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 have to desert, and scarcely again even to linger by, the way.

Every one knows the magnificent moral of Göethe's "Faust!" Every one knows that sublime discontent—that chafing at the bounds of human knowledge—that yearning for the intellectual Paradise beyond, which "the sworded angel" forbids us to approach—that daring, yet sorrowful state of mind—that sense of defeat, even in conquest, which Göethe has embodied,—a picture of the loftiest grief of which the soul is capable, and which may remind us of the profound and august melancholy which the Great Sculptor breathed into the repose of the noblest of mythological heroes, when he represented the God resting after his labours, as if more convinced of their vanity than elated with their extent!

In this portrait, the grandeur of which the wild scenes that follow in the drama we refer to, do not (strangely wonderful as they are) perhaps altogether sustain, Göethe has bequeathed to the gaze of a calmer and more practical posterity, the burning and restless spirit—the feverish