Apart from the reference to Drury Lane Theatre supplied by the title, there is no clue to the incident recorded. But two years after Prior wrote these playful verses, which were sent to the lady through Mr. Harcourt, Catherine Hyde verified her poet's words by securing a suitor of even higher rank than her sister's husband. In March, 1720, she married Charles Douglas, third Duke of Queensberry, an amiable and accomplished nobleman, who, it has been hinted, must sometimes have been considerably 'exercised' by the vagaries of the charming but impetuous 'child of Nature' whom he had selected for his helpmate. Indeed, despite her ability, many of her less sympathetic contemporaries did not scruple to suggest that her Grace's eccentricities almost amounted to a touch of insanity. Bolingbroke called her '_Sa Singularité_;' Walpole spoke of her roundly as 'an out-pensioner of Bedlam.' But neither the Abbot of Strawberry nor Pope's 'guide, philosopher, and friend' had any right to set up for a Forbes-Winslow or a Brouardel; and there is in reality little more in what is related of her than might be expected of one who, at once a spoiled child, a beauty, and a woman of parts, deliberately revolted against the tyrannous conventionalities of her time. To the last she persistently declined, as she told Swift, to 'cut and curl her hair like a sheep's head,' in accordance with the reigning fashion; and she affected in her dress a simplicity and youthfulness which nothing but the good looks she contrived to retain so long, could possibly have justified. She had a fancy for idyllic travesties, appearing now as a shepherdess, now as a peasant, now as a milkmaid. * * In this last character Charles Jervas painted her. The picture is in the National Portrait Gallery. She has hazel eyes and dark-brown hair.