If they bid thee come in, then enter thou With all thy boys. And then, as thou know'st how, Tell who they are, also from whence they came;Perhaps they'll know them by their looks or name."But although the Second Part must be pronounced inferior, on the whole, to the first, it is a work of striking individuality and graphic power, such as Bunyan alone could have written. Everywhere we find strokes of his peculiar genius, and though in a smaller measure than the first, it has added not a few portraits to Bunyan's spiritual picture gallery we should be sorry to miss, and supplied us with racy sayings which stick to the memory. The sweet maid Mercy affords a lovely picture of gentle feminine piety, well contrasted with the more vigorous but still thoroughly womanly character of Christiana. Great-Heart is too much of an abstraction: a preacher in the uncongenial disguise of a knightly champion of distressed females and the slayer of giants. But the other new characters have generally a vivid personality. Who can forget Old Honesty, the dull good man with no mental gifts but of dogged sincerity, who though coming from the Town of Stupidity, four degrees beyond the City of Destruction, was "known for a cock of the right kind," because he said the truth and stuck to it; or his companion, Mr. Fearing, that most troublesome of pilgrims, stumbling at every straw, lying roaring at the Slough of Despond above a month together, standing shaking and shrinking at the Wicket Gate, but making no stick at the Lions, and at last getting over the river not much above wetshod; or Mr. Valiant for Truth, the native of Darkland, standing with his sword drawn and his face all bloody from his three hours' fight with Wildhead, Inconsiderate, and Pragmatick; Mr. Standfast, blushing to be found on his knees in the Enchanted Ground, one who loved to hear his Lord spoken of, and coveted to set his foot wherever he saw the print of his shoe; Mr. Feeblemind, the sickly, melancholy pilgrim, at whose door death did usually knock once a day, betaking himself to a pilgrim's life because he was never well at home, resolved to run when he could, and go when he could not run, and creep when he could not go, an enemy to laughter and to gay attire, bringing up the rear of the company with Mr. Readytohalt hobbling along on his crutches; Giant Despair's prisoners, Mr. Despondency, whom he had all but starved to death - and Mistress Much-afraid his daughter, who went through the river singing, though none could understand what she said? Each of these characters has a distinct individuality which lifts them from shadowy abstractions into living men and women. But with all its excellencies, and they are many, the general inferiority of the history of Christiana and her children's pilgrimage to that of her husband's must be acknowledged. The story is less skilfully constructed; the interest is sometimes allowed to flag; the dialogues that interrupt the narrative are in places dry and wearisome - too much of sermons in disguise. There is also a want of keeping between the two parts of the allegory. The Wicket Gate of the First Part has become a considerable building with a summer parlour in the Second; the shepherds' tents on the Delectable Mountains have risen into a palace, with a dining-room, and a looking-glass, and a store of jewels; while Vanity Fair has lost its former bad character, and has become a respectable country town, where Christiana and her family, seeming altogether to forget their pilgrimage, settled down comfortably, enjoy the society of the good people of the place, and the sons marry and have children. These same children also cause the reader no little perplexity, when he finds them in the course of the supposed journey transformed from sweet babes who are terrified with the Mastiffs barking at the Wicket Gate, who catch at the boughs for the unripe plums and cry at having to climb the hill; whose faces are stroked by the Interpreter; who are catechised and called "good boys" by Prudence; who sup on bread crumbled into basins of milk, and are put to bed by Mercy - into strong young men, able to go out and fight with a giant, and lend a hand to the pulling down of Doubting Castle, and becoming husbands and fathers. We cannot but feel the want of VRAISEMBLANCE which brings the whole company of pilgrims to the banks of the dark river at one time, and sends them over in succession, following one another rapidly through the Golden Gate of the City. The four boys with their wives and children, it is true, stay behind awhile, but there is an evident incongruity in their doing so when the allegory has brought them all to what stands for the close of their earthly pilgrimage. Bunyan's mistake was in gratifying his inventive genius and making his band of pilgrims so large. He could get them together and make them travel in company without any sacrifice of dramatic truth, which, however, he was forced to disregard when the time came for their dismissal. The exquisite pathos of the description of the passage of the river by Christian and Hopeful blinds us to what may be almost termed the impossibility of two persons passing through the final struggle together, and dying at the same moment, but this charm is wanting in the prosaic picture of the company of fellow-travellers coming down to the water's edge, and waiting till the postman blows his horn and bids them cross. Much as the Second Part contains of what is admirable, and what no one but Bunyan could have written, we feel after reading it that, in Mr. Froude's words, the rough simplicity is gone, and has been replaced by a tone of sentiment which is almost mawkish.