Thy notes do not first welcome in our spring, Nor dost thou its first tokens to us bring. Birds less than thee by far like prophets do Tell us 'tis coming, though not by Cuckoo, Nor dost thou summer bear away with thee Though thou a yawling bawling Cuckoo be. When thou dost cease among us to appear, Then doth our harvest bravely crown our year. But thou hast fellows, some like thee can do Little but suck our eggs, and sing Cuckoo.

Since Cuckoos forward not our early spring Nor help with notes to bring our harvest in, And since while here, she only makes a noise So pleasing unto none as girls and boys, The Formalist we may compare her to, For he doth suck our eggs and sing Cuckoo."

A perusal of this little volume with its roughness and quaintness, sometimes grating on the ear but full of strong thought and picturesque images, cannot fail to raise Bunyan's pretensions as a poet. His muse, it is true, as Alexander Smith has said, is a homely one. She is "clad in russet, wears shoes and stockings, has a country accent, and walks along the level Bedfordshire roads." But if the lines are unpolished, "they have pith and sinew, like the talk of a shrewd peasant," with the "strong thought and the knack of the skilled workman who can drive by a single blow the nail home to the head."

During his imprisonment Bunyan's pen was much more fertile in prose than in poetry. Besides his world-famous "Grace Abounding," he produced during the first six years of his gaol life a treatise on prayer, entitled "Praying in the Spirit;" a book on "Christian Behaviour," setting forth with uncompromising plainness the relative duties of husbands and wives, parents and children, masters and servants, by which those who profess a true faith are bound to show forth its reality and power; the "Holy City," an exposition of the vision in the closing chapters of the Book of Revelation, brilliant with picturesque description and rich in suggestive thought, which, he tells us, had its origin in a sermon preached by him to his brethren in bonds in their prison chamber; and a work on the "Resurrection of the Dead and Eternal Judgment." On these works we may not linger. There is not one of them which is not marked by vigour of thought, clearness of language, accuracy of arrangement, and deep spiritual experience. Nor is there one which does not here and there exhibit specimens of Bunyan's picturesque imaginative power, and his command of forcible and racy language. Each will reward perusal. His work on "Prayer" is couched in the most exalted strain, and is evidently the production of one who by long and agonizing experience had learnt the true nature of prayer, as a pouring out of the soul to God, and a wrestling with Him until the blessing, delayed not denied, is granted. It is, however, unhappily deformed by much ignorant reviling of the Book of Common Prayer. He denounces it as "taken out of the papistical mass-book, the scraps and fragments of some popes, some friars, and I know not what;" and ridicules the order of service it propounds to the worshippers. "They have the matter and the manner of their prayer at their fingers' ends; they set such a prayer for such a day, and that twenty years before it comes: one for Christmas, another for Easter, and six days after that. They have also bounded how many syllables must be said in every one of them at their public exercises. For each saint's day also they have them ready for the generations yet unborn to say. They can tell you also when you shall kneel, when you shall stand, when you should abide in your seats, when you should go up into the chancel, and what you should do when you come there. All which the apostles came short of, as not being able to compose so profound a manner." This bitter satirical vein in treating of sacred things is unworthy of its author, and degrading to his sense of reverence. It has its excuse in the hard measure he had received from those who were so unwisely endeavouring to force the Prayer Book on a generation which had largely forgotten it. In his mind, the men and the book were identified, and the unchristian behaviour of its advocates blinded his eyes to its merits as a guide to devotion. Bunyan, when denouncing forms in worship, forgot that the same apostle who directs that in our public assemblies everything should be done "to edification," directs also that everything should be done "decently and in order."

By far the most important of these prison works - "The Pilgrim's Progress," belonging, as will be seen, to a later period - is the "Grace Abounding," in which with inimitable earnestness and simplicity Bunyan gives the story of his early life and his religious history. This book, if he had written no other, would stamp Bunyan as one of the greatest masters of the English language of his own or any other age. In graphic delineation of the struggles of a conscience convicted of sin towards a hardly won freedom and peace, the alternations of light and darkness, of hope and despair, which chequered its course, its morbid self-torturing questionings of motive and action, this work of the travelling tinker, as a spiritual history, has never been surpassed. Its equal can hardly be found, save perhaps in the "Confessions of St. Augustine." These, however, though describing a like spiritual conflict, are couched in a more cultured style, and rise to a higher metaphysical region than Bunyan was capable of attaining to. His level is a lower one, but on that level Bunyan is without a rival. Never has the history of a soul convinced of the reality of eternal perdition in its most terrible form as the most certain of all possible facts, and of its own imminent danger of hopeless, irreversible doom - seeing itself, to employ his own image, hanging, as it were, over the pit of hell by a thin line, which might snap any moment - been portrayed in more nervous and awe- inspiring language. And its awfulness is enhanced by its self- evident truth. Bunyan was drawing no imaginary picture of what others might feel, but simply telling in plain unadorned language what he had felt.