Gœthe always represents the highest principle in the feminine form. Woman is the Minerva, man the Mars. As in the Faust, the purity of Gretchen, resisting the demon always, even after all her faults, is announced to have saved her soul to heaven; and in the second part she appears, not only redeemed herself, but by her innocence and forgiving tenderness hallowed to redeem the being who had injured her.
So in the Meister, these women hover around the narrative, each embodying the spirit of the scene. The frail Philina, graceful though contemptible, represents the degradation incident to an attempt at leading an exclusively poetic life. Mignon, gift divine as ever the Muse bestowed on the passionate heart of man, with her soft, mysterious inspiration, her pining for perpetual youth, represents the high desire that leads to this mistake, as Aurelia, the desire for excitement; Teresa, practical wisdom, gentle tranquillity, which seem most desirable after the Aurelia glare. Of the beautiful soul and Natalia we have already spoken. The former embodies what was suggested to Gœthe by the most spiritual person he knew in youth—Mademoiselle von Klettenberg, over whom, as he said, in her invalid loneliness the Holy Ghost brooded like a dove.
Entering on the Wanderjahre, Wilhelm becomes acquainted with another woman, who seems the complement of all the former, and represents the idea which is to guide and mould him in the realization of all the past experience.
This person, long before we see her, is announced in various ways as a ruling power. She is the last hope in cases of difficulty, and, though an invalid, and living in absolute retirement, is consulted by her connections and acquaintance as an unerring judge in all their affairs.
All things tend towards her as a centre; she knows all, governs all, but never goes forth from herself.
Wilhelm at last visits her. He finds her infirm in body, but equal to all she has to do. Charity and counsel to men who need her are her business, astronomy her pleasure.
After a while, Wilhelm ascertains from the Astronomer, her companion, what he had before suspected, that she really belongs to the solar system, and only appears on earth to give men a feeling of the planetary harmony. From her youth up, says the Astronomer, till she knew me, though all recognized in her an unfolding of the highest moral and intellectual qualities, she was supposed to be sick at her times of clear vision. When her thoughts were not in the heavens, she returned and acted in obedience to them on earth; she was then said to be well.
When the Astronomer had observed her long enough, he confirmed her inward consciousness of a separate existence and peculiar union with the heavenly bodies.
Her picture is painted with many delicate traits, and a gradual preparation leads the reader to acknowledge the truth; but, even in the slight indication here given, who does not recognize thee, divine Philosophy, sure as the planetary orbits, and inexhaustible as the fountain of light, crowning the faithful Seeker at last with the privilege to possess his own soul.
In all that is said of Macaria,[4] we recognize that no thought is too religious for the mind of Gœthe. It was indeed so; you can deny him nothing, but only feel that his works are not instinct and glowing with the central fire, and, after catching a glimpse pf the highest truth, are forced again to find him too much afraid of losing sight of the limitations of nature to overflow you or himself with the creative spirit.