fered 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.” |
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| “ | Though I lived without care and toil, |
| Yet felt I sharp pain enough, | |
| Make me again forever young.” |
All these women, though we see them in relations, we can think of as unrelated. They all are very individual, yet seem, nowhere, restrained. They satisfy for the present, yet arouse an infinite expectation.
The economist Theresa, the benevolent Natalia, the fair Saint, have chosen a path, but their thoughts are not narrowed to it. The functions of life to them are not ends, but suggestions.
Thus, to them, all things are important, because none is necessary. Their different characters have fair play, and each is beautiful in its minute indications, for nothing is enforced or conventional, but every thing, however slight, grows from the essential life of the being.
Mignon and Theresa wear male attire when they like, and it is graceful for them to do so, while Maca-
