PISANIO to IMOGEN: You must forget to be a woman; change Command into obedience: fear and niceness-- The handmaids of all women, or, more truly, Woman its pretty self, into a waggish courage: Ready in gibes, quick answered, saucy, and As quarrelsome as the weasel; nay, you must Forget that rarest treasure of your cheek Exposing it--but, Oh! the harder heart! Alack! no remedy! to the greedy touch Of common-kissing Titan, and forget Your laboursome and dainty trims. "_Cymbeline_," ACT III., SC. 4. That a woman, under any circumstances, should dismiss her proper apparel, it has been remarked, "may well appear to us as something like a phenomenon." Yet instances are far from uncommon, the motive being originated in a variety of circumstances. A young lady, it may be, falls in love, and, to gain her end, assumes male attire so that she may escape detection, as in the case of a girl, who, giving her affections to a sailor, and not being able to follow him in her natural and recognised character, put on jacket and trousers, and became, to all appearance, a brother of his mess. In other cases, a pure masculinity of character "seems to lead women to take on the guise of men. Apparently feeling themselves misplaced in, and misrepresented by, the female dress, they take up with that of men simply that they may be allowed to employ themselves in those manly avocations for which their taste and nature are fitted." In Caulfield's "Portraits of Remarkable Persons," we find a portrait of Anne Mills, styled the female sailor, who is represented as standing on what appears to be the end of a pier and holding in one hand a human head, while the other bears a sword, the instrument doubtless with which the decapitation was effected. In the year 1740, she was serving on board the _Maidstone_, a frigate, and in an action between that vessel and the enemy, she exhibited such desperate and daring valour as to be particularly noticed by the whole crew. But her motives for assuming the male habit do not seem to have transpired.[43]