man, bone of his bone, and flesh of his flesh, born that men might not be lonely, but that women are in themselves possessors of and possessed by immortal souls. This truth undoubtedly received a greater outward stability from the belief of the church that the earthly parent of the Saviour of souls was a woman.
The assumption of the Virgin, as painted by sublime artists, Petrarch's Hymn to the Madonna,[1] cannot have spoken to the world wholly without result, yet, oftentimes those who had ears heard not.
See upon the nations the influence of this powerful example. In Spain look only at the ballads. Woman in these is “very woman;” she is the betrothed, the bride, the spouse of man, there is on her no hue of the philosopher, the heroine, the savante, but she looks great and noble; why? because she is also, through her deep devotion, the betrothed of heaven. Her upturned eyes have drawn down the light that casts a radiance round her. See only such a ballad as that of “Lady Teresa's Bridal.”
Where the Infanta, given to the Moorish bridegroom, calls down the vengeance of Heaven on his unhallowed passion, and thinks it not too much to expiate by a life in the cloister, the involuntary stain upon her princely youth.[2] It was this constant sense of claims above those of earthly love or happiness that made the Spanish lady who shared this spirit, a guerdon to be won by toils and blood and constant purity, rather than a chattel to be bought for pleasure and service.
Germany did not need to learn a high view of wo-
