ters 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.
Farther and last he comes to the house of Macaria, the soul of a star, i. e. a pure and perfected intelligence embodied in feminine form, and the centre of a world whose members revolve harmoniously round 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 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 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 of-
