Upon the same principles we may explain that extraordinary command over her feelings, which is certainly another of the characteristics of woman. She cannot give utterance to her passions and emotions like man. She is not to seek, but to be sought. She is not to woo, but to be wooed. She is thus frequently required to suppress the most violent feelings; to put a curb on her most ardent desires, and at the same time to wear that face of contentment and ease which may impose upon an inquisitive and scrutinizing world. How often do we see in the gay circles of fashion and of folly, that while apparent joy it beaming from the countenance, a secret grief is preying on the heart, and working the soul into an agony. We are told by Plutarch, that the institutions of Lycurgus had so disciplined the Spartans in the art of enduring pain without complaint, that a boy permitted a stolen fox to eat down to his bowels, without complaining or exhibiting his sufferings in his countenance. The education and position of woman, produces an influence in this respect similar to that produced by Spartan legislation. She can suffer much, and she can suffer long, in silence, without complaint. How admirably has Shakspeare described this trait of character, in the description of Viola, in the 12th Night: though so often quoted, I cannot forego the pleasure of repeating it: "She never told her love, But let concealment like a worm in the bud, Feed on her damask cheek: she pined in thought, And with a green and yellow melancholy, She sat like patience on a monument, Smiling at grief." All persons placed in situations requiring great self command, by constantly curbing the passions and allaying the rising emotions, arrive at last at that self control, that perfect apparent mental equilibrium which appears so wonderfully difficult to the ordinary spectator. This is often most strikingly exemplified in statesmen, diplomatists and gamblers, and sometimes in mercantile men. The great reserve of Washington on state affairs, is well known: Davilla, the historian, praises the deep dissimulation of Catherine de Medicis. Lord Clarendon, and Locke, have spoken with commendations of the same traits in the characters of the Earls of Bristol and Shaftsbury; whilst Cicero even, has bestowed his eulogy on the same qualities, and points to the characters of Homer's Ulysses, Themistocles the Athenian, Lysander the Spartan, and to Marcus Crassus of Rome, for examples. Talleyrand, the great diplomatic wonder of the nineteenth century, it is said, possesses this "_talent pour le silence_," on state affairs, in a most extraordinary degree. With such a being, every thing becomes a matter of calculation, down even to the responses to the ordinary questions of "how do you do?" and "how have you been?" Such a man may truly be said to carry his heart in his head, as was said of Mr. Pitt the younger.[4]