The task of narrowing down centuries’ worth of “masterpieces” in a “best of” list is not one I would like to undertake. Deciding what is a masterpiece is a struggle in and of it itself, let alone having to provide a definitive list. Terry Glaspey’s 75 Masterpieces Every Christian Should Know (Baker, 2015; source: publisher) is a balanced choice of art, literature, music, and film.
Following a chronological ordering, Glaspey begins with the Christian catacombs of Rome (75 Masterpieces, chapter 1). From the second century to the fifth, the underground maze served as a communal burial ground for Christians in times of peace and persecution. Images such as the good shepherd decorated these grounds as a sign of life after death.
When thinking of The Pilgrim’s Progress, one of the best-selling books of all time, you might not immediately think of this allegory as a work of theology. Some scholars, like Gordon Campbell, even suggest that “The Pilgrim’s Progress is a religious work rather than a theological work.” To make this bifurcation, however, mistakenly suggests that the Christian life is somehow separate and distinct from the Christian mind. In fact, while John Bunyan (1628–1688) focused this renowned work on the journey of the Christian, he weaved his theology—sometimes subtly—throughout the narrative.
One way that theology shines through the story is in the conversation that the characters have with each other. The importance of Christian discourse to the volume even leads Michael Mullett to note that “the book is a dialogue at least as much as it is a travelogue.” To give a taste of how Bunyan incorporates his theology into the story’s conversations, we’ll explore a section from The Pilgrim’s Progress on discerning a true “work of grace.”