But the story—­[Herodotus, iii. 14.]—­says that Psammenitus, King of Egypt, being defeated and taken prisoner by Cambyses, King of Persia, seeing his own daughter pass by him as prisoner, and in a wretched habit, with a bucket to draw water, though his friends about him were so concerned as to break out into tears and lamentations, yet he himself remained unmoved, without uttering a word, his eyes fixed upon the ground; and seeing, moreover, his son immediately after led to execution, still maintained the same countenance; till spying at last one of his domestic and familiar friends dragged away amongst the captives, he fell to tearing his hair and beating his breast, with all the other extravagances of extreme sorrow.

A story that may very fitly be coupled with another of the same kind, of recent date, of a prince of our own nation, who being at Trent, and having news there brought him of the death of his elder brother, a brother on whom depended the whole support and honour of his house, and soon after of that of a younger brother, the second hope of his family, and having withstood these two assaults with an exemplary resolution; one of his servants happening a few days after to die, he suffered his constancy to be overcome by this last accident; and, parting with his courage, so abandoned himself to sorrow and mourning, that some thence were forward to conclude that he was only touched to the quick by this last stroke of fortune; but, in truth, it was, that being before brimful of grief, the least addition overflowed the bounds of all patience.  Which, I think, might also be said of the former example, did not the story proceed to tell us that Cambyses asking Psammenitus, “Why, not being moved at the calamity of his son and daughter, he should with so great impatience bear the misfortune of his friend?” “It is,” answered he, “because only this last affliction was to be manifested by tears, the two first far exceeding all manner of expression.”

And, peradventure, something like this might be working in the fancy of the ancient painter,—­[Cicero, De Orator., c. 22 ; Pliny, xxxv. 10.]—­ who having, in the sacrifice of Iphigenia, to represent the sorrow of the assistants proportionably to the several degrees of interest every one had in the death of this fair innocent virgin, and having, in the other figures, laid out the utmost power of his art, when he came to that of her father, he drew him with a veil over his face, meaning thereby that no kind of countenance was capable of expressing such a degree of sorrow.  Which is also the reason why the poets feign the miserable mother, Niobe, having first lost seven sons, and then afterwards as many daughters (overwhelmed with her losses), to have been at last transformed into a rock—­

“Diriguisse malis,”

     ["Petrified with her misfortunes.”—­Ovid, Met., vi. 304.]