A woman's voice differs from a man's not only in pitch but in timbre; its quality suggests the sex. There is great scope for variety, from the lowest contralto to the highest soprano, as there is in man's from the lowest bass to the highest tenor; a variety so great that voices differ as much as faces and can be instantly recognized; but unless it has the proper sexual quality a voice affects us disagreeably. A coarse, harsh voice has marred many a girl's best marriage chances, while, on the other hand, it may happen that "the ear loveth before the eye." Now what is true of the male and female voice holds true of the male and female mind in all its diverse aspects. We expect men to be not only bigger, stronger, taller, hardier, more robust, but more courageous and aggressive, more active, more creative, more sternly just, than women; while coarseness, cruelty, selfishness, and pugnacity, though not virtues in either sex, affect us much less repulsively in men than in women, for the reason that the masculine struggle for existence and competition in business foster selfishness, and men have inherited pugnacious instincts from their fighting ancestors, while women, as mothers, learned the lessons of sympathy and self-sacrifice much sooner than men. The distinctively feminine virtues are on the whole of a much higher order than the masculine, which is the reason why they were not appreciated or fostered at so early an epoch. Gentleness, modesty, domesticity, girlishness, coyness, kindness, patience, tenderness, benevolence, sympathy, self-sacrifice, demureness, emotionality, sensitiveness, are feminine qualities, some of which, it is true, we expect also in gentlemen; but their absence is not nearly so fatal to a man as it is to a woman. And as men gradually approach women in patience, tenderness, sympathy, self-sacrifice, and gentleness, it behooves women to keep their distance by becoming still more refined and feminine, instead of trying, as so many of them do, to approach the old masculine standard--one of the strangest aberrations recorded in all social history. Men and women fall in love with what is unlike, not with what is like them. The refined physical and mental traits which I have described in the preceding paragraphs constitute some of the secondary sexual characters by which romantic love is inspired, while sensual love is based on the primary sexual characters. Havelock Ellis (19) has well defined a secondary sexual character as "one which, by more highly differentiating the sexes, helps to make them more attractive to each other," and so to promote marriages. And Professor Weissmann, famed for his studies in heredity, opens up deep vistas of thought when he declares (II., 91) that