Ay! but, Goethe, bad institutions are prison-walls and impure air, that make him stupid, so that he does not will.
And thou, Fourier, do not expect to change mankind at once, or even "in three generations," by arrangement of groups and series, or flourish of trumpets for attractive industry. If these attempts are made by unready men, they will fail.
Yet we prize the theory of Fourier no less than the profound suggestion of Goethe. Both are educating the age to a clearer consciousness of what Man needs, what Man can be; and better life must ensue.
Goethe, proceeding on his own track, elevating the human being, in the most imperfect states of society, by continual efforts at self-culture, takes as good care of women as of men. His mother, the bold, gay Frau Aja, with such playful freedom of nature; the wise and gentle maiden, known in his youth, over whose sickly solitude "the Holy Ghost brooded as a dove;" his sister, the intellectual woman par excellence; the Duchess Amelia; Lili, who combined the character of the woman of the world with the lyrical sweetness of the shepherdess, on whose chaste and noble breast flowers and gems were equally at home; all these had supplied abundant suggestions to his mind, as to the wants and the possible excellences of Woman. And from his poetic soul grew up forms new and more admirable than life has yet produced, for whom his clear eye marked out paths in the future.
In Faust Margaret represents the redeeming power, which, at present, upholds Woman, while waiting for a better day. The lovely little girl, pure in instinct, ignorant in mind, is misled and profaned by man abusing her confidence.[Footnote: As Faust says, her only fault was a "kindly delusion,"—"ein guter wahn.">[ To the Mater Dolorosa she appeals for aid. It is given to the soul, if not against outward sorrow; and the maiden, enlightened by her sufferings, refusing to receive temporal salvation by the aid of an evil power, obtains the eternal in its stead.
In the second part, the intellectual man, after all his manifold strivings, owes to the interposition of her whom he had betrayed his salvation. She intercedes, this time, herself a glorified spirit, with the Mater Gloriosa.
Leonora, too, is Woman, as we see her now, pure, thoughtful, refined by much acquaintance with grief.
Iphigenia he speaks of in his journals as his "daughter," and she is the daughter [Footnote: Goethe was as false to his ideas, in practice, as Lord Herbert. And his punishment was the just and usual one of connections formed beneath the standard of right, from the impulses of the baser self. Iphigenia was the worthy daughter of his mind; but the son, child of his degrading connection in actual life, corresponded with that connection. This son, on whom Goethe vainly lavished so much thought and care, was like his mother, and like Goethe's attachment for his mother. "This young man," says a late well-informed writer (M. Henri Blaze), "Wieland, with good reason, called the son of the servant, der Sohn der Magd. He inherited from his father only his name and his physique.">[ whom a man will wish, even if he has chosen his wife from very mean motives. She is the virgin, steadfast, soul, to whom falsehood is more dreadful than any other death.
But it is to Wilhelm Meister's Apprenticeship and Wandering Years that I would especially refer, as these volumes contain the sum of the Sage's observations during a long life, as to what Man should do, under present circumstances, to obtain mastery over outward, through an initiation into inward life, and severe discipline of faculty.
As Wilhelm advances into the upward path, he becomes acquainted with better forms of Woman, by knowing how to seek, and how to prize them when found. For the weak and immature man will, often, admire a superior woman, but he will not be able to abide by a feeling which is too severe a tax on his habitual existence. But, with Wilhelm, the gradation is natural, and expresses ascent in the scale of being. At first, he finds charm in Mariana and Philina, very common forms of feminine character, not without redeeming traits, no less than charms, but without wisdom or purity. Soon he is attended by Mignon, the finest expression ever yet given to what I have called the lyrical element in Woman. She is a child, but too full-grown for this man; he loves, but cannot follow her; yet is the association not without an enduring influence. Poesy has been domesticated in his life; and, though he strives to bind down her heavenward impulse, as art or apothegm, these are only the tents, beneath which he may sojourn for a while, but which may be easily struck, and carried on limitless wanderings.