In John Bunyan’s abiding allegory, Pilgrim’s Progress, hope is personified in two ways. Hopeful is the traveling companion of Christian, the story’s protagonist, along the winding journey toward the Celestial City. Hopeful was born in the town of Vanity and grew up with great expectations of the things of the fair; honor and title, ownership and ease were his great hopes. But he had suffered bitter disappointment in these pursuits and found only shipwrecks of his own optimism. In this valley of emptiness, Hopeful was able to recognize the full and solid quest of Christian. And thus, Hopeful’s drastic conversion of hope begins with pilgrimage and community.
The other character marked by hope in Bunyan’s tale is encountered near the river one must cross on foot in order to enter the Celestial City. Vain-Hope is a ferryman, who offers to ferry travelers across the River of Death so that they don’t have to cross on their own. Yet as one man discovers, it is a promise that gets him across the river, but destroys all hope of staying there. In the end, Vain-Hope is a deadly end.
With these two lucid pictures, Bunyan divides hope in two, possibly simple, but maybe wise, categories: the life-giving and the destructive. Considering all the ways in which we use the word, it seems easily an oversimplification. In the painting above, for instance, artist George Frederic Watts shows a female allegorical figure of Hope, for which the painting is titled, sitting on a globe in a hunched position, blindfolded, clutching a wooden lyre with only one string left intact. According to Watts, “Hope need not mean expectancy. It suggests here rather the music which can come from the remaining chord.”(1) G. K. Chesterton, who was far from alone in his criticism of Watt’s image, suggested that a better title for this work would be Despair. Chesterton describes the lone string of Hope’s lyre as “a string which is always stretched to snapping and yet never snaps. . . the queerest and most delicate thing in us, the most fragile, the most fantastic, is in truth the backbone and indestructible. . . Faith is always at a disadvantage; it is a perpetually defeated thing which survives all its conquerors.”(2)