impersonate the worship of Venus Urania,--spiritual tenderness overcoming sensual desire. Thus faithful to the traditions of this great poet did the austere Michael Angelo do reverence to the virtues of Vittoria Colonna. Thus did the lofty Corneille present in his Pauline a divine model of the love which inspires great deeds and accompanies great virtues. Thus did Shakspeare, in his portrait of Portia, show the blended generosity and simplicity of a woman's soul:--

       "For you [my Lord Bassanio]
     I would be trebled twenty times myself;
     A thousand times more fair, ten thousand times more rich;"

or, in his still more beautiful delineation of Juliet, paint an absorbing devotion:--

     "My bounty is as boundless as the sea,
     My love as deep; the more I give to thee,
     The more I have, for both are infinite."

Thus did Milton, in his transcendent epic, show how a Paradise was regained when woman gave her generous sympathy to man, and reproduced for all coming ages the image of Spiritual Love,--the inamorata of Dante and Petrarch, the inspired and consoling guide.

But the muse of the poets, even when sanctified by Christianity, never sang such an immortal love as the Middle Ages in sober prose have handed down in the history of Héloïse,--the struggle between the two Venuses of Socrates, and the final victory of Urania, though not till after the temporary triumph of Polyhymnia,--the inamorata of earth clad in the vestments of a sanctified recluse, and purified by the chastisements of Heaven. "Saint Theresa dies longing to join her divine spouse; but Saint Theresa is only a Héloïse looking towards heaven." Héloïse has an earthly idol; but her devotion has in it all the elements of a supernatural fervor,--the crucifixion of self in the glory of him she adored. He was not worthy of her idolatry; but she thought that he was. Admiration for genius exalted sentiment into adoration, and imagination invested the object of love with qualities superhuman.

Nations do not spontaneously keep alive the memory of those who have disgraced them. It is their heroes and heroines whose praises they sing,--those only who have shone in the radiance of genius and virtue. They forget defects, if these are counterbalanced by grand services or great deeds,--if their sons and daughters have shed lustre on the land which gave them birth. But no lustre survives egotism or vice; it only lasts when it gilds a noble life. There is no glory in the name of Jezebel, or Cleopatra, or Catherine de' Medici, brilliant and fascinating as were those queens; but there is glory in the memory of Héloïse. There is no woman in French history of whom the nation is prouder; revered, in spite of early follies, by the most austere and venerated saints of her beclouded age, and hallowed by the tributes of succeeding centuries for those sentiments which the fires of passion were scarcely able to tarnish, for an exalted soul which eclipsed the brightness of uncommon intellectual faculties, for a depth of sympathy and affection which have become embalmed in the heart of the world, and for a living piety which blazes all the more conspicuously from the sins which she expiated by such bitter combats. She was human in her impulses, but divine in her graces; one of those characters for whom we cannot help feeling the deepest sympathy and the profoundest admiration,--a character that has its contradictions, like that warrior-bard who was after God's own heart, in spite of his crimes, because his soul thirsted for the beatitudes of heaven, and was bound in loving loyalty to his Maker, against whom he occasionally sinned by force of mortal passions, but whom he never ignored or forgot, and against whom he never persistently rebelled.

As a semi-warlike but religious age produced a David, with his strikingly double nature perpetually at war with itself and looking for aid to God,--his "sun," his "shield," his hope, and joy,--so an equally unenlightened but devout age produced a Héloïse, the impersonation of sympathy, disinterestedness, suffering, forgiveness, and resignation. I have already described this dark, sad, turbulent, superstitious, ignorant period of strife and suffering, yet not without its poetic charms and religious aspirations; when the convent and the castle were its chief external features, and when a life of meditation was as marked as a life of bodily activity, as if old age and youth were battling for supremacy,--a very peculiar state of society, in which we see the loftiest speculations of the intellect and the highest triumphs of faith blended with puerile enterprises and misdirected physical forces.

In this semi-barbaric age Héloïse was born, about the year 1101. Nobody knew who was her father, although it was surmised that he belonged to the illustrious family of the Montmorencies, which traced an unbroken lineage to Pharimond, before the time of Clovis. She lived with her uncle Fulbert, an ignorant, worldly-wise old canon of the Cathedral Church of Notre Dame in Paris. He called her his niece; but whether niece, or daughter, or adopted child, was a mystery. She was of extraordinary beauty, though remarkable for expression rather than for regularity of feature. In intellect she was precocious and brilliant; but the qualities of a great soul shone above the radiance of her wit. She was bright, amiable, affectionate, and sympathetic,--the type of an interesting woman. The ecclesiastic was justly proud of her, and gave to her all the education the age afforded. Although not meaning to be a nun, she was educated in a neighboring convent,--for convents, even in those times, were female seminaries, containing many inmates who never intended to take the veil. But the convent then, as since, was a living grave to all who took its vows, and was hated by brilliant women who were not religious. The convent necessarily and logically, according to the theology of the Middle Ages, was a retreat from the world,--a cell of expiation; and yet it was the only place where a woman could be educated.

Héloïse, it would seem, made extraordinary attainments, and spoke Latin as well as her native tongue. She won universal admiration, and in due time, at the age of eighteen, returned to her uncle's house, on the banks of the Seine, on the island called the Cité, where the majestic cathedral and the castle of the king towered above the rude houses of the people. Adjoining the church were the cloisters of the monks and the Episcopal School, the infant university of Paris, over which the Archdeacon of Paris, William of Champeaux, presided in scholastic dignity and pride,--next to the bishop the most influential man in Paris. The teachers of this school, or masters and doctors as they were called, and the priests of the cathedral formed the intellectual aristocracy of the city, and they were frequent visitors at the house of Fulbert the canon. His niece, as she was presumed to be, was the great object of attraction. There never was a time when intellectual Frenchmen have not bowed down to cultivated women. Héloïse, though only a girl, was a queen of such society as existed in the city, albeit more admired by men than women,--poetical, imaginative, witty, ready, frank, with a singular appreciation of intellectual excellence, dazzled by literary fame, and looking up to those brilliant men who worshipped her.

In truth, Héloïse was a prodigy. She was vastly superior to the men who surrounded her, most of whom were pedants, or sophists, or bigots; dignitaries indeed, but men who exalted the accidental and the external over the real and the permanent; men who were fond of quibbles and sophistries, jealous of each other and of their own reputation, dogmatic and positive as priests are apt to be, and most positive on points which either are of no consequence or cannot be solved. The soul of Héloïse panted for a greater intellectual freedom and a deeper sympathy than these priests could give. She pined in society. She was isolated by her own