruin since 1800. The house faced north; and, because of the dramatic view over the Bedford plain, it was a popular picnic site during the first half of the twentieth century when many families could not travel far afield;.[22] The tradesman's entrance was on the south side looking out over the town of Ampthill and towards the Chilterns, the model of "The Delectable Mountains";
  13. The "Valley of the Shadow of Death" is Millbrook gorge to the west of Ampthill;
  14. "Vanity Fair" is Stourbridge Fair, held in Cambridge during late August and early September. It fits John Bunyan's account of the fair's antiquity and its vast variety of goods sold.[23] Other suggested markets or fairs, such as Bedford, Elstow or Ampthill, were much too modest to match the description in The Pilgrim's Progress.[24] Sermons were preached each Sunday during Stourbridge Fair in an area called the "Dodderey." John Bunyan preached often in Toft, just four miles west of Cambridge, and there is a place known as "Bunyan's Barn" in Toft.[25] It is surmised that Bunyan visited the notable Stourbridge Fair;
  15. The "pillar of salt", Lot's wife,[26] is a weather-beaten statue that looks much like person-sized salt pillar. It is located on small island in the river Ouse just north of Turvey bridge, eight miles west of Bedford near Stevington;
  16. The "River of the Water of Life", with trees along each bank[27] is the river Ouse east of Bedford, where John Bunyan as a boy would fish with his sister Margaret. It might also be the valley of river Flit, flowing through Flitton and Flitwick south of Ampthill;
  17. "Doubting Castle" is Ampthill Castle, built in the early 15th century and often visited by King Henry VIII as a hunting lodge. Henry, corpulent and dour, may have been considered by Bunyan to be a model for Giant Despair. Amphill Castle was used for the "house arrest" of Queen Catherine of Aragon and her retinue in 1535-36 before she was taken to Kimbolton. The castle was dismantled soon after 1660, so Bunyan would have seen its towers in the 1650s and known of the empty castle plateau in the 1670s[28] Giant Despair was killed and Doubting Castle was demolished in the second part of The Pilgrim's Progress.[29]
  18. The "Delectable Mountains" are the Chiltern Hills that can be seen from the second floor of Houghton House. "Chalk hills, stretching fifty miles from the Thames to Dunstable Downs, have beautiful blue flowers and butterflies, with glorious beech trees."[30] Reminiscent of the possibility of seeing the Celestial City from Mount Clear,[31] on a clear day one can see London's buildings from Dunstable Downs near Whipsnade Zoo;
  19. The "Land of Beulah" is Middlesex county north and west of London, which had pretty villages, market gardens, and estates containing beautiful parks and gardens): "woods of Islington to the green hills of Hampstead & Highgate";[32]
  20. The "very deep river"[33] is the River Thames, one thousand feet wide at high tide; however, in keeping with Bunyan's route to London, the river would be to the north of the city;
  21. The "Celestial City" is London, center of John Bunyan's world—most of his neighbours never travelled that far. In the 1670s, after the Great Fire of 1666, London sported a new, gleaming, city center with forty churches.[34] In the last decade of Bunyan's life (1678–1688) some of his best Christian friends lived in London, including a Lord Mayor.

Cultural Influence

The allegory of this book has antecedents in a large number of Christian devotional works that speak of the soul's path to Heaven, from the Lyke-Wake Dirge forward. Bunyan's allegory stands out above his predecessors because of his simple and effective, prose style, steeped in Biblical texts and cadences. He confesses his own naïveté in the verse prologue to the book:

". . . I did not think
To shew to all the World my Pen and Ink
In such a mode; I only thought to make
I knew not what: nor did I undertake
Thereby to please my Neighbour; no not I;
I did it mine own self to gratifie."

John Bunyan himself wrote a popular hymn that encourages a hearer to become a pilgrim-like Christian: All Who Would Valiant Be.

Because of the widespread longtime popularity of "The Pilgrim's Progress", Christian's hazards — whether originally from Bunyan or borrowed by him from the Bible — the "Slough of Despond", the "Hill Difficulty", "Valley of the Shadow of Death", "Doubting Castle", and the "Enchanted Ground", his temptations (the wares of "Vanity Fair" and the pleasantness of "By-Path Meadow"), his foes ("Apollyon" and "Giant Despair"), and the helpful stopping places he visits (the "House of the Interpreter", the "House Beautiful", the "Delectable Mountains", and the "Land of Beulah") have become commonly used phrases proverbial in English. For example, "One has one's own Slough of Despond to trudge through."

Famous Christian preacher C.H Spurgeon was influenced by The Pilgrim's Progress and is said to have read the book over 100 times.[35]

Pilgrim's Progresss is listed as one of Mr Tulliver's books in George Elliot's "The Mill on the Floss".

Context in Christendom

The explicit Protestant theology of The Pilgrim's Progress made it much more popular than its predecessors. Bunyan's plain style breathes life into the abstractions of the anthropomorphized temptations and abstractions that Christian encounters and with whom he converses on his course to Heaven. Samuel Johnson said that "this is the great merit of the book, that the most cultivated man cannot find anything to praise more highly, and the child knows nothing more amusing." Three years after its publication (1681), it was reprinted in colonial America, and was widely read in the Puritan colonies.

Because of its explicit English Protestant theology The Pilgrim's Progress shares the then popular English antipathy toward the Roman Catholic Church. It was published over the years of the Popish Plot (1678–1681) and ten years before the Glorious Revolution of 1688, and it shows the influence of John Foxe's Acts and Monuments. Bunyan presents a decrepit and harmless giant to confront Christian at the end of the Valley of the Shadow of Death that is explicitly named "Pope":

Now I saw in my Dream, that at the end of this Valley lay blood, bones, ashes, and mangled bodies of men, even of Pilgrims that had gone this way formerly: And while I was musing what should be the reason, I espied a little before me a Cave, where two Giants, Pope and Pagan, dwelt in old times, by whose Power and Tyranny the Men whose bones, blood ashes, &c. lay there, were cruelly put to death. But by this place Christian went without much danger, whereat I somewhat wondered; but I have learnt since, that Pagan has been dead many a day; and as for the other, though he be yet alive, he is by reason of age, and also of the many shrewd brushes that he met with in his younger dayes, grown so crazy and stiff in his joynts, that he can now do little more than sit in his Caves mouth, grinning at Pilgrims as they go by, and biting his nails, because he cannot come at them.[36]

When Christian and Faithful travel through Vanity Fair, Bunyan adds the editorial comment:

But as in other fairs, some one Commodity is as the chief of all the fair, so the Ware of Rome and her Merchandize is greatly promoted in this fair: Only our English Nation, with some others, have taken a dislike thereat.[37]

In the Second Part while Christiana and her group of pilgrims led by Greatheart stay for some time in Vanity, the city is terrorized by a seven-headed beast[38] which is driven away by Greatheart and other stalwarts.[39] In his endnotes W.R. Owens notes about the woman that governs the beast: "This woman was believed by Protestants to represent Antichrist, the Church of Rome. In a posthumously published treatise, Of Antichrist, and his Ruine (1692), Bunyan gave an extended account of the rise and (shortly expected) fall of Antichrist."[40]

Foreign language versions

Beginning in the 1850s, illustrated versions of The Pilgrim's Progress in Chinese were printed in Hong Kong, Shanghai and Fuzhou and widely distributed by Protestant missionaries. Hong Xiuquan, the quasi-Christian leader of the Taiping Rebellion, declared that the book was his favorite reading.[41]

The "Third Part"

The Third Part of the Pilgrim's Progress was written by an anonymous author; beginning in 1693, it was published with Bunyan's authentic two parts. It continued to be republished with Bunyan's work until 1852.[42] This third part presented the pilgrimage of Tender-Conscience and his companions.

Musical settings

The book was the basis of an opera by Ralph Vaughan Williams, premiered in 1951; see The Pilgrim's Progress (opera). It was also the basis of a condensed radio adaptation starring John Gielgud, including, as background music, several excerpts from Vaughan Williams's orchestral works. This radio version, originally presented in 1942, was newly recorded by Hyperion Records in 1990, in a performance conducted by Matthew Best. It again starred Gielgud, and featured Richard Pasco and Ursula Howells.

English composer Ernest Austin set the whole story as a huge narrative tone poem for solo organ, with optional 6-part choir and narrator, lasting approximately 2½ hours.

Twin brothers Keith and Kurt Landaas also composed, recorded, and performed a compelling rock opera version of the work in the early 1990s. The first act focused on Christian's journey, the second on that of Christiana, and their teenage son Matthew.

A musical based on the book was presented at the LifeHouse Theater in Redlands, California, in 2004 and 2008, with book, music and lyrics by Kenneth Wright, with additional text, music and lyrics by Wayne Scott.

In 2007 Cuban based duet Quidam Pilgrim released a musical setting of the book under the name of "Pilgrim" combining elements of alternative rock, Celtic, new age and Cuban folk music. The songs were written in English and Latin, also including one track in Spanish, these were performed on Cuban national television on several occasions receiving a positive audience response.

References in literature

Charles Dickens' Oliver Twist (1838) is subtitled 'The Parish Boy's Progress'.

In 1847 William Makepeace Thackeray entitled his work Vanity Fair: A Novel without a Hero with the Vanity Fair of Pilgrim's Progress in mind.

Mark Twain gave his 1869 travelogue, The Innocents Abroad, the alternate title The New Pilgrims' Progress. In Twain's later work Adventures of Huckleberry Finn, Huckleberry Finn mentions The Pilgrim's Progress as he describes the works of literature in the Grangerfords' library. Twain uses this to satirize the Protestant southern aristocracy.

E. E. Cummings also makes numerous references to it in his prose work, The Enormous Room.

"The Celestial Railroad", a short story by Nathaniel Hawthorne, recreates Christian's journey in Hawthorne's time. Progressive thinkers have replaced the footpath by a railroad, and pilgrims may now travel under steam power. The journey is considerably faster, but somewhat more questionable...

John Buchan was an admirer of Bunyan, and Pilgrim's Progress features significantly in his third Richard Hannay novel, Mr Standfast, which also takes its title from one of Bunyan's characters.

Alan Moore in his League of Extraordinary Gentlemen enlists The Pilgrim's Progress protagonist, Christian, as a member of the earliest version of this group, Prospero's Men, having become wayward on his journey during his visit in Vanity Fair, stepping down an alleyway and found himself in London in the 1670s, and unable to return to his homeland. This group disbanded in 1690 after Prospero vanished into the Blazing World; however, some parts of the text seem to imply that Christian resigned from Prospero's league before its disbanding and that Christian traveled to the Blazing World before Prospero himself. The apparent implication is that; within the context of the League stories; the Celestial City Christian seeks and the Blazing World may in fact be one and the same.

In Louisa May Alcott's Little Women, whose protagonist Jo reads it at the outset of the novel, and tries to follow the good example of Bunyan's Christian.

C. S. Lewis wrote a book inspired by The Pilgrim's Progress called The Pilgrim's Regress, in which a character named John follows a vision to escape from The Landlord, a less friendly version of The Owner in Pilgrim's Regress. It is an allegory of C. S. Lewis' own journey from a religious childhood to a pagan adulthood in which he rediscovers his Christian God.

Henry Williamson's The Patriot's Progress references the title of The Pilgrim's Progress and the symbolic nature of John Bunyan's work. The protagonist of the semi-autobiographical novel is John Bullock, the quintessential English soldier during World War I.

The character of Billy Pilgrim in Slaughterhouse-5: The Children's Crusade, by Kurt Vonnegut, is a clear homage to a similar journey to enlightenment experienced by Christian, although Billy's journey leads him to an existential acceptance of life and of a fatalist human condition. Vonnegut's parallel to The Pilgrim's Progress is deliberate and evident in Billy's surname.

Charlotte Brontë refers to Pilgrim's Progress in most of her novels, including Jane Eyre,[43] Shirley,[44] and Villette.[45] Her alterations to the quest-narrative have led to much critical interest, particular with the ending of Jane Eyre.[46]

A classic science fiction fan novelette, The Enchanted Duplicator by Walt Willis and Bob Shaw, is explicitly modeled on The Pilgrim's Progress; it has been repeatedly reprinted over the decades since its first appearance in 1954: in professional publications, in fanzines and as a monograph.

Enid Blyton wrote The Land of Far Beyond as a children's version of Pilgrim's Progress. First published in 1942 by Methuen.

The book is briefly referenced in the David Foster Wallace novel Infinite Jest, when it is compared to the Eschaton vademecum that is written by Hal Incandenza.

Lois McMasters Bujold quotes Pilgrim's Progress in her short story "Borders of Infinity" set in her science fiction Vorkosigan Saga.

John Steinbeck's novel The Grapes of Wrath mentions The Pilgrim's Progress as one of an (anonymous) character's favorite books. Steinbeck's novel was itself an allegorical spiritual journey by Tom Joad through America during the Great Depression, and often made Christian allusions to sacrifice and redemption in a world of social injustice.

Christopher Nicholson's character Tom Page in The Elephant Keeper identifies Pilgrim's Progress as being one of two books he has read; the other being Gulliver's Travels.

Sarah Orne Jewett's novel The Country of the Pointed Firs describes the progressing of carriages towards a family reunion as a "Pilgrim's Progress".

The Pilgrim's Progress in films, television, video games, and music

The novel was made into a film, Pilgrim's Progress, in 1912. [47]

In 1950 an hour-long animated version was made by Baptista Films. This version was edited down to 35 minutes and re-released with new music in 1978. As of 2007 the original version is difficult to find, but the 1978 has been released on both VHS and DVD.[48]

English band Procol Harum released a song titled "Pilgrim's Progress" on their album A Salty Dog in 1969.

In 1979, another film version was made by Ken Anderson, in which Liam Neeson played the role of the Pilgrim [49] and other smaller roles like the crucified Christ. Maurice O'Callaghan played the Evangelist,[50] and Peter Thomas played Worldly Wiseman. [51] A sequel Christiana followed later.

In 2008, a version by Danny Carrales,Pilgrim's Progress: Journey to Heaven, was produced.

In 1985 Yorkshire Television produced a 129-minute 9-part serial presentation of The Pilgrim's Progress with animated stills by Alan Parry and narrated by Paul Copley entitled Dangerous Journey.

In 1989, Orion's Gate, a producer of Biblical/Spiritual audio dramas produced The Pilgrim's Progress as a 6 hour audio dramatization. Samples and more information may be found at http://www.OrionsGate.org. This production was followed several years later by Christiana: Pilgrim's Progress Part II, another 8 hour audio dramatization.

In 1993, the popular Christian radio drama, Adventures in Odyssey (produced by Focus on the Family), featured a two-part story, titled "Pilgrim's Progress: Revisited."

In 2003 the game Heaven Bound was released by Emerald Studios. The 3D adventure-style game, based on the novel, was only released for the PC.[52]

A 2006 computer animation version was made, directed and narrated by Scott Cawthon. The novel is frequently alluded to in the video game Deus Ex: Invisible War. Saman, a significant character, utilizes its allegories to create purpose in his speech; "Young enemy, thy name is Pliable... you bend your ear to the Worldly Wiseman, to continue the archaic analogy.". If the player makes the choice to side with the Templar faction at the end of the game, after the cinematic, the quote appears, taken from both the novel and Proverbs 21:16 - "He that wandereth out of the way of understanding, shall remain in the congregation of the dead." Curiously, the player's actions towards the Templar faction are not entirely unlike the struggle of Christian throughout the Pilgrim's Progress.

At the 2009 San Antonio Independent Christian Film Festival, the adaptation Pilgrim's Progress: Journey to Heaven received one nomination for best feature length independent film and one nomination for best music score.

British music band Kula Shaker released an album called Pilgrim's Progress on June 28, 2010.

Director Todd Fietkau is making a version of Pilgrim's Progress.

The family film The Wylds was inspired by The Pilgrim's Progress.

Jim Winder performs a live telling of Pilgrim's Progress (the first part) with contemporary Christian songs based on the story line and Biblical content at www.pilgrimsprogresslive.com

Editions

Abridged editions

Retellings

Notes

  1. ^ "The two parts of The Pilgrim's Progress in reality constitute a whole, and the whole is, without doubt, the most influential religious book ever written in the English language" (Alexander M. Witherspoon in his introduction, John Bunyan, The Pilgrim's Progress, (New York: Pocket Books, Inc., 1957), vi.; cf. also John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics, (Oxford: Oxford University Press, 2003), xiii; Abby Sage Richardson, Familiar Talks on English Literature: A Manual (Chicago, A.C. McClurg and Co., 1892), 221; "For two hundred years or more no other English book was so generally known and read" (James Baldwin in his foreword, James Baldwin, John Bunyan's Dream Story, (New York: American Book Company, 1913), 6).
  2. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics, (Oxford: Oxford University Press, 2003), xiii: "... the book has never been out of print. It has been published in innumerable editions, and has been translated into over two hundred languages." Cf. also F.L. Cross, ed., The Oxford Dictionary of the Christian Church, (Oxford: Oxford University Press, 1983), 1092 sub loco.
  3. ^ John Brown, John Bunyan: His Life, Times and Work, (1885, revised edition 1928)
  4. ^ a b c d e John Bunyan, The Pilgrim's Progress, edited with an introduction by Roger Sharrock, (Harmondsworth: Penguins Books, Ltd., 1965), 10, 59, 94, 326-27, 375.
  5. ^ "The copy for the first edition of the First Part of The Pilgrim's Progress was entered in the Stationers' Register on 22 December 1677 ... The book was licensed and entered in the Term Catalogue for the following Hilary Term, 18 February 1678; this date would customarily indicate the time of publication, or only slightly precede it" [John Bunyan, The Pilgrim's Progress, James Blanton Wharey and Roger Sharrock, eds., Second Edition, (Oxford: Clarendon Press, 1960), xxi].
  6. ^ 2 Peter 1:19: "a lamp shining in a dark place"
  7. ^ Go to section 1.2.3.1 Mr. Sagacity leaves the author
  8. ^ A marginal note indicates, "There is no deliverance from the guilt and burden of sin, but by the death and blood of Christ", cf. Sharrock, page 59.
  9. ^ "Many of the pictures in the House of the Interpreter seem to be derived from emblem books or to be created in the manner and spirit of the emblem. ... Usually each emblem occupied a page, and consisted of an allegorical picture at the top with underneath it a device or motto, a short Latin verse, and a poem explaining the allegory. Bunyan himself wrote an emblem book, A Book for Boys and Girls (1688) ...", cf. Sharrock, p. 375.
  10. ^ "the whole armour (panoply) of God"
  11. ^ "the whole armour (panoply) of God"
  12. ^ John Bunyan, The Pilgrim's Progress, (New York: Pocket Books, Inc., 1957), vi.
  13. ^ Albert J. Foster, Bunyan's Country: Studies in the Topography of Pilgrim's Progress, (London: H. Virtue, 1911)
  14. ^ Vera Brittain, In the Steps of John Bunyan, (London: Rich & Cowan, 1949)[http/::www.spartacus.schoolnet.co.uk/Jbrittain.htm]
  15. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 17
  16. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 20.
  17. ^ See article on John Bunyan
  18. ^ a b John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 37.
  19. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 41-42.
  20. ^ A. Underwood, Ampthill in old picture postcards, (Zaltbommel, Netherlands: European Library, 1989).
  21. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 45.
  22. ^ A. Underwood, Ampthill in Old Picture Cards, (Zaltbommel, Netherlands: European Library, 1989)
  23. ^ E. South and O. Cook, Prospect of Cambridge, (London: Batsford, 1985).
  24. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 85-86.
  25. ^ Vera Brittain, In the Steps of John Bunyan, (London: Rich & Cowan, 1949)
  26. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 105.
  27. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 107.
  28. ^ A.J. Foster, Ampthill Towers, (London: Thomas Nelson, 1910).
  29. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 262-264.
  30. ^ J. Hadfield, The Shell Guide to England, (London: Michael Joseph, 1970)
  31. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 119.
  32. ^ E. Rutherfurd, London: The Novel, (New York: Crown Publishers, 1997).
  33. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., (Oxford: University Press, 2003), 147.
  34. ^ H.V. Morton, In Search of London, (London: Methuen & Co., 1952)
  35. ^ http://www.seegod.org/Spurgeon.htm
  36. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics (Oxford: University Press, 2003), 66, 299.
  37. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics (Oxford: University Press, 2003), 86, 301.
  38. ^ Revelation 17:1-18.
  39. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics (Oxford: University Press, 2003), 258-59.
  40. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics (Oxford: University Press, 2003), 318: "See Misc. Works, xiii. 421-504."
  41. ^ Jonathan D. Spence, God's Chinese Son, 1996. p. 280-282
  42. ^ New Schaff-Herzog Encyclopedia, vol. 2 sub loco.
  43. ^ Brontë, Charlotte. Jane Eyre. Ed. Richard J. Dunn. WW Norton: 2001. p. 385.
  44. ^ Brontë, Charlotte. Shirley. Oxford University Press: 2008. p. 48, 236.
  45. ^ Brontë, Charlotte. Villette. Ed. Tim Dolin. Oxford University Press: 2008, p. 6, 44.
  46. ^ Beaty, Jerome. "St. John's Way and the Wayward Reader". Brontë, Charlotte. Jane Eyre. Ed. Richard J. Dunn. WW Norton: 2001. 491-503. p. 501
  47. ^ http://www.imdb.com/title/tt0234464/
  48. ^ A Brief History of Christian Films: 1918-2002
  49. ^ http://www.astralresearch.org/mysticalmovieguide/mmlist.pl?exact=Pilgrim:27s%20Progress&year=1979&findwhere=allsyn&index=1
  50. ^ http://www.astralresearch.org/mysticalmovieguide/mmlist.pl?exact=Pilgrim:27s%20Progress&year=1979&findwhere=allsyn&index=1
  51. ^ http://www.astralresearch.org/mysticalmovieguide/mmlist.pl?exact=Pilgrim:27s%20Progress&year=1979&findwhere=allsyn&index=1
  52. ^ Heaven Bound Game for PC

External links

List of works by John Bunyan
Grace Abounding to the Chief of Sinners (1666) · The Pilgrim's Progress (1678, 1684) · The Holy War (1682) · To be a Pilgrim (1684) ·