It was Lady Jean’s practice to take a walk prescribed by her father, every day in the garden, on which occasions the countess conceived herself as acting up to the letter of her husband’s commands, when she ordered Master Richard to attend his pupil. This arrangement was exceedingly agreeable to Lady Jean, as they sometimes took out the theorbo, and added music to the other pleasures of the walk. Another out-of-doors amusement, in which music formed a chief part, was suggested to them by the appropriate frontispiece of a book of instruction for the theorbo, which Master Richard had brought with him from Edinburgh. This engraving represented a beautiful young shepherdess, dressed in the fashionable costume of that period—a stupendous tower of hair hung round with diamonds, and a voluminous silk gown with a jewel-adorned stomacher, a theorbo in her arms and a crook by her side—sitting on a flowery bank under a tree, with sheep planted at regular distances around her. At a little distance appeared a shepherd with dressed hair, long-skirted coat, and silk stockings, who seemed to survey his mistress with a languishing air of admiration, that appeared singularly ridiculous, as contrasted with the coquettish and contemptuous aspect of the lady. The plate referred to a particular song in a book, entitled “A Dialogue betwixt Strephon and Lydia, or the Proud Shepherdess’s Courtship,” the music of which was exceedingly beautiful, while the verses were the tamest and most affected trash imaginable. It occurred to Lady Jean’s lively fancy, that if she and her teacher were to personify the shepherdess and shepherd, and thus, as it were, to transform the song to a sort of opera, making the terrace-garden the scene, not a little amusement might be added to the pleasure she experienced from the mere music alone. This fancy was easily reduced to execution; for, by seating herself under a tree, in her ordinary dress, with the horticultural implement called a rake by her side, she looked the very Lydia of the copper-plate; while Richard, standing at his customary respectful distance, with his handsome person, and somewhat foreign apparel, was a sufficiently good representation of Strephon. After arranging themselves thus, Master Richard opened the drama by addressing Lady Jean in the first verse of the song, which contained, besides some description of sunrise, a comparison between the beauties of nature at that delightful period, and the charms of Lydia, the superiority being of course awarded to the latter. Lady Jean, with the help of the theorbo, replied to this in a very disdainful style, affecting to hold the compliments of lovers very cheap, and asseverating that she had no regard for any being on earth besides her father and mother, and no care but for these dear innocent sheep (here she looked kindly aside upon a neighbouring bed of cabbages), which they had entrusted to her charge. Other verses of