guide his course as a teacher and a master, "help-full, comfort-full."

In all these expressions of Woman, the aim of Goethe is satisfactory
to me. He aims at a pure self-subsistence, and a free development of
any powers with which they may be gifted by nature as much for them as
for men. They are units, addressed as souls. Accordingly, the meeting
between Man and Woman, as represented by him, is equal and noble; and,
if he does not depict marriage, he makes it possible.

In the Macaria, bound with the heavenly bodies in fixed revolutions,
the centre of all relations, herself unrelated, he expresses the
Minerva side of feminine nature. It was not by chance that Goethe gave
her this name. Macaria, the daughter of Hercules, who offered herself
as a victim for the good of her country, was canonized by the Greeks,
and worshipped as the Goddess of true Felicity. Goethe has embodied
this Felicity as the Serenity that arises from Wisdom, a Wisdom such
as the Jewish wise man venerated, alike instructed in the designs of
heaven, and the methods necessary to carry them into effect upon
earth.

Mignon is the electrical, inspired, lyrical nature. And wherever it
appears we echo in our aspirations that of the child,

"So let me seem until I be:--
Take not the _white robe_ away."

* * * * *

"Though I lived without care and toil,
Yet felt I sharp pain enough to