too severe a tax on his habitual existence. But, with Wilhelm, the
gradation is natural, and expresses ascent in the scale of being. At
first, he finds charm in Mariana and Philina, very common forms of
feminine character, not without redeeming traits, no less than charms,
but without wisdom or purity. Soon he is attended by Mignon, the
finest expression ever yet given to what I have called the lyrical
element in Woman. She is a child, but too full-grown for this man; he
loves, but cannot follow her; yet is the association not without an
enduring influence. Poesy has been domesticated in his life; and,
though he strives to bind down her heavenward impulse, as art or
apothegm, these are only the tents, beneath which he may sojourn for a
while, but which may be easily struck, and carried on limitless
wanderings.

Advancing into the region of thought, he encounters a wise
philanthropy in Natalia (instructed, let us observe, by an
_uncle_); practical judgment and the outward economy of life in
Theresa; pure devotion in the Fair Saint.

Further, and last, he comes to the house of Macaria, the soul of a
star; that is, a pure and perfected intelligence embodied in feminine
form, and the centre of a world whose members revolve harmoniously
around her. She instructs him in the archives of a rich human history,
and introduces him to the contemplation of the heavens.

From the hours passed by the side of Mariana to these with Macaria, is
a wide distance for human feet to traverse. Nor has Wilhelm travelled
so far, seen and suffered so much, in vain, He now begins to study how
he may aid the next generation; he sees objects in harmonious
arrangement, and from his observations deduces precepts by which to