I put aside his merely romantic prose writings as of no value; and though the early romantic poetry is very beautiful, its testimony is of no weight, other than that of a boy's ideal. But his true works, studied from Scottish life, bear a true witness; and, in the whole range of these, there are but three men who reach the heroic type[2]--Dandie Dinmont, Rob Roy, and Claverhouse; of these, one is a border farmer; another a freebooter; the third a soldier in a bad cause. And these touch the ideal of heroism only in their courage and faith, together with a strong, but uncultivated, or mistakenly applied, intellectual power; while his younger men are the gentlemanly playthings of fantastic fortune, and only by aid (or accident) of that fortune, survive, not vanquish, the trials they involuntarily sustain. Of any disciplined, or consistent character, earnest in a purpose wisely conceived, or dealing with forms of hostile evil, definitely challenged, and resolutely subdued, there is no trace in his conceptions of young men. Whereas in his imaginations of women,--in the characters of Ellen Douglas, of Flora MacIvor, Rose Bradwardine, Catherine Seyton, Diana Vernon, Lilias Redgauntlet, Alice Bridgenorth, Alice Lee, and Jeanie Deans,--with endless varieties of grace, tenderness, and intellectual power we find in all a quite infallible and inevitable sense of dignity and justice; a fearless, instant, and untiring self-sacrifice to even the appearance of duty, much more to its real claims; and, finally, a patient wisdom of deeply restrained affection, which does infinitely more than protect its objects from a momentary error; it gradually forms, animates, and exalts the characters of the unworthy lovers, until, at the close of the tale, we are just able, and no more, to take patience in hearing of their unmerited success. So that in all cases, with Scott as with Shakespeare, it is the woman who watches over, teaches, and guides the youth; it is never, by any chance, the youth who watches over or educates his mistress. 60. Next, take, though more briefly, graver testimony--that of the great Italians and Greeks. You know well the plan of Dante's great poem--that it is a love poem to his dead lady; a song of praise for her watch over his soul. Stooping only to pity, never to love, she yet saves him from destruction--saves him from hell. He is going eternally astray in despair; she comes down from heaven to his help, and throughout the ascents of Paradise is his teacher, interpreting for him the most difficult truths, divine and human, and leading him, with rebuke upon rebuke, from star to star.