The archness, the liveliness, and the gentleness of her disposition; the poetry of her nature, and the affection of her heart; the happy bloom of youth, which seclusion could not all wither nor distorted precept taint, were now entirely nourished, expanded, and freshened--such is the creative power of human emotion--by that inestimable possession.
She could speak to it, smile on it, caress it, and believe, in the ecstasy of her delight, in the carelessness of her self-delusion, that it sympathised with her joy.

During her long solitudes, when she was silently watched in her father's absence by the brooding, melancholy stranger whom he had set over her, it became a companion dearer than the flower-garden, dearer even that the plains and mountains which formed her favourite view.

When her father returned, and she was led forth to sit in a dark place among strange, silent people, and to listen to interminable declamations, it was a solace to think of the instrument as it lay hidden securely in her chamber, and to ponder delightedly on what new music of her own she could play upon it next.
And then, when evening arrived, and she was left alone in her garden--then came the hour of moonlight and song; the moment of rapture and melody that drew her out of herself, elevated her she felt not how, and transported her she knew not whither.
But, while we thus linger over reflection on motives and examinations into character, we are called back to the outer world of passing interests and events by the appearances of another figure on the scene.
We left Antonina in the garden thinking over her lute.

She still remains in her meditative position, but she is now no longer alone.
From the same steps by which she had descended, a man now advances into the garden, and walks towards the place she occupies.

His gait is limping, his stature crooked, his proportions distorted.